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This book uniquely bridges the conceptual gap between the history of geographic, cartographic thought, and film theory with the technological and cultural shifts that shaped the emergence of cameras and cinema. Adorned with illustrative figures, examples, and case studies throughout, the book explores how cinema lends itself to cartography and, in turn, how cartography relates to both the individual and collective experience of cinema. By using cartography to understand space and scale in film, the book moves away from textual analysis or representation analysis to focus on the locational attribution of the sites where the cinematic landscape is being produced. It contends that viewers of moving images are active players in a complex network of cultural and mental geographies. This volume is essential reading for students, scholars, and academics of cinematography, human, cultural, and social geography, cartography, and media studies, as well as those interested in these areas more generally.
Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world. Cartographic Cinema examines the affinities of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. In doing so, Conley reveals that most of the movies we see contain maps of various kinds and almost invariably constitute a projective apparatus similar to cartography. In addition, he demonstrates that spatial signs in film foster a critical relation with the prevailing narrative and mimetic registers of cinema. Conley convincingly argues that the very act of watching films, and cinema itself, is actually a form of cartography. Unlike its function in an atlas, a map in a movie often causes the spectator to entertain broader questions—not only about cinema but also of the nature of space and being.
This book is the fruition of work from contributors to the Art and Cartography: Cartography and Art symposium held in Vienna in February 2008. This meeting brought together cartographers who were interested in the design and aesthetics elements of cartography and artists who use maps as the basis for their art or who incorporate place and space in their expressions. The outcome of bringing together these like minds culminated in a wonderful event, spanning three evenings and two days in the Austrian capital. Papers, exhi- tions and installations provided a forum for appreciating the endeavors of artists and cartographers and their representations of geography. As well as indulging in an expansive and expressive occasion attendees were able to re? ect on their own work and discuss similar elements in each other’s work. It also allowed cartographers and artists to discuss the potential for collaboration in future research and development. To recognise the signi? cance of this event, paper authors were invited to further develop their work and contribute chapters to this book. We believe that this book marks both a signi? cant occasion in Vienna and a starting point for future collabo- tive efforts between artists and cartographers. The editors would like to acknowledge the work of Manuela Schmidt and Felix Ortag, who undertook the task of the design and layout of the chapters.
An interdisciplinary collection exploring the practices and cultures of mapping in the arts, humanities and social sciences. It features contributions from scholars in critical cartography, social anthropology, film and cultural studies, literary studies, art and visual culture, marketing, museum studies, architecture, and popular music studies.
Object-Oriented Cartography provides an innovative perspective on the changing nature of maps and cartographic study. Through a renewed theoretical reading of contemporary cartography, this book acknowledges the shifted interest from cartographic representation to mapping practice and proposes an alternative consideration of the ‘thingness’ of maps. Rather than asking how maps map onto reality, it explores the possibilities of a speculative-realist map theory by bringing cartographic objects to the foreground. Through a pragmatic perspective, this book focuses on both digital and nondigital maps and establishes an unprecedented dialogue between the field of map studies and object-oriented ontology. This dialogue is carried out through a series of reflections and case studies involving aesthetics and technology, ethnography and image theory, and narrative and photography. Proposing methods to further develop this kind of cartographic research, this book will be invaluable reading for researchers and graduate students in the fields of Cartography and Geohumanities.
