Index
A bout de souffle [Breathless] (Jean-Luc Godard), 159, 178, 227n8, 236n7
A nous la liberté (René Clair), 38
Allen, Karen, 103
Alpers, Svetlana, 169
Althusser, Louis, 189
Amants, Les (Louis Malle), 22, 124–40, 156, 158, 168, 211
and Robert Bresson, 137–39
and La Carte du Tendre, 127–29, 131–32, 136, 139–40
as a cartographic diagram, 139
and eroticized space, 140
and hieroglyphic gestures, 135
and landscape as map, 128–29, 132–33, 137–39
paintings in, 132–33
and La Règle du jeu, 125–26, 128–29, 131, 133
and relation with unknown, 140
and Renoir’s camera style, 129, 133
roadmaps in, 125, 127–28, 131–32, 136–37
and road movie, 125
and Louise de Vilmorin, 126
and Steven Ungar, 239n2
Apian, Pieter, 218–19n33, 216n11
Apollinaire, Guillaume, 37, 143, 232nn3–4
Arbellot, Guy, 232n14
Ariosto, Ludovico, 134
Arnoullet, Balthazar, 229n1
Asseyas, Olivier, 100–101, 229nn20–21, 229n25
Astruc, Alexandre, 237n11
Atalante, L’ (Jean Vigo), 131, 151–52
Augé, Marc, 228n18, 233n15, 237n10, 237n2
Aulagnier, Piera, 218n32
Baecque, Antoine: and Serge Toubiana, 230n2, 230nn9–11, 233n13
Balzac, Honoré de, 152
Barthes, Roland, 16–18
Bataille, Georges, 237n2
Baudelaire, Charles, 4, 37, 43, 44, 50, 222n5, 222n15
Bazin, André, 6–9, 14, 19–20, 43, 83, 130, 138–39, 145, 147, 207, 210, 218n25, 222n12, 222n15, 223n16
analysis of Rossellini, 67
on Bresson, 138–39
on Le crime de Monsieur Lange, 48–49
design of What Is Cinema, 6–8
on eroticism and cinema, 233n8
evolution of film language, 7, 216n13
on La Grande Illusion, 51
ontology of cinema, 20
Beaumarchais, Pierre de, 126
Beghe, Jason, 159
Belleforest, François de, 106
image of Pont du Gard in Cosmographie universelle, 106, 107
Bellour, Raymond, 232n12
Belmondo, Jean-Paul, 159
Benjamin, Walter, 15, 25, 218n28
Ben-Hur (Cecil B. DeMille), 211
Benton, John, 233n7
Bergman, Ingrid, 94, 99, 224n4
Bernanos, Georges, 137
Berry, Jules, 46
Bête humaine, La (Jean Renoir), 58, 119
Bicycle Thieves, The (Vittorio de Sica). See Ladri di bicilette
Bienvenuë, Fulgence, 142
Big Heat, The (Fritz Lang), 181, 226n22
Big Trail, The (Raoul Walsh), 227n7
Birth of a Nation, The (D. W. Griffith), 194
Blache, Pierre Vidal de, 6, 216n9
Black Hawk Down (Ridley Scott), 196
Atlas major, 41–42
Blériot, Louis, 143
Blin, Gérard, 111
Bloch, R. Howard, 233n7
Bob le flambeur (Jean-Pierre Melville), 233n6
Boetticher, Budd, 8
Bogart, Humphrey, 84, 88, 94, 97, 99, 228n10
Böhnke, Alexander: Rembert Hüser and George Stanitzek, 229n22
Bonnie and Clyde (Arthur Penn), 157, 234, n2
Bosch, Hieronymous, 231n9
Boudu sauvé des eaux (Jean Renoir), 40–45, 49, 59, 119, 151, 209, 222n10, 223n15, 226n6
and baroque cartography, 41–42
countertilt of final shot, 45
and deep-focus photography, 42
and effects of flat depth, 42
and Les Fleurs du Mal, 43–44
modes of framing, 43
on-location setting of, 41
and Pont des Arts, 41
Boudu Saved from Drowning (Jean Renoir). See Boudu sauvé des eaux
Brahms, Johannes. See Amants, Les
Brasillach, Robert, 123
Braun, Georg: and Franz Hogenburg, 129, 231n5
Breathless (Jean-Luc Godard). See A bout de souffle
Bresson, Robert, 19, 137–39, 151
Brialy, Jean-Claude, 118, 123, 145
Bright Leaves (Ross McElwee), 235n15
Bruegel, Pieter, 147
Brunette, Peter, 224n3
Bruno, Giuliana, 209, 232–33, n4
Bruno, Nando, 80
Buci-Glucksmann, Christine, 226n16
Buisseret, David, 5, 215n2, 231n5
Buisson, Ferdinand, 153
Burch, Noël, 222n10
Burden, Philip D., 234n7
Burgoyne, Robert, 227n23
Caged Heat (Jonathan Demme), 226n20
Cagney, James, 160
Caniff, Milton, 103
Carillo, Leo, 14
Carlo, Yvonne de, 160
Carte du Tendre, 75, 127, 131–32, 189, 230n2, 230–31nn4–6
and Thelma and Louise, 158, 168. See also Amants, Les
cartography, 1
and affect (see Carte du Tendre)
and affectivity, 116
as allegory, 124
as archive and diagram, 10–14, 20, 88, 93, 139, 102, 139
and deixis, 216n7 (see also Metz, Christian)
and Ecole des Ponts et Chaussées, 55
existential, 49
and film studies, 5
as prayer and hope, 89–93
psychogenetic, 155
relation with logos and credits, 37
as strategy and tactics, 13–14
viticultural, 6
and the war movie, 92
Casablanca (Michael Curtiz), 74, 84, 93–100, 105, 157, 166, 210
and anatomy (in classrooms), 103, 146
cartography of credits, 94
compared to Pépé le Moko, 229n19
gaze and history, 99
lap- and map-dissolves in, 95–97
loss of grounding in, 95
relation with history, 98
use of flashback, 97–98
Casey, Edward, 216n2
Cassel, Vincent, 176
Cavell, Stanley, 62, 223n25, , 224n30
Certeau, Michel de, 13, 72, 140, 154, 168, 194
on cruel lucidity, 238n11
on getting lost, 213n9
and glossolalia, 230n8
and spatial stories, 194, 201, 215n4, 217n20, 220n18, 221n24, 225n11, 227n8, 236n5. See also toponymic narration
Chamberlain, Neville, 62
Chastel, André, 220n17
Château, Dominique: and Jacinto Lageira, 217n18
Chienne, La (Jean Renoir), 150, 233n6
chorography. See topography
cinema: as archive and diagram, 10–15, 20–21, 100–101, 104–5, 159–60, 194
and baroque cartography, 44, 222n6
as dissimulation, 92–93
and geographical illusion, 192
and logistics of perception, 20, 194
as map, 1–2, 5, 15, and passim
and mental geography, 19
and narrative, 4
and pedagogy, 26
and political geography, 122
“of quality” (de qualité), 123, 142
as strategic operation, 11
and subjectivity, 19–20
and subject-positions, 19, 212
and theaters of torture, 82
theme of desperate journeys, 83–105
and topography, 1
Citizen Kane (Orson Welles), 8, 78
Clair, René, 20, 23–39, 65, 142, 220n13, 221n23
and Le Voyage imaginaire, 220n18. See also Paris qui dort
Clouzot, Henri-Georges, 119–23
Cocteau, Jean, 169
cognitive mapping, 19
Colman, Ronald, 236n4
Colorado Territory (Raoul Walsh), 235n14
condamné à mort s’est échappé, Un [A Man Escaped] (Robert Bresson), 151
Conley, Tom, 224n2, 224n5, 218n32, 224n2, 227n2, 227n5
Conte d’automne [Autumn Tale] (Eric Rohmer), 5–6
Coppola, Francis, 225n25
Corbeau, Le [The Crow]. See Clouzot, Henri-Georges
Corneille, Pierre, 59
Coronelli, Vincenzo, 61
Cosgrove, Denis, 174
Courcelles, Dominique de, 220n19
Cowan, Jerome, 227n8
Crime de Monsieur Lang, Le (Jean Renoir), 9, 41, 45–51, 58, 59, 209, 216n14
André Bazin’s reading and mapping of, 48–49
coequality of map and camera, 47–48
and flashback, 45
and May 1968, 50–51
movement of its map, 46–47
noir-like qualities of, 47
and panoramic shots, 45–46, 48–49
topography in, 49–50
and utopian design, 50–51
Crime of M. Lange, The (Jean Renoir). See Crime de Monsieur Lange, Le
Criss Cross (Robert Siodmak), 160
Crow, The (Henri-Georges Clouzot). See Clouzot, Henri-Georges
Cuny, Alain, 126
Curchot, Olivier, 60, 61, 114, 128, 133, 223n25
Curtiz, Michael, 21. See also Casablanca
Dainville, Père François de, 215
D’Albenas, Poldo, 229n1
Dalio, Marcel, 59
Dasté, Jean, 151
Davis, Geena, 157
Day in the Country, A (Jean Renoir). See partie de campagne, Une
Debray, Eddy, 60
deep-focus photography, 7, 20, 40, 42
Deer Hunter, The (Michael Cimino), 178
Defaux, Gérard, 222n8
Deixis. See Jacob, Christian
Metz, Christian DeJean, Joan, 230n2
Delauney, Robert, 143
Deleuze, Gilles: and Félix Guattari, 223n2
Deleuze, Gilles, 7–14, 15, 19, 20–21, 33, 101, 154, 179, 217n16, 220n13, 223n15, 227n4, 237n1
archive versus diagram, 10–14
and baroque space, 234n5, 235n17
and becoming, 13
on children’s maps, 154–55
cinematic taxonomy, 9–10
distinction of movement-versus time-image, 9–10, 208
on events, 237–38nn3–4
on folds and pleats, 213–32n10
and Michel Foucault, 10
on free indirect speech, 235n13
and haeccity, 207
island-theory in, 216n12
and mental images, 228n10
and molar-molecular distinction, 33
on non-places, 228–29n18
and prehension, 216n10
on Renoir, 43
and Rossellini, 67
and smooth space, 233n10
Delvaux, Paul, 132
Demetrius and the Gladiators (Delmer Daves), 200, 211
Denby, David, 233n5, 233n12, 236n1
Denon, Dominique Vivant, 126, 132
Derrida, Jacques, 84, 112, 230n6
Desperate Journey (Raoul Walsh), 84, 88–93, 105, 196, 210, 228n10, 228n15, 235n14
and abstract design, 92
as camouflage, 91–93
maps in credits, 91
montage sequence, 91
relation with Indiana Jones and the Lost Ark, 104–5
self-conscious dissimulation in, 92, 104
Detour (Edgar G. Ulmer), 157
Devos, Raymond, 184
Dietrich, Marlene, 68
Dilke, Oswald Ashton, 156
Disney, Walt, 178
Dort, Bernard, 238n6
Drew, Ellen, 236n4
Duchamp, Marcel, 31
Duggan, Anne, 230n2
Durand, Jean, 27
D’Urfé, Honoré, 132
Duvivier, Julien, 130
Eastwood, Clint, 178
Ebert, Roger, 203
Edgerton, Samuel, Jr., 224n27
Edison, Thomas, 27
Edson, Evelyn, 156
Eiffel Tower, 26, 27, 28, 142, 191, 212, 220nn15–16
and erasure of history, 26
in La Haine, 185
and relation with subway, 142
as site of emission of radio broadcasts and wireless, 37
Einstein, Albert, 25–26
Eisenstein, Sergei, 25
Epstein, Jean, 25
Epstein, Marie, 154
E.T. (Steven Spielberg), 229n25
haptic quality of, 20. See also Bazin, André; Deleuze, Gilles
Fall of the Roman Empire, The (Anthony Mann), 14, 197–98, 201, 238n5
Faulkner, Christopher, 222n7
Faure, Elie, 25
Favier, Gilles, 175. See also Kassovitz, Matthieu
Feist, Harry, 69
Ferguson, Priscilla Parkhurst, 232n1
Ferry, Jules, 153
Feuillade, Louis, 26
Filteau, Claude, 231n6
Flamand, Georges, 145, 233nn6–7
Flaubert, Gustave, 21
Florelle, 45
Flynn, Errol, 91
Focillon, Henri, 235n12
Ford, Harrison, 102
Foster, Jody, 174
