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  • how to map a film
    • the first maps >
      • Some Maps in Gance's Napoléon
  • Paris
    • 1890s-1909 >
      • firemen in Paris, 1896
      • La Villette c.1896-97
      • Hatot-Breteau 1897
      • Paris 1900
      • French Cancan >
        • the real Paquerette >
          • Paquerettes
      • Place de l'Opéra
      • Alice Guy - Paris locations >
        • Alice Guy in the brothel ...
      • a dangerous street corner
      • Capellani in Paris
      • La Fille du faux-monnayeur
    • 1910-1929 >
      • a gateway out of Paris c.1910
      • L'Enfant de Paris (narrative of an identification)
      • Fantomas Over Paris: episode 1 >
        • Fantomas Over Paris: episode 2 >
          • Fantomas Over Paris: episode 3 >
            • Fantomas Over Paris: episode 4 >
              • Fantomas Over Belgium
      • One Place, Three Films: Fantomas and the French New Wave
      • a staircase in Belleville
      • Vampires Over Paris >
        • Les Vampires 1
        • Les Vampires 2
        • Les Vampires 3
        • Les Vampires 4
        • Les Vampires 5
        • Les Vampires 6
        • Les Vampires, 7
        • Les Vampires 8
        • Les Vampires 9
        • Les Vampires 10
      • Irma Vep posts a letter
      • Inside-Outside: space and light in Judex
      • L'Affaire Barsac
      • neon Paris c.1913
      • electric nights in Paris (and Berlin)
    • 1930-1959 >
      • Quai des Orfèvres
      • Olivia - Audry - 1951
      • Paris Noir: Becker, Dassin, Melville
      • the persistence of graffiti: Paris c.1952
      • Du rififi chez les hommes - reading topotropically >
        • Du rififi chez les hommes - locations identified
      • Het Parijs van Le Ballon rouge
    • the New Wave and after >
      • New Wave places >
        • New Wave Paris >
          • New Wave Newness: architecture in Paris
          • Eric Rohmer in the rue de la Huchette, c.1956
          • Les 400 coups: Paris locations >
            • Baisers volés
          • 'New York Herald Tribune' - Parrish and Godard on the rue de Berri >
            • A bout de souffle (narrative of an identification)
          • the Grisbi connection: Chabrol and Becker
          • Les Bonnes Femmes: sequence by sequence
          • Une femme est une femme: the places documented
          • the boulevard des Italiens
          • Jules et Jim: Paris configured
          • the place of cinema: cinema as location in Vivre sa vie
          • Godard and Melville: the view from the rue Jenner >
            • Melville: more views from the rue Jenner
          • the New Wave in Pigalle c.1963
          • La Peau douce - displaced places
          • Le Bonheur 1965
          • Paris vu par
          • Masculin Féminin
          • The Topography of La Guerre est finie
        • France
      • Le Samourai: places and maps >
        • Un flic: art and artifice
      • Bresson in Paris - Pickpocket
      • Bresson 69-71
      • Every Revolution
      • statues in Godard and Duras
      • Holy Motors >
        • Holy Motors - notes
    • banlieues >
      • Le Canal de Ourcq
      • Ville d'Avray en 1903
      • Three filmmakers in Romainville
      • filmmaking in the Fontainebleau forest
      • Feuillade's lonely villas
      • anarchists in the suburbs c.1912
      • One Church Two Cemeteries: Clouzot and Chabrol at Montfort L'Amaury
      • Feuilladian Franju - Les Yeux sans visage
      • country houses and suburban villas
      • banlieue locations in L'Amour existe
      • the Landru Villa
      • 1 place 2 filmmakers: Rivette & Chabrol in Ermenonville
      • Céline et Julie: what's the address of that house?
      • cinemas in La Petite Voleuse
    • The Stairs: Paris
  • London
    • 1890s-1920s >
      • Lumiere London >
        • Lumière London, bis
      • Robert Paul in London: tour guide and film maker
      • Ultus in Isleworth
      • Cocaine 1922
      • Fu Manchu 1923
    • London Locations >
      • Piccadilly Circus >
        • Piccadilly Circus in films
        • Piccadilly Circus in art
        • Piccadilly Circus in postcards
        • Piccadilly Circus photographed
        • Piccadilly Circus: invisible things
      • Muswell Hill
      • the Arsenal Stadium mysteries
      • Brentford streets on screen
    • the locality of London studios >
      • Early Ealing
      • straight out of Whetstone
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      • some Baker Street irregularities
      • an American Sherlock in London
    • Sojourners + Cosmopolitans >
      • London in French Film >
        • Rififi in London
        • London in London River
      • maps in krimis
      • Kriminal (1966)
      • Kaurismaki's London c. 1989
    • places in Face
  • Geneva
    • Swiss New Wave - shared-world practice
    • Geneva in Swiss New Wave films >
      • SNW Geneva: collective housing
      • SNW Geneva: villas
      • SNW Geneva: bowlings + piscines
    • The Chronology of Le Petit Soldat
    • La Lune avec les dents (Michel Soutter 1966)
    • L'Inconnu de Shandigor (J.-L. Roy 1967)
  • signage, etc.
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        • when Harry met Max, and where
        • Max takes the train
      • Bébé victime d'une erreur...
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              • A Little Bit of Cloth
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    • Agnès Varda >
      • Cleo 5-7 - Time
      • Sans toit ni loi >
        • Sans toit ni loi - the 12 tracking shots
        • Mona's postcard collection
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      • Alice Guy + JLG
    • Chris Marker
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      • a map of Out 1
      • Le Pont du Nord: locations identified >
        • topographical telescoping in Le Pont du Nord
        • Le Pont du Nord (narrative of an identification)
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      • A bout de souffle: footnotes to the film >
        • A bout de souffle - the cast list
        • A bout de souffle in colour
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      • Pierre Alechinsky in Le Joli Mai (1963)
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  • other things
    • assorted stamps
    • Maps in Books
    • the topographies of La Fille aux yeux d'or
    • place-time in Thérèse Raquin
    • photography >
      • 10 photographs by Brassaï in 3 Paris dancehalls >
        • painters in the rue Blomet
      • Gisèle Freund in Paris >
        • Gisèle Freund in Histoire(s) du cinéma
      • Godard's Histoire(s): photographs of women
      • the photographer as photographer: André Dino with Tati, Truffaut and Chabrol
      • some Simenon book covers
      • films playing at the Moulin Rouge
    • building sites >
      • a building site and some buildings, c.1961 >
        • Jean Ginsberg
      • 93 - Seine Saint Denis: HLM, cités, grands ensembles >
        • 93 - Seine Saint Denis: Aubervilliers to Bondy
        • 93 - Seine Saint Denis: Drancy to l'île Saint Denis
        • 93 - Seine Saint Denis: La Courneuve to Saint Ouen
        • 93 - Seine Saint Denis: Sevran to Villepinte
      • Chateau Gaillard
      • Euston Station
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      • A Remarkable Journey in Zigoto's New Motor-Car - 1912
      • the Hotel Bristol enigma
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    • a picture of great significance
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The Cine-Tourist

