Picture
Paris n'existe pas (Robert Benayoun 1969)

some books and essays that read maps in films or films through maps or films as maps...

(see end for film location guides)
  • Dudley Andrew, 'An Atlas of World Cinema', in Stephanie Dennison & Song Hwee Lim, Remapping World Cinema: Identity, Culture and Politics in Film (London: Wallflower, 2006)
  • Sue Beeton, Film-Induced Tourism (Clevedon: Channel View, 2005)
  • Giuliana Bruno, Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvia Notari (Princeton: Princeton University Press, 1993)
  • Giuliana Bruno, 'Site-seeing: Architecture and the Moving Image', Wide Angle 19.4 (1997)
  • Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2002)
  • Charlotte Brunsdon, London in Cinema: the cinematic city since 1945 (London: BFI, 2007)
  • Sébastien Caquard & D.R. Fraser Taylor, 'What is Cinematic Cartography', editorial of the 'Cinematic Cartography' special issue of The Cartographic Journal 46.1 (2009)
  • Sébastien Caquard, 'Foreshadowing Contemporary Digital Cartography: A Historical Review of Cinematic Maps in Films', The Cartographic Journal 46.1 (2009)
  • Teresa Castro, 'Les Archives de la planète: a cinematographic atlas', Jump Cut 48 (2006)
  • Teresa Castro, 'La Ville planétaire: un regard cartographique', in Laurent Creton & Kristian Feigelson, 'Villes cinématographiques: Ciné-lieux', Théorème 10 (2007)
  • Teresa Castro, 'Les cartes vues à travers le cinéma', TextImage 2 (2008)
  • Teresa Castro, 'Cinema's Mapping Impulse: questioning visual culture', The Cartographic Journal, 46.1 (2009) 
  • Teresa Castro, 'Mapping the City through Film: from "Topophilia" to Urban Mapscapes', in Richard Koeck & Les Roberts (eds), The City and the Moving Image (Basingstoke: Palgrave Macmillan, 2010)
  • Teresa Castro, La Pensée cartographique des images (Lyon: Aléas, 2011)
  • David B. Clarke (ed.), The Cinematic City (London: Routledge, 1997)
  • David B. Clarke & Marcus Doel, 'Engineering Space and Time: Moving Pictures and Motionless Trips', Journal of Historical Geography 31.1 (2005)
  • Tom Conley, 'Le Cinéaste de la vie moderne: Paris as Map in Film, 1924-1934', in Michael Sheringham (ed.), Parisian Fields (London: Reaktion, 1996)
  • Tom Conley, 'Getting Lost on the Waterways of L'Atalante', in Murray Pomerance (ed.), Cinema and Modernity (Piscataway, NJ: Rutgers University Press, 2006)
  • Tom Conley, Cartographic Cinema (Minneapolis: University of Minnesota Press, 2007)
  • Tom Conley, 'Border Incidence', Symploke, 15.1-2 (2007)
  • Tom Conley, 'Locations of Film Noir', The Cartographic Journal 46.1 (2009)
  • Edward Dimendberg, Film Noir and the Spaces of Modernity (Cambridge: Harvard University Press, 2004)
  • Rosalind Galt, The New European Cinema: Redrawing the Map (New York: Columbia University Press, 2006)
  • Jill Forbes, 'Gender and Space in Cléo de 5 à 7', Studies in French Cinema 2:2 (2002)
  • Agustin Gámir Orueta, 'La cartografía en el cine: mapas y planos en las producciones cinematográficas occidentales', Scripta Nova, XIV:334 (2010) 
  • Agustin Gámir Orueta & Carlos Manuel Valdés, 'Cine y geografía: espacio geográfico, paisaje y territorio en las producciones cinematográficas',  Boletín de la Asociación de Geógrafos Españole 45 (2007) 
  • Graeme Gilloch, 'Urban Optics: Film, Phantasmagoria and the City in Benjamin and Kracauer', New Formation 61 (2007)
  • Graham Harper & Jonathan Rayner (eds), Cinema and Landscape: Film, Nation and Cultural Geography (Bristol: Intellect, 2010)
  • Gérard Henriet & Jacques Mauduy, Géographies du western (Paris: Nathan, 1989)
  • Thierry Joliveau, 'Connecting Real and Imaginary Places through Geospatial Technologies: Examples from Set-jetting and Art-oriented Tourism, The Cartographic Journal 46.1 (2009)