Developments in the Theory and Practice of Cybercartography—awarded an Honorable Mention in Earth Science at the Association of American Publishers' 2015 PROSE Awards—examines some of the recent developments in the theory and practice of cybercartography and the substantial changes which have taken place since the first edition published in 2005. It continues to examine the major elements of cybercartography and emphasizes the importance of interaction between theory and practice in developing a paradigm which moves beyond the concept of Geographic Information Systems (GIS) and Geographical Information Science.Cybercartography is a new paradigm for maps and mapping in the information era. Defined as "the organization, presentation, analysis and communication of spatially referenced information on a wide variety of topics of interest to society," cybercartography is presented in an interactive, dynamic, multisensory format with the use of multimedia and multimodal interfaces.The seven major elements of cybercartography outlined in the first edition have been supplemented by six key ideas and the definition of cybercartography has been extended and expanded. The new practice of mapping traditional knowledge in partnership with indigenous people has led to new theoretical understanding as well as innovative cybercartographic atlases. Featuring more than 90% new and revised content, this volume is a result of a multidisciplinary team effort and has benefited from the input of partners from government, industry and aboriginal non-governmental organizations. - Honorable Mention in the the 2015 PROSE Awards in Earth Science from the Association of American Publishers - Highlights the relationship between cybercartography and critical geography - Incorporates several new cybercartographic atlases produced in cooperation with Inuit and First Nations groups - Showcases legal, ethical, consent and policy implications of mapping local and traditional knowledge - Features an interactive companion web site containing links to related sites, additional color images and illustrations, plus important information to capture the dynamic and interactive elements of cybercartography: http://booksite.elsevier.com/9780444627131/
Reevaluating the significance of location in contemporary film practice and urban cultural theory, Film, Mobility and Urban Space explores the role of moving images in representations and perceptions of everyday urban landscapes. Les Roberts draws on over 1,700 films of Liverpool from 1897 to the present and combines critical spatial analysis, archival research, and qualitative methods to navigate the city's cinematic geographies as mapped across a broad spectrum of film genres, including amateur film, travelogues, newsreels, promotional films, documentaries, and features.
Since the publication of the bestselling second edition 5 years ago, vast and new globally-relevant geographic datasets have become available to cartography practitioners, and with this has come the need for new ways to visualize them in maps as well as new challenges in ethically disseminating the visualizations. With new features and significant updates that address these changes, this edition remains faithful to the original vision that cartography instruction should be software agnostic. Discussing map design theory and technique rather than map design tools, this book focuses on digital cartography and its best practices. This third edition has completely new sections on how to deal with maps that go viral and the ethics therein; new presentation ideas; new features such as amenities, climate data, and hazards; the new Equal Earth projection; and vector tile design considerations. All chapters are thoroughly updated with new illustrations and new sections for datasets that didn’t exist when the second edition was published, as well as new techniques and trends in cartography. New in the third edition: A true textbook, written with a friendly style and excellent examples explaining everything from layout design to fonts and colors, to specific design considerations for individual feature types, to static and dynamic cartography issues. Thoroughly updated with new features such as points of interest, climate data, hazards, and buildings; new projections such as the Equal Earth projection and the Spilhaus projection; and vector tile design considerations such as label placement techniques and tricks for making world-class basemaps. Includes over 70 new map examples that display the latest techniques in cartography. Reflects on new developments in color palettes; visualization patterns; datums; and non-static output media such as animation, interaction, and large-format cinematic techniques, that weren’t available for the second edition. Defines and illustrates new terms that have made their way into the profession over the last few years such as story maps, flow maps, Dorling cartograms, spec sheets, bivariate choropleths, firefly cartography, Tanaka contours, and value-by-alpha. In this third edition, author Gretchen Peterson takes a "don’t let the technology get in the way" approach to the presentation, focusing on the elements of good design, what makes a good map, and how to get there, rather than specific software tools. She provides a reference that you can thumb through time and again as you create your maps. Copiously illustrated, the third edition explores novel concepts that kick-start your pursuit of map-making excellence. The book doesn’t just teach you how to design and create good maps, it teaches you how to design and create superior maps.
This edited collection explores the relationship between urban space, architecture and the moving image. Drawing on interdisciplinary approaches to film and moving image practices, the book explores the recent developments in research on film and urban landscapes, pointing towards new theoretical and methodological frameworks for discussion.
Writing on the relationship between war and cinema has largely been dominated by an emphasis on optics and weaponised vision. However, as this analysis of the Hollywood war film will show, a wider sensory field is powerfully evoked in this genre. Contouring war cinema as representing a somatic experience of space, the study applies a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier’s body. These assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also entail the involvement of the spectator’s body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts.