Skip to main content

Cartographic Cinema: Acknowledgments

Cartographic Cinema
Acknowledgments
    • Notifications
    • Privacy
  • Project HomeCartographic Cinema
  • Projects
  • Learn more about Manifold

Notes

Show the following:

  • Annotations
  • Resources
Search within:

Adjust appearance:

  • font
    Font style
  • color scheme
  • Margins
table of contents
  1. Cover
  2. Half Title Page
  3. Title Page
  4. Copyright
  5. Contents
  6. Acknowledgments
  7. Introduction
    1. Theory and Cartography
    2. Cinematic Taxonomy and Cartography
    3. Archive and Diagram
    4. Dislocation, Distance, Discretion
    5. Mental Mapping and Mobile Topography
    6. A Map in a Movie
  8. 1. Icarian Cinema: Paris qui dort
    1. A Site of Immaculate Origin
    2. A Film in Flux
    3. Two Spatial Stories
    4. Points of Comparison
    5. Liberty: A Vanishing Point
  9. 2. Jean Renoir: Cartographies in Deep Focus
    1. Boudu cartographe
    2. Tracking a Revolution
    3. La Grande illusion: Terrae incognitae
    4. Globes In and Out of Perspective
  10. 3. Maps and Theaters of Torture: Roma, città aperta
    1. A Map Room
    2. Italy Wallpapered: A Map in an Apartment
    3. A Theater of Torture
    4. Wiped Surfaces
  11. 4. A Desperate Journey: From Casablanca to Indiana Jones
    1. Crashing In and Crashing Out
    2. A Map in a Montage
    3. Desperate Journey
    4. Camouflage
    5. A Map-Dissolve: Casablanca
    6. From Historical Geography to Melodrama
    7. A Place Named
    8. Indiana Jones
  12. 5. Juvenile Geographies: Les Mistons
    1. A Story Plotted into Film
    2. Correspondence and Rewriting
    3. Scenes of Writing
    4. As the Crow Flies
    5. Old Films and New Worlds: An Allegory
  13. 6. Michelin Tendre: Les Amants
    1. A Book and a Movie
    2. “Attention au départ”
    3. The Gleaner and the Grease Monkey
    4. Pleats and Folds
    5. The Michelin Map after La Carte du Tendre
  14. 7. Paris Underground: Les 400 coups
    1. The “Quarrel”
    2. Credits
    3. Class Room and Map Room
    4. Mother and Mother France
    5. A Child’s Map
  15. 8. A Roadmap for a Road Movie: Thelma and Louise
    1. Geography and Gentility
    2. Cinematic Diagrams
    3. A Map Room and a Baroque Motel
    4. Reflectors and Benders
    5. Orpheus Rewritten
    6. The Map in the Picture
    7. Women Plotted
  16. 9. Cronos, Cosmos, and Polis: La Haine
    1. Children of France
    2. Events Crosscut
    3. The Lower Depths
    4. The World Is Ours
    5. Graffiti and Glossolalia
  17. 10. Ptolemy, Gladiator, and Empire
    1. A Correspondence: Empire and Gladiator
    2. Ptolemy’s Italia
    3. Map Effects and Special Effects
    4. Super Bowls
    5. Aftereffects
  18. Conclusion
  19. Notes
  20. Bibliography
  21. Filmography
  22. Index
  23. Author Biography

Acknowledgments

For this project much is owed to many. In 1992 James Akerman, who was then organizing panels for the biennial meeting of the International Association for the History of Cartography, invited me to submit a proposal on cartography and cinema. His inspiration and encouragement, along with that of many historians and theorists of cartography, have helped to guide this work from that inception. Special thanks go to David Buisseret for his long-standing support, and to the scholars who organized and spoke at the Virginia Garrett Lectures in October 2000 on the theme “Cartography and Popular Culture,” notably Richard Francaviglia, Arthur and Jan Holzheimer, and Dennis Reinhardt. In that same year some of these concepts were presented in the frame of the Germaine Brée Memorial Lecture at the Institute for Research in the Humanities at the University of Wisconsin–Madison through the kind invitation of Paul Boyer, Ullrich Langer, and Loretta Freiling. Also in 2000 these ideas found an extraordinarily helpful reception in the cadre of a seminar led by Marie-Claire Ropars-Wuilleumier at the École Normale Supérieure and the University of Paris–VIII; to her and her team, which included Dominique Château, Claude Mouchard, Jean-Michel Rey, and Pierre Sorlin, my gratitude is infinite. Raymond Gay-Crosier and Maureen Turim provided a lovely forum for this topic at the University of Florida, as did Peggy McCracken and George Hoffmann at the University of Michigan, where Richard Abel offered keen counsel. Scott Durham and Timothy Murray did the same during a seminar at Northwestern University.

Much of the research for this book developed through a core course taught at Harvard University, “Cinéma et civilisation française.” The students and teaching fellows who sustained my work include Nick Nesbitt, Andrea Flores, Elisabeth Hodges, Maggie Flinn, Natasha Lee, Mahalia Gayle, Alexis Sornin, and Ludovic Cortade. Among the hundreds of wondrous students I think immediately of Melissa Lee, Jenny Lefcourt, Katherine Stirling, Raja Haddad, John Hulsey, Ally Field, and Rachel Zerner. Giuliana Bruno, Bruce Jenkins, Bob Gardner, Ross McElwee, Rob Moss, and Rick Rentschler have been exceptionally supportive colleagues. Kriss Ravetto and Mario Biagioli commented on the material, as have students and tutors at the Kirkland House at Harvard University (Reid Caroline, Tim Hardt, Sharonna Pearl, Andy Rice, John Walsh). Thanks go to Deidra Perley and Steffan Pierce for their help in scanning many of the images that accompany the text.

I thank Richard Morrison and Douglas Armato of the University of Minnesota Press, who invited me to engage the project, and to the two aquiline and overgenerous readers, T. Jefferson Kline and David Rodowick, who helped to shape the material into its current form. Thanks go to Annette Michaelson for listening to matter destined for the introduction; to Daniela Boccassini and Carlo Testa, whose good words inflected chapter 3; to Bertrand Tavernier, whose observations informed research in chapter 5; to Rosemarie Scullion and Van Kelly, for reading an early version of chapter 9; to Therese Boyd, who copyedited the work so keenly that all errors are mine alone. To this project I allotted some of the time granted by a Guggenheim Award to conduct research on topography, and I am immensely grateful to this extraordinary foundation.

Revisions were being completed in August 2004 when the devastating news of the untimely death of David Woodward arrived. A selfless sponsor of the project, a model of generosity, and the first and finest historian of cartography of his time, David encouraged my writing at every stage of this book’s development. Behind his shadow stands that of Walter Conley, my father, who made my childhood an endless encounter of cinema. To Verena Conley, whose passion for the pleasures of life and film is dauntless, this book is dedicated.

Annotate

Next Chapter
Introduction
PreviousNext
Sections of chapter 5 were originally published in “Les Mistons” and Undercurrents of French New Wave Cinema, The Norman and Jane Geske Lecture Series 8 (Lincoln, Neb.: Hixson-Lied College of Fine and Performing Arts, 2003); reprinted with permission from Hixson-Lied College of Fine and Performing Arts at the University of Nebraska–Lincoln. Material in chapter 9 was originally published in “A Web of Hate,” South Central Review 17, no. 3 (Fall 2000): 88–103; reprinted with permission.

Copyright 2007 by the Regents of the University of Minnesota
Powered by Manifold Scholarship. Learn more at
Opens in new tab or windowmanifoldapp.org