An explorer's  map is the narrative pretext, but other than the cinemap of the journey across Africa, which the film returns to twice, the only map we see is this:

... and a glimpse of a globe:

A different ocean, the Pacific, at the line between North and South.

And the two other maps in the film.

Where the message of an animated map is not self-explnatory, Biggar and Mclaren add a slogan:

Designed by Milton Glaser and Walter Bernard, the credit sequence of Sleepless In Seattle is very simple, the slow revelation from east to west of a map of the United States.  The map combines the political and the physical, showing both states and mountains, and is shot from an angle rather than overhead. The curve of the horizon and the schematic arrangement of stars above the map suggest that this is a view of a planet (one on which the only distinguishing feature is the United States):

In different colours, the map returns periodically in the film as the basis of a graphic representation of characters' movements across the country:

At the very end of the film a map appears, revealed as the camera withdraws slowly from a Manhattan of lights. The lights look like stars in a black sky, and as it grows distant  New York comes to resemble a galaxy. Eventually, the whole of the Unites States is outlined by points of light,and the country becomes a constellation:

(I may have missed the point of joke being made, but to me  this angled view of the United States makes the country look remarkably like a fish.)
There are more conventional maps in the mise-en-scène. A protagonist discusses the geography of the United States with the aid of a wall map:

Another protagonist has a map of the city in which she works (Baltimore) on the wall of the office in which she works: 

When she visits another city (Seattle), she consults a map of that city:

She also finds herself in front of a peculiarly decorated, spinning globe in a shop-window display:

M’s outer office has the familiar wall maps that establish the global scale of MI6’s operations (see here for the first instance of this in the Bond canon):

Bond’s in-car tracking device takes us from Stoke Park in Buckinghamshire to Southend Airport in Essex, then to Geneva. From there we go north (I can’t quite make out where), then on to Goldfinger’s factory between Stans and Stansstad, just south of Lucerne: 

When the film cuts from the device to the terrain it represents, an irony is apparent in the contrast of horizontal (the map) and vertical (the mountains). Plotted against each other, you get the diagonal lines of one of cinema’s more famous mountain sequences:

A similar tracking device later shows us the vicinity of Goldfinger’s lair near Fort Knox (Kentucky), but the efforts of the US agents to follow the plot on it are thwarted by Oddjob, and the device breaks down when the car it is tracking is crushed.

Unlike the lairs of so many other such villains, Goldfinger’s does not have large wall maps as décor. He has two smaller, horizontally placed maps at his desk but, as expressions of his power over the world through representation, his preferred alternatives to mapping are the aerial photograph and the scale model:

(Goldfinger is at one here with the film’s liking for aerial views.)

The film’s cartographic configurations conclude with the tracing of a vertical trajectory, as Bond and Pussy Galore parachute from a plane:

For further comment on the spatial machinery of this film, see: (e)space & fiction

A continuation of yesterday's theme, with a reprise of motifs from the earlier film.

‘The long section devoted to the German convoy, for example, starts with a shot of the Resistance leader looking at a map, cuts to the German command looking at another map, cuts to the Transport Kommandantur, where two German officers  consider a railway map and then fades to the same map, but this time being studied by two Frenchmen. The montage and continuities of content clearly establish an equivalence between the German and French leaderships. This equivalence will be underscored by subsequent cross-cutting between the two commands.’
  Martin O’Shaughnessy, ‘La Bataille du rail: Unconventional Form, Conventional Image?’, in Nancy Wood & Rod Kedward (eds), The Libertation of France: Image and Event (Oxford: Berg, 1995), pp.20-21.

Hervé ('VR2000'): 'Loading up' means retrieving heavy objects people get rid of. To do so, town councils and city halls provide small maps such as this one. It shows all the streets, the districts and the days on which one can go and pick them up. 
Varda: I think the maps show where to dump things rather. 
Hervé: Yes, right, well, I read the map my own way because that's where I find my raw material. I am, among other things, a painter and a retriever. 

