‘She inscribed a journey on her map of home, using a form of cartographic representation that goes all the way back to Madeleine de Scudery's Carte du pays de Tendre (1654), a map that visualized, in the form of landscape, a world of affects. An emotional journey is drawn in these maps of lived space. They show the motion of emotions that reside in-house. In this affective mapping drawn by women home can indeed turn into a voyage.’
Giuliana Bruno, Public Intimacy: Architecture and the Visual Arts (Cambridge MA: MIT Press, 2007), p.165.
Bruno reads the use of this map in Les Amants in Atlas of Emotions, p. 241.
See also Tom Conley, 'Michelin Tendre', in Cartographic Cinema, pp. 127ff, and T. Jefferson Kline, 'Cinema and/as Mapping', in Unravelling French Cinema, pp. 89ff.
The other map in Les Amants is a map of France.
The Scudéry map also appears in Givray and Truffaut's Tire au flanc '62 (1960).