The principal map is of course the map of Paris onto which is drawn a version of the jeu de l'oie. This map has its reverse image in the map of the greater Paris region printed on the reverse, onto which the jeu de l'oie is also, necessarily, imposed: The principal map has as complement a non-map emulating the layout of the jeu del'oie: Of the other maps in the film, only one seems to signify - the same large map of the Paris métro, positioned incongruously in two different places: Four other maps are glimpsed in passing: For details on the places in this film, see here.
To find someone seen at a porte de Paris, the members of the group divide up Paris and each make enquiries with a photograph at a different crossing point into the city. At the edges of the city there are also maps:
F for Fake is playing tonight, Friday November 4, in the Screen Shadows Fakery season (Bethnal Green). See here for details.
Not only the film most interested in its maps - of the films I know - but also one that supplies a rare combination of map and camera (satisfying - see here - the two current enthusiasms of this blowoupien cinétouriste):
There is a first map moment after Lenin has taken the initiative, the maps showing what needs to be done: When the October Revolution breaks out, more maps are used to show what is actually happening. Exactly the same mode of representation is used in both situations (and possibly even some of the same shots), but the meaning, in good Kuleshovian manner, is different because of the shots that precede and follow. (Guy Debord uses one of these mapshots in La Société du spectacle (1973): see here.)
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