634/ Le Fric (Maurice Cloche 1959)

16/2/2016

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629/ Maddalena... zero in condotta (Vittorio de Sica 1940)

16/2/2016

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628/ Ill Met By Moonlight (Michael Powell + Emeric Pressburger 1957)

16/2/2016

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554/ Al-millionaire al-mouzayyaf  (Hassan El-Seify 1968)

11/4/2015

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363/ La nave bianca [The White Ship] (Roberto Rossellini 1942)

4/4/2012

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355/ Manina, la fille sans voiles [The Girl in the Bikini] (Willy Rozier 1952)

27/3/2012

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211/ F For Fake (Orson Welles 1973)

4/11/2011

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F for Fake is playing tonight, Friday November 4, in the Screen Shadows Fakery season (Bethnal Green). See here for details.
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202/ L'Amour existe [Love Exists] (Maurice Pialat 1960)

26/10/2011

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79/ La Route de Corinth (Claude Chabrol 1967)

25/6/2011

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‘Embodying the dynamics of journey, cinema maps a heterotopic photography.’ In ‘Mapping the subject’ (1995),  required reading for anyone interested in the relation of topography to representation, Steve Pile and Nigel Thrift were perhaps the first to quote a since much read page from Giuliana Bruno’s 1993 book Streetwalking on a Ruined Map, though by accident the word ‘photography’ was substituted for Bruno’s ‘topography’. Heterotopic photography is a concept yet to be fully explored.

Bruno’s original text reads as follows:
Cinematic pleasure belongs to the range of erotic pleasures of the nomadic gaze first known to the traveler and the flaneur and then embodied, by way of panoramic spatio-visuality, in the modes of inhabiting space of transitorial architectures. Suggesting these historic aspects of the fascination of the apparatus, and highlighting its fantasmatic connection to travel and landscaping. One looks back not only to early cinema but also 'back to the future'. This view offers numerous avenues for future studies. One can place the art of " unconscious optics" in the context of contemporary forms of intercultural traveling and sites of spatio-temporal tourism, of which airplane cinema is the ultimate metonymy. For if "the unconscious is housed," it is also “moving”.
  Embodying the dynamics of journey, cinema maps a heterotopic  topography. Its heterotopic fascination is to be understood as the attraction to, and habitation of, a site without a geography, a space capable of juxtaposing in a single real place several possibly incompatible sites as well as times, a site whose system of opening and closing both isolates it and makes it penetrable, as it forms a type of elsewhere/nowhere, where "we calmly and adventurously go travelling". Thus, we female spectators, in the midst of the "far-flung ruins and debris" of our old enclosed prison world, may go traveling. As we move through filmic architectures, as in "streetwalking" through the meter-polis, our mother-city, we reclaim forbidden pleasures – wandering through erotic geographies.
Giuliana Bruno, ‘Streetwalking around Plato’s Cave’, in Streetwalking on a ruined map: cultural theory and the city films of Elvira Notari  (Princeton NJ: Princeton University Press, 1993), p.57.

See also: Steve Pile & Nigel Thrift, ‘Mapping the subject’, in Mapping the Subject: Geographies of Cultural Transformation  (London: Routledge, 1995), p.22.
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66/ Exodus (Otto Preminger 1960)

12/6/2011

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‘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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47/ Helen of Troy (Robert Wise 1956)

24/5/2011

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‘Pushing pins onto a spread of countries marked by borders has its uses. In high school all of us pored over successive shapes of world power: the Greeks, the Romans, various barbarian kingdoms, Islam's arms reaching  through Africa and girdling Europe. What would a map of cinematic power show?’
Dudley Andrew, 'An Atlas of World Cinema', in Stephanie Dennison & Song Hwee Lim, Remapping World Cinema: Identity, Culture and Politics in Film (London: Wallflower, 2006), p.20.
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