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    • the first maps >
      • Some Maps in Gance's Napoléon
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      • firemen in Paris, 1896
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        • Alice Guy in the brothel ...
      • a dangerous street corner
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      • One Place, Three Films: Fantomas and the French New Wave
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      • Irma Vep posts a letter
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      • neon Paris c.1913
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      • Paris Noir: Becker, Dassin, Melville
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            • A bout de souffle (narrative of an identification)
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            • Melville: more views from the rue Jenner
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      • Le Samourai: places and maps >
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      • country houses and suburban villas
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      • the Landru Villa
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    • The Stairs: Paris
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      • some Baker Street irregularities
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        • Rififi in London
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      • maps in krimis
      • Kriminal (1966)
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  • Geneva
    • Swiss New Wave - shared-world practice
    • Geneva in Swiss New Wave films >
      • SNW Geneva: collective housing
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    • The Chronology of Le Petit Soldat
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        • Sans toit ni loi - the 12 tracking shots
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      • a map of Out 1
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        • topographical telescoping in Le Pont du Nord
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      • 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
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      • a building site and some buildings, c.1961 >
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      • 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
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The Cine-Tourist

552/ Swiss Graffiti (Jacqueline Veuve & Monique Renault 1975)

11/4/2015

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296/ Visages d'enfants (Jacques Feyder 1923)

28/1/2012

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260/ La Vocation d'André Carel (Jean Choux 1925)

23/12/2011

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251/ The Trollenberg Terror [aka The Crawling Eye] (Quentin Lawrence 1958)

14/12/2011

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'Kleindorf zum Trollenberg' is a fictional setting constructed in a studio, with authentic footage of Swiss Alps as frame. The above map may represent genuine mountain terrain, or be another filmic confection.
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248/ Les Petites Fugues (Yves Yersin 1979)

11/12/2011

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A single 180-degree pan reveals the emblematic objects accumulated in the room of the protagonist, Pipe. The most obvious are the pictures of the Cervin (the Matterhorn), which the film will later visit, but the map and flag join with the mountain as emblems of Switzerland. (In the immediately following sequence Pipe visits a chocolate factory.)
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247/ Wilder Urlaub (Franz Schnyder 1943)

10/12/2011

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Another map I can't localise, beyond an assumption that it is of somewhere in Switzerland - at this part of the film we are supposed to be in Zurich. Any suggestions here, please.
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221/ La Pomme (Michel Soutter 1968)

14/11/2011

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Among the several  modes of representation at work in Soutter's third film, the opposition documentary/fiction is central. In front of a large regional map a journalist who is preparing a broadcast on Lenin's time in Geneva enumerates to camera his various addresses, and the film documents each of them. When the last of these, 61 rue des Maraîchers, is shown, a woman with a suitcase walks into the building, initiating the fiction:
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Later we see the journalist's office as part of the fictional world (the camera angle has changed), as the scene of a discussion between the journalist and a work colleague:
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The work colleague is the former boyfriend of the woman with the suitcase. We see him tracing on a map his way to the building she had arrived at. Immediately afterwards, the journalist plots on the same map some locations associated with Lenin, including that apartment building:
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With the eventual implication of the journalist in the fiction around the woman, the documenting of Lenin's years in Geneva is abandoned. Rather, the film ends on alternative fictional modes - song and slapstick:
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205/ Comme des voleurs (Lionel Baier 2006)

29/10/2011

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Baier's road movie goes from Lausanne to Warsaw, a journey imagined by the protagonist firstly as a variant of Sutter's journey from Switzerland to California, as related by Cendrars in his novel L'Or:
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He imagines the landscape of Sutter's destination as he sits in a meeting beside a map, and then superimposes the flag of Poland onto that landscape:
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His preparations for the journey include buying histories of and guides to Poland, and a friend's gift of a copy of Cendrars's novel in Polish:
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At the end of the film we are shown that In the margins of this copy he has made personal notes, and drawn onto a blank page a map of his journey:
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161/ Es geschah am helichten Tag [It Happened in Broad Daylight] (Ladislao Vajda 1958): Graubünden - Les Grisons

15/9/2011

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Maps provide familiar background décor in the police inspector's office and in the schoolroom:
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The inspector finds a clue in a child's drawing, where the ibex from the cantonal coat of arms of Graubünden is represented.  On the map he works out where he will find the child-killer:
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132/ Le Clan (Gaël Morel 2004): maps on tv

17/8/2011

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Le Clan (Gaël Morel 2004): Lac de Genève & Haute Savoie
Maps often appear in television weather reports or news broadcasts, as background (as above) or foregrounded as a motif (as below): 
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Where the Heart Is (Matt Williams 2000): United States - Texas, Oklahoma, Kansas
Here are eight further instances of maps on tv screens in films:
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In Cold Blood (Richard Brooks 1966)
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The Man Who Fell To Earth (Nicolas Roeg 1976): United States
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Bamako (Abderrahmane Sissako 2006): Mali
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Love & Human Remains (Denys Arcand 1993): Canada
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Caché (Michael Haneke 2005): Africa & the Americas
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La Cérémonie (Claude Chabrol 1995): Europe
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Pola X (Leos Carax 1999): France
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Jonas qui aura 25 ans en l'an 2000 (Alain Tanner 1976): Switzerland
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131/ The Challenge (Milton Rosmer 1937) & Der Berg Ruft (Luis Trenker 1937)

16/8/2011

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In 1937 Luis Trenker played the Italian climber Carrel  in both the German  and British accounts of Whymper's conquest of the Matterhorn (the German version was also adapted for the Italian market as La Grande Conquista). The films shared the Trenker-directed sequences shot on and around the mountain, but the Korda-produced British version added several interior scenes, including some set in London. Trenker said at the time that 'there is very little difference between the two versions: mine has more outdoors and less in'. The British version also added a map after the explanatory prologue, so that its local audience could locate exactly the most famous mountain in Europe:
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Later in the film, an animated graphic is provided to illustrate the progress of the competing Italian and British parties:
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There are no such visual aids in Trenker's version, and there is only one map in the whole film. It is on the table when Carrel is invited to an eminent person's house to discuss climbing the Matterhorn. His host has a magnifying glass in his hand, as if he had been studying the map, but no one looks at the map in the course of this sequence. Instead, Carrel uses the scale model of the mountain to illustrate the route he would take to the summit:
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124/ Goldfinger (Guy Hamilton 1964): all the maps

9/8/2011

1 Comment

 
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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):
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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: 
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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:
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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.
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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:
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(Goldfinger is at one here with the film’s liking for aerial views.)
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The film’s cartographic configurations conclude with the tracing of a vertical trajectory, as Bond and Pussy Galore parachute from a plane:
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For further comment on the spatial machinery of this film, see: (e)space & fiction
1 Comment
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