There are shots like the above of different people reading a map, but in each of these the picture is not clear enough to make out any detail:
One of the scenes from Feuillade's Les Vampires (1916) being reconstructed in Assayas's Irma Vep (1996) involves a map, which too is reconstructed. All we see of it is in this shot, above, but we can see that the map has been carefully drawn on the basis of the view we have of it in Les Vampires. There are shots like the above of different people reading a map, but in each of these the picture is not clear enough to make out any detail: Helpfully, close-ups are inserted, allowing us to see clearly what the map looks like: This is the model from which the map in Irma Vep is drawn. Since in that film we only see the map from behind, I have reversed the shot so that we can guage how closely it matches the original: This a good reconstruction of the Vampires map: the layout of roads is the same and the arrows are in the right place, as is the indicator of scale. The only inaccuracy is that in Les Vampires this is not the big, unfolded map of the region that everyone looks at first, and which the shot above mimics, but a small map drawn on the back of it, in the corner, which only gets noticed when the big map is being folded up. In Irma Vep that small map has been moved to the front and blown up to become the whole and only map. This is emblematic of the process of referencing Feuillade's film more generally in Irma Vep, which has singled out only one of the Vampires as its object of interest. Of course, Irma Vep is the most spectacular and memorable feature of Les Vampires, and we understand entirely why she is the focus of Assayas's film. The map is its focus for all of seven seconds, and perhaps doesn't warrant the same intense scrutiny as either Musidora in Les Vampires or Maggie Cheung in Irma Vep: See here for a closer reading of the map in Les Vampires.
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