Foucault, Michel, 5, 10–12, 13–14, 15, 78, 154, 192, 217n23
concept of discursive and visible formations, 10–12
and illegalism, 12
and politics, 13–14
Four Hundred Blows The (François Truffaut). See 400 coups, Les 400 coups, Les
(François Truffaut), 2, 21, 102, 141–55, 156, 173, 185, 210–12, 230n5, 237n10
as adolescent geography, 144, 151, 154
allegory of Mother France, 149, 152
associative style of, 153
Eiffel Tower in, 142–45
ending compared to sequence in L’Atalante, 151–52
geography of credits, 144–45
hieroglyphs in, 149–50
as mapping and prophecy, 155
maps in classroom of, 145–49
and modern poetry, 143
and Quarrel of Ancients and Moderns, 142–44
and Paris qui dort, 142–43
satire of pedagogical cartography of the Third Republic, 149–50, 153
scenes of writing in, 144, 147
and Truffaut’s childhood, 154
writing scene compared with Les Mistons, 147–48, 155
and Zéro de conduite, 147, 154
Freud, Sigmund, 15–16, 78, 112, 155, 218nn30–31, 230n6
and “The Uncanny,” 15–16
Gabin, Jean, 51
Gance, Abel, 212
Gangs of New York (Martin Scorsese), 213
Gardner, Ava, 159
Genet, Jean, 237n8
adolescent, 144
mental, 4–18
and ontology, 3
and pedagogy, 26 (see also cinema: and pedagogy)
relations with displacement and hypnosis, 17
and topography, 28
as totality, 20. See also Apian, Pieter; Jacob, Christianl Ptolemy, Claudius
Germany, Year Zero (Roberto Rossellini), 65
Giard, Luce, 236n2
Gillain, Anne, 234n17
Giraudoux, Jean, 153
Giuliani, Pierre, 218n26
Gladiator (Ridley Scott) 14, 22, 191–206, 211, 238n9
and geographical illusion, 192
compared to Empire (Hardt and Negri), 193–94, 201
and style of Tacitus, 193
and family romance, 195
and Ptolemy’s Geographia, 195–96, 198–99, 211
and The Fall of the Roman Empire (Anthony Mann), 197–98, 201
computer-generated imagery of, 199–201, 203
and play of gaze, 200
and global advertising, 203–4, 206
and professional football, 202, 204–5
and perception of American military machinery, 204–5
as moving map and diagram, 206
and Montaigne, 238n10
Godard, Jean-Luc, 157, 159, 217n22, 221n20
and Histoire(s) du cinema, 217n16. See also A bout de souffle
Goebbels, Joseph, 102
Goering, Hermann, 90
Goffart, Walter, 217n17, 219n4
Gomery, Douglas, 85, 227n1, 227n4
Goss, John, 41
Grahame, Gloria, 226n22
Grande Illusion, La (Jean Renoir), 41, 51–59, 210, 223n16
and cadastral maps, 55
Wrst five shots of, 52–55
and geographic flux, 58
imaginary museum in, 57
map in third shot, 53–54
mobile geography of, 54
monocularity versus binocularity, 55–56
play on maps and cards, 57
relation of allegory and cartography, 57, 58
and reversal of space, 55
and tradition of military topography, 55
Grand Illusion, The (Jean Renoir). See Grande Illusion, La
Granval, Charles, 41
Gregor, Nora, 60
Griffith, David Wark, 194
Guéroult, Guillaume, 228n1
Guillaume, Jean, 220n12
Guinness, Alec, 14
Gun Crazy (Joseph H. Lewis), 125, 168
Gunning, Tom, 234n2
Haine, La [Hate] (Matthieu Kassovitz), 22, 174–90, 191, 211–12, 236n2, 237n10
allegorical personages in, 176
and Apollo 17 mission, 174, 185–87, 190
background of screenplay, 176
as cinematic diagram, 174
and cow maps, 190
Eiffel Tower in, 185–86
metaphysical geography of, 184–86, 188
and Pascal’s two infinites, 188
and Pierrot le fou, 184
product-placement in, 182
and raw speech, 179–80, 189–90
reception of, 188–89
relation with other films, 186
relation with writing and ciné-écriture, 182, 187
sequence in bathroom, 180–82
sequence in movie theater, 177–78
and theaters of cruelty, 178–80
and the world-upside-down, 190
Hale, John, 224n30
Hallelujah! (King Vidor), 216n14
Hamilton, John, 223n18
Harley, J. Brian, 5, 219–20n11, 239n1
Harrison, Richard Edes, 95, 228n11, 228n16
Hate (Matthieu Kassovitz). See Haine, La
Hawks, Howard, 218n26
Hayden, Harry, 227n5
Hayworth, Rita, 181
Helgerson, Richard, 224n7
High Sierra (Raoul Walsh), 83–89, 105, 157, 160, 166, 168, 210
as desperate journey, 83, 86–88
as diagram, 88
geography and cartography of, 84–85, 87, 89
haptic quality of, 86
maps in montage and dissolves, 86–88
toponyms in, 87–88, 89, 105, 227n7
Higonnet, Patrice, 232n1
Hiroshima, mon amour (Alain Resnais), 212
Hitchhiker, The (Ida Lupino), 157
Hogenburg, Franz. See Braun, Georg
Holland, Norman N., 233n11, 233–34n16
Hondius, Jodocus, 41
Huizenga, Johann, 223n24
Hull, Henry, 84
Human Beast, The (Jean Renoir). See Bête humaine, La
If I Were King (Frank Lloyd), 236n4
Indiana Jones and the Raiders of the Lost Ark (Steven Spielberg), 83, 92, 100–105, 210
design of credits, 101–2
and Desperate Journey, 104–5
and French new wave cinema, 100
ideological contours of, 104
and power of cinema, 102–3
use of globe in, 102–3
India-Song (Marguerite Duras), 212–13
In the Mood for Love (Wong Kar Wai), 5
Itkine, Silvain, 56
Ivanhoe (Richard Thorpe), 199
Jacob, Christian, 18, 216n7, 222n6, 223n19, 224n29, 225n11, 233n14, 237n14
Jameson, Fredric, 19, 212, 218n33
Journal d’un cure de campagne (Robert Bresson), 137
Jousse, Thierry, 218n26
Julia, Dominique, 140
Jurassic Park (Steven Spielberg), 238n9
Kagan, Richard, 225n8
Kassovitz, Matthieu, 22, 175, 209. See also Haine, La
Kaufman, Boris, 151
Keitel, Harvey, 159
Killers, The (Robert Siodmak), 159, 235n19
King, Rodney, 189
Kline, T. Jefferson, 230n1, 231n6, 232n10, 234n9
Kounde, Hubert, 177
Kubrick, Stanley, 201
Lacan, Jacques, 4
Lacotte, Suzanna, 217n18
Ladd, Alan, 14
Ladri di bicilette [The Bicycle Thieves] (Vittorio de Sica), 225n9
Lady from Shanghai, The (Orson Welles), 181
Lafont, Bernadette, 109, 120, 124
Lang, Fritz, 7, 10, 102, 151, 157, 181
Law and Order (Dick Wolfe), 178
Léaud, Jean-Pierre, 145
Le Clerc, Jean, 224n30
Lefcourt, Jenny, 189, 237nn11–13
Lefèvre, René, 45
Léger, Fernand, 25
Lerczinska, Séverine, 41
Lestringant, Frank, 168, 224n2, 227n8
Leutrat, Jean-Louis, 217n19
and Suzanne Liandrat-Guigues, 234n6
Lévi-Strauss, Claude, 226n22, 229n20
locational imaging, 2, 4, 17, 56, 65, 87
Lovers, The (Louis Malle). See Amants, Les
Lumière, Louis (and Auguste), 26, 27, 28, 125, 192
Entrée d’un train en gare, 111, 118, 119
Lyotard, Jean-François, 51
M (Fritz Lang), 212
MacLane, Barton, 86
Madsen, Michael, 159
Magnani, Anna, 66
Magre, Judith, 126
