Ira B. Nadel, Leon Uris: Life of a Best Seller (Austin TX: University of Texas Press, 2010), p.108.
Preminger’s film features several maps, but none of them works to situate the viewer geographically throughout its 119 minutes.
‘Published on 23 September 1958, the book had a distinctive blue cover with “EXODUS” in type that evoked Hebrew lettering. A freedom fighter stretched the complete length of the book jacket, his rifle barrel casually pointing upward to the author's name. Maps are used for the endpapers and to introduce each of the five books of the novel (an intentional parallel with the five books of Moses that make up the Torah). A biblical quotation accompanies each of the maps that introduce an individual section. Additionally, a map of the Middle East emphasizing the minuscule region of Israel appears inside the front cover. The rear map is a close-up of the country , the verso the northern part of the land, the recto the southern. Uris clearly felt the need to situate the reader geographically throughout his 626 pages.’
Ira B. Nadel, Leon Uris: Life of a Best Seller (Austin TX: University of Texas Press, 2010), p.108. Preminger’s film features several maps, but none of them works to situate the viewer geographically throughout its 119 minutes.
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‘In Dr. No, when Bond visits M, the set includes a large map on the wall of Moneypenny's office and a prominently featured globe in M's office. The meaning of the maps is reinforced by the films' internationalism and transnational consciousness. In the Bond films, Honey Ryder, the daughter of a scientist, has lived all over the world; Dr. No is the child of a German missionary and a Chinese mother. The organization he represents, SPECTRE, which is an invention of the film series, is an international organization that transcends the East-West divisions of the Cold War. In fact, SPECTRE, which stands for Special Executive for Counter-Intelligence, Terrorism, Revenge, and Extortion has no headquarters and in that way mimics the film industry itself.’
Vanessa Schwartz, It’s So French: Hollywood, Paris and the Making of Cosmopolitan Film Culture (Chicago: University of Chicago Press, 2007), p.194. Three other maps in the film: here, here and here. 'Keiller's suggestion that London's positioning on the map of the world and the axis of history can be seen in two contrasting ways - as the top of the world or as its bottom, as a place which is stuck in the past or ultra-modern - renders this city particularly conducive to a discourse on postmodernism, which emphasises relativism and circularity. London supports the postmodern claim that there is no social progress, or that progress is always relative: advancement in one area of social life can be accompanied by regression in another.'
Laura Rascaroli & Ewa Mazierska, Crossing New Europe: Postmodern Travel and the European Road Movie (London: Wallflower, 2006), pp.62-63. ‘In nearly every interior he painted, there is either a map, a sheet of music, a letter, a chart, or a picture whose subject-matter functions like an ideogram.’
John Berger (writer of Jonas qui aura 25 ans...), 'The Painter in his studio: Vermeer', in The Moment of Cubism and other essays (London: Weidenfeld and Nicolson, 1969), p.77. |
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