  • Jeffrey Klenotic, 'Putting Cinema History on the Map: Using GIS to Explore the Spatiality of Cinema', in Richard Maltby, Daniel Biltereyst & Philippe Meers (eds), Explorations in New Cinema History: Approaches and Case Studies (Chichester: Wiley-Blackwell, 2011) 
  • T. Jefferson Kline, 'Cinema and/as Mapping: Reorienting Ourselves Through Film' [on Les Amants, Damage and Three Colours: Red], in Unraveling French Cinema (Chichester: Wiley-Blackwell, 2010)
  • Myrto Konstantarakos, Spaces in European Cinema (Bristol: Intellect, 2000)
  • Roland-François Lack, 'Paris nous appartient: reading without a map', Australian Journal of French Studies  47:2 (2010)
  • Roland-François Lack, 'The sign of the map: cartographic reading in Rohmer’s Le Signe du Lion', Senses of Cinema 54 (2010)
  • Roland-François Lack, 'London Circa Sixty Six: the Map of the Film', in Gail Cunningham and Stephen Barber (eds), London Eyes: Reflections in Text and Image (Oxford: Berghahn, 2008)
  • Gérard Lefort, 'Nantes en Demy teintes', Libération (23.10.2010)
  • Jean-Louis Leutrat & Suzanne Liandrat-Guigues, Les Cartes de l'Ouest (Paris: Armand Colin, 1990)
  • Chris Lukinbeal, 'The map that precedes the territory: an introduction to essays in cinematic geography', GeoJournal 59.4 (2004)
  • James Morrison, 'Hitchcock's Ireland: the performance of Irish identity in Juno and the Paycock and Under Capricorn', in Richard Allen & Sam Ishii-Gonzalez (eds), Hitchcock Past and Future (London: Routledge, 2004)
  • Ewa Mazierska & Laura Rascaroli, From Moscow to Madrid: Postmodern Cities, European Cinema (London: I.B. Tauris, 2003)
  • Juhani Palasmaa, 'Geometry of Terror: Alfred Hitchcock's Rear Window', in Alberto Perez-Gomez & Stephen Parcell (eds), Chora 4: Intervals in the Philosophy of Architecture (Montreal: McGill-Queen's University Press, 2004)
  • François Penz, 'From Topographical Coherence to Creative Geography: Rohmer's The Aviator's Wife and Rivette's Pont du Nord', in Andrew Webber & Emma Wilson (eds), Cities in Transition: the Moving Image and the Modern Metropolis (London: Wallflower, 2008)
  • Laura Rascaroli & Ewa Mazierska, Crossing New Europe: Postmodern Travel and the European Road Movie (London: Wallflower, 2006) 
  • Ella Shohat, Taboo  Memories, Diasporic Voices (Durham: Duke University Press, 2006) 
  • Lawrence R. Schehr, 'Fragmented Territories: AIDS and Paris in Les Nuits fauves of Cyril Collard', French Forum 34.1 (2009) 
  • Katherine Shonfield, Walls Have Feelings: Architecture, Film and the City (London: Routledge, 2000)
  • Pelle Snickars & Mats Björkin, Early Swedish (Non-fiction) Cinema and Cartography’, Historical Journal of Film, Radio and Television 22.3 (2002)
  • Pierre Sorlin, 'Urban Space in European Cinema', in Wendy Everett & Axel Goodbody, Revisiting Space: Space and Place in European Cinema (Bern: Peter Lang, 2005)
  • Maria Tortajada, 'Le  regard urbain dans le nouveau cinéma suisse', in Charles Perraton & François Jost (eds), Un nouvel art de voir la ville et de faire du cinéma (Paris: L'Harmattan, 2003)
  • Pasi Väliaho, Mapping the Moving Image: Gesture, Thought and Cinema Circa 1900 (Amsterdam: Amsterdam University Press, 2010)
  • Jerry White, The Radio Eye: Cinema in the North Atlantic 1958-1988 (Waterloo: Wilfrid Laurier University Press, 2009)

Film Location Guides

  • Mark Adams, Location London: London's Film Locations Uncovered (London: New Holland, 2003)
  • Marcelline Block (ed.), World Film Locations: Paris (Bristol: Intellect, 2011)
  • Simon R. H. James, London Film Location Guide (London: Batsford, 2007)
  • Neil Mitchell (ed.), World Film Locations: London (Bristol: Intellect, 2011) 
  • Tony Reeves, Movie London: Exploring the City Film-by-Film (London: Titan, 2008)