Chris Lukinbeal

This foundational text establishes a cohesive, systematic framework for film geography. It integrates theories of transactionalism and phenomenology with core elements of communication (Source, Medium, Receiver) to document the transactions between geography and film, specifically emphasizing the resulting ontological distinction between the cinematic "reel" world and the lived "real" world. This book provides a holistic framework for defining the scope of film geography and answering two core questions: what areas of film studies pertain to geography, and what significance does film research hold for geography. It offers a clear, comprehensive overview of the field, especially for understanding film/geography interrelations. This is delivered through a unique methodology that maps these interactions onto the basic elements of communication. This modeling exercise serves as a conceptual framework to document and explain the various ways geography and film are interconnected. The work emphasizes the significant role that filmic representations play in shaping our attitudes toward place and influencing human transactions with the environment. Aimed at scholars and students interested in humanistic geography, media studies, and film theory, this book serves as an indispensable starting point for academic inquiry.

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.

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.