Some other maps in Varda's film:

The only maps in Espoir are in an operational headquarters. An early sequence, three minutes in, establishes the interpretation of maps as a key to military strategy.

Later, a local who has specific knowwlege of an enemy base, but no knowledge of maps, isn't able to point to the place on a map. 

As a consequence, he has to go with the bomber crew so that he can point to it in reality. Viewing his world from the air for the first time, the terrain is as unfamiliar and unreadable as the map, and it seems the mission will have to be aborted. But finally, in a moment of apotheosis, he is able to say: ‘it is there’, and the mission can be accomplished.

Animated maps to illustrate a point are common in documentaries (hence their use in the 'News on the March' section of Citizen Kane), and Super Size Me has three striking instances. Spurlock also, however, 'animates' a map profilmically by progressively sticking flags and then photographs onto a map of Manhattan:

‘In the breakneck idiom of 1930s "infotainment," intertitles are blended with other graphic images — animated maps, photos, newspaper headlines — and with a wide variety of "archival" footage. Cut for maximum visual dynamics, spatial transpositions are accomplished by wipes, by sudden camera movements and object movements. For instance, a title card: "In its humble beginnings," introduces the development of the Kane press empire. In the next shot, an Inquirer truck races across the extreme foreground; as it passes the camera it exposes a deep view of the original newspaper building. A cut returns us to the flat image of a map with blinking lights to designate corporate growth. We then see a long shot of a grocery store that is interrupted by a passing car, this time compressing the space of the image. In the following shot in a papermill a roll of paper is thrust right at the camera from the extreme  background. Without belaboring the point, there is a concerted effort in this sequence to activate the viewer's capacity to assimilate and respond kinesthetically to rapid alterations in represented depth.’
  Paul Arthur, ‘Out of the Depths: Citizen Kane, Modernism and the Avant-Garde Impulse’, in Ronald Gottesman (ed.), Perspectives on Citizen Kane (1996), p.373.

‘A film is not its shots, but the way they have been joined. As a general once told me, a battle often occurs at the pont where two maps touch.’ 
Robert Bresson, ‘Encountering Robert Bresson’, interview with Charles Thomas Samuels, republished in Bert Cardullo (ed.), The Films of Robert Bresson: Casebook (London: Anthem, 2009), p. 96.

Below are more maps  from Bresson films.

David Bordwell has read in detail the first map scene in There Will Be Blood (here), analysing the simple but powerful staging of this one-shot sequence: 'Many directors would have cut in to a close-up of the map, showing us the details of the layout, but that isn't important for what Anderson  is interested in. The actual geography of Plainview's territorial imperative isn't explored much in the movie, which is more centrally about physical effort and commercial stratagems.'

There are three more map scenes in the film, each of them as indifferent to the actual geography of that part of California, because Anderson isn't interested in the details of the layout,  of course, but also because these would be real maps on which the fictional 'Little Boston, Isabella County'  couldn't appear.

The next map scene is Plainview's visit to a real estate office, a two-shot sequence in which there are three maps on the wall, differentiated in look but hardly readable in detail. A fourth map is brought out after Plainview asks Al Rose the pertinent question: 'Well, where's the map?'

This map  is discussed in detail, but no portion of it is shown: 

This scene is followed up later in a one-shot sequence where Plainview discusses the same area with Rose. This time the camera moves slowly in towards a closer framing of the table on which the map is placed. The map is distinctively coloured but still not readable:

At the end of this shot the map is rolled up. Two earlier views of a rolled-up map, in Plainview's site office, serve as reminders of the territorial imperative, but also that we are not fixed on the actual territory:

The last map scene offers a satisfying match of territory and map, not through actual geography, but in the repetition over a map of a gesture performed in the territory. First  a wooden stake is hammered into the ground, signalling the route for the pipeline: 

And then, at a meeting with his Union Oil associates,  Plainview hammers a stake into the map, through the map and into the table on which it is spread:

The film will run for  another fifty minutes without being interested in maps again.

A short dvd-bonus on the research that went into the film shows two maps consulted, and a period photograph of maps being used: