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"Geography in motion pictures."
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European Cinema
In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of \"world cinema\" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition.
Onder invloed van de rivaliteit met Hollywood en de val van de muur in 1989 vond er in de jaren '90 in veel West-Europese landen een levendig debat plaats over de toekomst van de nationale filmtradities. Van het bestaan van zich onderscheidende 'nationale' stijlen, zoals bijvoorbeeld neo-realisme, zou niet langer kunnen worden uitgegaan. Film zou een benepen kunstvorm geworden zijn, die redding zoekt in het bewaren van de 'nationale' erfenis of hoopt op artistieke vernieuwing van televisie en door de overheid gesubsidieerde prestigeprojecten. In European Cinema blikt Thomas Elsaesser terug op het debat en geeft een genuanceerder beeld van verschillende factoren die sinds de jaren zestig een rol speelden. Er is o.m. aandacht voor de raakvlakken met de 'world cinema' en de opkomst van de Aziatische film, de invloed van het internationale film festival circuit, de rol van televisie en de veranderende esthetiek in auteur-cinema. Nieuwe toeschouwers hebben andere voorkeuren, en nieuwe technologieën bieden de mogelijkheid om bestaande identiteiten te hervormen, maar de Europese cinema heeft nog steeds een belangrijke functie in het vaststellen van kritische en creatieve agenda's, ook al is haar economische en institutionele basis in beweging.
eBook
Topoi/graphein : mapping the middle in spatial thought
\"In Topoi/Graphein Christian Abrahamsson maps the paradoxical limit of the in-between to revealthat to be human is to know how tolive with the difference between the known and the unknown. Using filmic case studies, including CodeInconnu, Lord of the Flies, and Apocalypse Now,and focusing on key concerns developed in the works of the philosophers Deleuze, Olsson, and Wittgenstein, Abrahamsson starts within the notion of fixed spatiality, in whichhuman thought and action are anchored in the given of identity. He then movesthrough a social world in which spatiotemporal transformations are neitherfixed nor taken for granted. Finally he edges into the pure temporality that liesbeyond the maps of fixed points and social relations. Each chapter is organized into two subjects: topoi, orexcerpts from the films, and graphein, the author's interpretation ofpresented theoriesto mirror the displacements,transpositions, juxtapositions, fluctuations, and transformations between delimited categories. A landmark work in the study of human geography, Abrahamsson's book proposes that academic and intellectual attention should focus on the spatialization between meaning and its materialization in everyday life.\"-- Provided by publisher.
Book
Animal geographies II
Animal geographies challenge not only the place and placing of the human and the animal but, critically, the methods we use to engage with both in relation. This second review considers the various methodological implications of a more-than-human geography and explores the innovative approaches that animal geographers employ to speak with non-human animals.
Journal Article
Cinematic Geographies and Multicultural Spectatorship in America
\"A study of films set in four iconic American landscapes--Indian Country, the South, the inner city, and the suburbs--reveals the way that popular film participates in a nationwide discussion about the role of multiculturalism in the post civil rights era. Cinematic sensations of familiarity and foreignness construct a virtual cultural map of America for the film spectator\"-- Provided by publisher.
Book
Locating the Moving Image
Leading scholars in the interdisciplinary field of geo-spatial visual studies examine the social experience of cinema and the different ways in which film production developed as a commercial enterprise, as a leisure activity, and as modes of expression and communication. Their research charts new pathways in mapping the relationship between film production and local film practices, theatrical exhibition circuits and cinema going, creating new forms of spatial anthropology. Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.
eBook
Doing film geography
Film geography as a subdiscipline of cultural and media geography is a long-established field of research that since its emergence more than twenty years ago has diversified into a variety of perspectives. Nowadays, a critical perspective on film is central, which no longer considers the medium merely as a text, but rather as a social practice—a perspective that continues to focus not solely on the meaning of representations, but on what representations do and how they do it. Following Roberts’ (in: Edensor, Kalandides, Kothari (eds) The Routledge handbook of place, Routledge, London, 2020) call for ‘doing film geography,’ this introductory article to the Geojournal Special Issue on Film Geography provides an overview of current trends in the field as well as an overview of the essays included in this collection. In addition to the established film-as-text perspective, we examine the burgeoning research in cinematic cartography, film industry geographies, and videography/documentaries.
Journal Article
European screen locations in the Indian film industry: evolutionary, spatial, and collaborative perspectives
India has long been known for its film industry and remains by far the largest film producer in the world, surpassing other film-producing superpowers like the US and China. A major factor in India’s dominance in the global media landscape is the outsourcing of film production, especially within Europe. Although there are studies trying to explain the context and mechanisms of foreign settings being incorporated into Indian filmmaking, this knowledge remains scattered and unsystematic. The objective of this paper is to comprehensively examine the evolutionary, spatial, and collaborative dynamics of Indian filmmaking in Europe by analysing statistical data from IMDb as the world’s largest film database. Our findings show that Indian filmmakers appeared relatively infrequently in Europe until the mid-1990s. The British Isles and Western Europe, with London and the Swiss Alps as the main centres, became the first and most popular destinations for outsourcing Indian films. However, this trend has changed in the last two decades, with the focus shifting to other areas in Southern, Central, Eastern, and Northern Europe as well in recent decades. The initial wave of Bollywood productions has gradually been followed by other regional cinematographies. The increasing presence of Indian film shooting in Europe has also led to growing co-production between filmmakers on both (sub)continents. The paper provides a solid basis for further exploration of socio-economic linkages between India and Europe, especially in terms of job creation, local economic development, tourism, and cultural exchange.
Journal Article
Videographic geographies: Using digital video for geographic research
This article is a review of the ways in which human geography has engaged with film and video. Beginning with a look at the history of cinematic analysis within the discipline, the paper outlines different possible uses for digital video, focusing on its merits as a multisensory ethnographic method. The article encourages geographers to make the move from analysis to production, citing examples from successful recent projects which have done so, endorsing further integration of video into fieldwork and an increase in digital publication to create what we might call videographic geographies.
Journal Article
‘No life here:’ the effects of motion picture incentive on below the line labor in Hollywood South
In 2002, Louisiana was one of the first states to begin a motion picture incentive (MPI) program to lure film and television production away from Los Angeles. Today, Louisiana, and especially its media capital, New Orleans, has been described as “Hollywood South,” a prominent North American film and television production center. This satellite production center is the outcome of a trend in local and national governments to use MPI programs to encourage the outsourcing of labor from Los Angeles since the mid-1990s. Using in-depth interviews with location managers in Louisiana, a review of policy documents, and an analysis of public discourse around the phenomenon in Louisiana, we examine the geography of Hollywood South, focusing on local labor and the consequences, efficacy, and ethics of its MPI program.
Journal Article