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    • maps in films
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    • l'Escalographe
    • the BlowUp moment
  • 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
      • Walthamstow's studios
    • Sherlock Holmes >
      • 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.
  • studios, etc.
    • Eclair
    • Eclipse
    • Gaumont >
      • Cité Elgé locations
    • Lumière
    • Lux
    • Pathé >
      • Where's Max >
        • when Harry met Max, and where
        • Max takes the train
      • Bébé victime d'une erreur...
      • Montreuil in Pathe films
      • Pathé police stations
      • Pathé filmmaking in Nice c. 1908
    • studios & the local >
      • Ealing >
        • Kind Hearts and Coronets: suburbia and other places
        • the view from Ealing
  • my local filmmaker
    • The Unfortunate Policeman >
      • Buy Your Own Cherries >
        • The Medium Exposed >
          • The ? Motorist >
            • The Fatal Hand >
              • A Little Bit of Cloth
              • Blind Man's Bluff >
                • Bill Sikes Up-To-Date
    • Walter Booth in Muswell Hill
  • my local cinemas
  • favourites
    • Agnès Varda >
      • Cleo 5-7 - Time
      • Sans toit ni loi >
        • Sans toit ni loi - the 12 tracking shots
        • Mona's postcard collection
    • Alice Guy >
      • Alice Guy + JLG
    • Chris Marker
    • Jacques Rivette >
      • 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)
    • J.-L. Godard >
      • Godardiana
      • A bout de souffle: footnotes to the film >
        • A bout de souffle - the cast list
        • A bout de souffle in colour
      • photographs in Le Petit Soldat
      • Bande à part
      • Paintings in Pierrot le fou
      • sculptures in Made in USA
      • Les Fins de Godard
      • Week End - time, place and cars
      • Bukowski in Sauve qui peut (la vie)
      • Life magazine + Hdc
    • J.-P. Melville
    • Louis Feuillade
    • Max Linder
    • Robert Paul
  • cine-tourists
    • a German tourist in Paris: Le Silence de la mer
    • an American tourist in Paris
    • History Lessons in Rome
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      • New Wave Braque
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      • New Wave Picasso
      • Pierre Alechinsky in Le Joli Mai (1963)
    • New Wave cameos
    • Attal et Zardi
    • Le Signe du Lion: six small things
    • New Wave films in New Wave films
    • Cahiers du Cinéma on screen
  • 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
    • investigations >
      • A Remarkable Journey in Zigoto's New Motor-Car - 1912
      • the Hotel Bristol enigma
    • news >
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      • news from the U.S.
    • a picture of great significance
    • A Girl and a Gun >
      • Griffith, Shadowland, May 1922
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  • about this site
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The Cine-Tourist

683/ El Dorado (Howard Hawks 1966)

26/3/2016

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657/ Lady Killer (Roy Del Ruth 1933)

23/2/2016

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631/ Chain Letters (Mark Rappaport 1985)

16/2/2016

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624/ Blue Caprice (Alexandre Moors 2013)

16/2/2016

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619/ Maigret voit rouge (Gilles Grangier 1963)

16/2/2016

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490/ Sex, Lies and Videotape (Steven Soderbergh 1989)

25/12/2013

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442/ Jet Pilot ( Josef von Sternberg 1957)

17/11/2013

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439/ Excision (Richard Bates jr 2012)

17/11/2013

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364/ Native Land (Leo Hurwitz & Paul Strand 1942)

5/4/2012

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'Backed by billions of dollars, by the resources of the biggest corporations, this conspiracy entangled the whole United States but it was kept secret till the Senate Committee turned on the light.'
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'Spies. The Senate Committee revealed the spies of a secret war, all over the country, planted in every local, forty-one thousand  labor spies, an eighty million dollar payroll.' 
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'The Senate revealed the existence of private armies, armies of criminals, organised for a secret war in every state of the Union, armed vigilantes, strike-breakers, company police, paid by private corporations.'
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'Private arsenals. The Senate revealed private arsenals of tear gas, shotguns, machine guns, for a war against Americans. Millions of rounds of ammunition. Millions of dollars spent in secret.' 
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'And a system of nationwide propaganda used to attack progressive legislation. Newspapers, lobbyists, the radio, full-page advertisements, extending across the whole country.' 
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'Propaganda, arsenals, private armies, spies. The Senate exposed the secret connections, the interlocking parts of an immense conspiracy, directed by a handful of fascist-minded corporations.'
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'Here was a criminal conspiracy to undermine the Bill of Rights, to weaken the strength of Americans, exposed, exposed to the light of day.'
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344/ L’Oiseau moqueur [The Mockingbird] (Robert Enrico 1962)

16/3/2012

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330/ The Naked Kiss (Samuel Fuller 1964)

2/3/2012

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The globe is the film's dominant map, though others appear in  minor roles:
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318/ The River (Pare Lorentz 1938)

19/2/2012

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317/ Navajo Canyon Country & Herds West (Avalon Daggett 1954 & 1955)

18/2/2012

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The map-as-jigsaw opens and closes Avalon Daggett's documentary on the Navajos in Arizona and New Mexico, accompanied by this commentary: 'America, a jigsaw puzzle of checkered colors and scenes, denoting many things in many places. (…) This golden country of canyons and of sand, one colorful segment of the jigsaw that is America today.'
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(You can watch the complete film here.)

In Herds West (which you can watch here), her film on the movement of cattle along a 'production line', Daggett uses a cinemap as illustration:
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(The brochure above is from the Iowa Digital Library, Universities of Iowa.)
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 'Traveler, Photographer, Film Producer, Lecturer':  
Florence Avalon Daggett made a large number of educational documentaries, beginning in the late '40s and continuuing into the '70s. In the 1950s  and '60s she toured with her films across the United States, earning herself   - in Prescott Arizona at least - the soubriquet of 'cine-tourist'. 

Her company was based in Los Angeles, with an office in Baton Rouge. She was born in Jennings Louisiana, and was particularly interested in the culture of Native Americans in her home region. 

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Evening Courier, 15 February 1950
From the sample of titles I have been able to find it is clear that she understood her educational brief to cover very varied aspects of 'America the Beautiful':

Louisiana Gayride (1949), Indian Pow-Wow (1951), Villages in the Sky (1952), Tribe of the Turquoise Waters (1952), Peaceful Ones (1952), Smoki Snake Dance (1952), Warriors at Peace (1952), Mississippi Magic (1954), Tournament of Roses Parade (1954), Arizona Adventure  (1954), Weavers of the West (1954), Father of the Southwest  (1957), Copper, Steward of the Nation (1959), Marshes of the Mississippi  (1961), A Way of Life (1961), Rice, America’s Food For the World (1962), Signs, Signals and Safety (1966), School Bus Driver VIP (1967), Swamp Expressway (1972) 
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Another article in the Prescott Evening Courier gives interesting detail about the camera Daggett used, and about the relation of her work to television:
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She died in 2002, leaving a bequest to fund three professorships at Louisiana State University, the 'F. Avalon Daggett Professorships in Rice Research', a callback perhaps to her 1962 film  Rice, America’s Food For the World.
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314/ I Love Melvin (Don Weis 1953)

15/2/2012

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A brief glimpse of the West Coast on a map is an irrelevance in this New York-set film. The real map moments are in Melvin's world travel dance number:
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This number includes a crime-investigation digression, featuring a different globe:
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307/ The Two Jakes (Jack Nicholson 1990)

8/2/2012

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There are two sets of maps, neither of which has the strong connection to plot that the principal maps had in Chinatown (of which The Two Jakes is a sequel).
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306/ Chinatown (Roman Polanski 1974)

7/2/2012

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 This first view of a map neatly positions it in a receding sequence from comic strip to portrait of Roosevelt. 

In this  public display and explanation of maps, we see them from a variety of angles and distances:
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By contrast, there are two moments of covert or unsanctioned map-reading, where we are not shown the maps:
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(See also the BlowUp moment on Chinatown, here.)
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305/ The Girl on the Bridge (Hugo Haas 1951)

6/2/2012

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304/ Chamaco (Leopoldo Savona 1967)

5/2/2012

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267/ Colossus: the Forbin Project (Joseph Sargent 1970)

30/12/2011

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Firstly shown in illustration of the purpose and capacities of Colossus, the US super-computer, maps in big control rooms become the site of the film's action when Colossus and Guardian, the Soviet super-computer, take control:
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All the sophisticated cartography is on the US side. The Soviets appear to have just one small map at the back of the room, which nobody looks at:
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241/ My Bunny Lies Over the Sea (Chuck Jones 1948)

4/12/2011

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This entry in the long saga of 'Bugs Bunny misreads the map' films (see e.g. here) opens with a map to establish the locale in which Bugs will find himself. A signpost also contributes, before Bugs delivers a variant on his familiar spiel:
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'Now let’s see now. Through Azuza, turn left at Cucamonga, till you hit Los Angeles. Then straight up Wilshire Boulevard to the La Brea Tar Pits. Mmm, don’t look much like Los Angeles to me. I knew I should have taken that left turn at Albuquerque.'
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'Could you point out to me the shortest route to the La Brea Tar Pits in Los Angeles?'
'La Brea Tar Pits?  There are no La Brea Tar Pits in Scotland.'
 'Scotland? Eh, what's up, MacDoc? '
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240/ Bugs Bunny (Chuck Jones 1961-1949-1953)

3/12/2011

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'You and your shortcuts. I told you to turn west at East St Louis.'
The Abominable Snow Rabbit (Chuck Jones 1961)
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'This don’t look like Miami Beach to me,  this looks more like California. Let's see now... South Pole? Oh, I get it. I should have turned left at Albuquerque.'
Frigid Hare (Chuck Jones 1949)
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'Well, here I am. Hey, just a cotton-picking minute. This don't look like the Coachella Valley to me. Hmm, I knew I should've taken that left turn at Albuquerque.'
Bully for Bugs (Chuck Jones 1953)
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215/ Lions Love (Agnès Varda 1969)

8/11/2011

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Varda's film may have consulted such a map for the brief visit to the stars' homes that follows this shot, but mostly her exploration of Hollywood is conceptual rather than topographical. 

Shirley Clarke, who has come there to make a film about Hollywood, is told by the film historian Carlos Clarens that she should have stayed back in New York,  at the Chelsea Hotel: 
    - You could have made your movie in New York.
    - But it's not the same thing, I mean, this is the actual physical place.
    - There never was such a place as Hollywood anyway. ... Hollywood is a state of mind, nostalgia.

The only map in the film appeared earlier, in television footage around the death of Robert Kennedy, following the train taking his body to New York.
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210/ Bicentennial (Vincent Collins 1976)

3/11/2011

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This brief (under four minutes) but copious animation of U.S.  icons - produced by the United States Information Agency - hints  at the iconicity of maps in these successive views of  West Coast and East Coast, with in the latter case a remarkable fusion of skyline and coastline that undoes a basic cartogaphic given.

The map returns, as outline, when the relatively un-iconic - can I say ugly? - silhouette of the U.S. mainland serves as frame for the faces of three presidents - Jefferson, Th. Roosevelt and Lincoln as we know them from Mount Rushmore: 
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Any anxiety as to why Washington is missing - he should after all be the key president in a celebration of the Bicentennial - is relieved when, crossing the Delaware, he passes in front of this icono-cartographic backdrop:
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The sequence ends with a movement from iconography to abstraction, as the map morphs  into mere pattern (before becoming a hat):
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187/ The Silencers (Phil Karlson 1966)

11/10/2011

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There are six maps in this spy spoof, all of them of the United States or parts thereof. What they lack in topographical breadth they make up for by varieties of form. At headquarters a set of sliding maps shows first California then a panel with Arizona and New Mexico:
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The film's US-centric cartography  deprives its evil genius of the usual large-scale world map that would represent the scale of his ambition.  True, he does have a globe, but what we see of it shows the Americas, and specifically the United States:
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A map of the US is shown as part of the ordinary décor of a gas station, but when the seemingly ordinary manager turns out to be an agent of the evil genius, the map reminds us that the danger is localised:
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The plot to detonate explosions is exactly mapped in a control room seen through cctv monitors, with a close up localising the danger spot (the local here means specific nuclear test sites):
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The finest map moment is this overhead view of the region concerned, followed by a close up in which the evil genius releases a red liquid to illustrate his plan:
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The climax is the thwarting of the plan by an attack on the control room (no longer viewed through cctv) and the adjustment of a  missile's trajectory:
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164/ Hang 'Em High (Ted Post 1968)

18/9/2011

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Judge Fenton: There you are. The Oklahoma and Indian Territory, year of our Lord 1889. Nineteen marshals. I was authorized sixty when I came here. I told the President even that wasn’t half enough.
Nineteen marshals and one court, to cover near 70,000 square miles. A happy hunting ground filled with bushwhackers, horse thieves, whiskey peddlers, counterfeiters, hide peelers, marauders that’ll kill you for a hatband.
Now, that’s why there’s a badge in my desk, Cooper. Itching to sit on somebody’s chest,and no takers.
Cooper: Your marshals do cover a lot of territory.
Judge Fenton: You’ll ride circuit over an area half again the size of Rhode Island. If and when it’s Marshal Cooper.

(See here for a large collection of pre-1900 maps of Oklahoma and the Indian Territory, amongst which, regrettably, I have not found the map in this film.)
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