Locating the Moving Image: New Approaches to Film and Place

Locating the Moving Image: New Approaches to Film and Place

Locating the Moving Image: New Approaches to Film and Place

Locating the Moving Image: New Approaches to Film and Place

Synopsis

Leading scholars in the interdisciplinary field of geo-spatial visual studies examine the social experience of cinema and the different ways in which film production developed as a commercial enterprise, as a leisure activity, and as modes of expression and communication. Their research charts new pathways in mapping the relationship between film production and local film practices, theatrical exhibition circuits and cinema going, creating new forms of spatial anthropology. Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.

Excerpt

Les Roberts and Julia Hallam

Spatial (Re)Orientations:
Interdisciplinary excursions

Metaphor is never innocent. It orients research and fixes results.

—JACQUES derrida

In recent years ideas of the spatial and the cinematic have come together in an irresolute fashion, each fumbling hesitantly toward the other without appearing entirely sure of how or indeed if the other might respond. Discussions and debates around themes of, for example, cinematic geography, cartographic cinema, cinematic cartography, cinematic urbanism, urban cinematics, urban projections, movie mapping, cinetecture, city in film, cinematic city, geography of film, cinematic countrysides, and so on, while testament to a rich and ever more expansive discourse on film, space, and place (albeit one with a disproportionate skew toward the urban), may also be seen as a jumble of discursive waypoints that confound as much as guide our way through a critical landscape that at times resembles an interdisciplinary quagmire.

Spatiality may be the common currency, but, much like the volatile euro, it struggles to hold together an otherwise fractured union that, in disciplinary terms at least, is just as likely to entrench as dissolve its internal borders. Part of the problem lies in the way specific film/space neologisms lay claim to a specificity of meaning and practice that is all too rarely self-evident. It is always therefore necessary to dig deeper around the terms to excavate a fuller understanding of how they are being theorized . . .

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