Several cinemaps are used to illustrate advances in the campaign, but there is also footage of interested parties consulting maps, as here:
Lanzmann's supplement to Shoah consists mostly in Yehuda Lerner's to-camera narrative. A map can be seen in the above view of contemporary Warsaw, and later - to illustrate his account of events - maps and models of the camp's layout are shown:
Baier's road movie goes from Lausanne to Warsaw, a journey imagined by the protagonist firstly as a variant of Sutter's journey from Switzerland to California, as related by Cendrars in his novel L'Or:
He imagines the landscape of Sutter's destination as he sits in a meeting beside a map, and then superimposes the flag of Poland onto that landscape:
His preparations for the journey include buying histories of and guides to Poland, and a friend's gift of a copy of Cendrars's novel in Polish:
At the end of the film we are shown that In the margins of this copy he has made personal notes, and drawn onto a blank page a map of his journey:
‘Workers do not produce themselves, they produce a power independent of themselves. The success of this production, the abundance it generates, is experienced by the producers as an abundance of dispossession. As their alienated products accumulate, all time and space become foreign to them. The spectacle is the map of this new world—a map that is identical to the territory it represents. The forces that have escaped us display themselves to us in all their power.’
Guy Debord, The Society of the Spectacle (London: Rebel Press, 1983 ), p.16.