Magritte, René, 132–33
Maîtres fous, Les (Jean Rouch), 178
Mallarmé, Stéphane, 139, 232n3
Malle, Louis, 22, 124. See also Amants, Les [The Lovers]
Malraux, André, 57
and imaginary museum, 210
Man Escaped, A (Robert Bresson) See condamné à mort s’est échappé, Un Man from Laramie, The (Anthony Mann), 238n5
Mann, Anthony, 14–15, 201, 238n5. See also Fall of the Roman Empire, The
maps: as agents of control and global positioning, 209
as archives and as diagrams, 10–13, 208
and atlas-structure, 3
character of, 4
in and as cinema, 1–22, 207, and passim
cognitive, 19
distinction of urbs and civitas, 70
early modern, 3
and emblems or logos in credits, 2, 37, 80, 93–94, 101, 220–21n20
existential itineraries in, 72–73, 96
and globes, 61–62, 95, 102–3, 114
and intertitles, 2
island-book or isolario, 216n12
itineraria and roadmaps, 156
and montage, 86–88, 95–97, 98–99
and narrative, 1
negotiation of history and current events in, 100
and non-places, 228, n18
relation with film genres, 103–4, 209
route-enhancing, 227n10
as “speaking” objects, 70, 72, 74, 232n13
and subjectivity, 4, 209, 216n7
and tradition of studiolo, 72–73
Marin, Louis, 223n14
Marley, Bob, 176
Marot, Clément, 222n8
Massey, Raymond, 90
Mathieu-Castellani, Gisèle, 232n13
Maurier, Claire, 152
McCabe, Colin, 218–19n33
McDonald, Christopher, 157
McElwee, Ross, 235n15
Melville, Herman, 155
Melville, Jean-Pierre. See Bob le flambeur
Menand, Louis, 234n2
Mercator, Gerard, 41
Mercator, Michael, 163, 165–66, 172
Mercier, Louis-Sébastien, 24, 29, 38, 219n1
Metz, Christian, 19–20, 215n1, 219n3, 235n13
Michaelson, Annette, 25–26, 219n2
Michi, Maria, 69
mise en abyme, 20, 118, 235n15
Mistons, Les [The Rascals] (François Truffaut), 21, 106–24, 144, 155, 210–11, 224n28, 236n7
acts of writing in, 117–19, 122–23
allegorical geography of, 112, 121
cartographic allegory of, 124
and Le Corbeau (Henri-Georges Clouzot), 119–21, 123
credits in, 112
and relation d’inconnu, 108, 114
and Jean Delannoy, 118
and national cinema, 122
and Une partie de campagne (Jean Renoir), 118–19
and politique des auteurs, 111–12, 121
and Maurice Pons, 108–10, 111–12
and Pont du Gard, 107–9, 112, 113, 115, 124
“primal scene” in, 114
and Quarrel of Ancients and Moderns, 115, 124
relation with history, 121
relation with La Règle du jeu, 114–15
as topography, 108
tradition of eclogue in, 108
Molière (Jean-Baptiste Poquelin), 127
Montaigne, Michel de, 124, 188, 238n10, 238n12
Moonfleet (Fritz Lang), 212
Morales, Ezy, 160
Moreno, Dario, 111
Mortimer, Helen, 229n1
Mystic River (Clint Eastwood), 178, 213
Nana (Jean Renoir), 222n10
Napoléon (Abel Gance), 212
Narboni, Jean, 229n25
National Geographic Atlas of the World, 219n4
Negri, Toni. See Hardt, Michael
and Second World War, 210
Nolan, Jeanette, 181
North by Northwest (Alfred Hitchcock), 160, 161
Northern Pursuit (Raoul Walsh), 235n14
Nouveau Paris monumental (map of Paris), 141, 219n3
Objective, Burma (Raoul Walsh), 224n5, 238n6
O’Brien, Edmund, 159
Ophüls, Max, 110
Orphée [Orpheus] (Jean Cocteau), 169
Ousselin, Edward, 221n24
Ozouf, Jacques and Mona, 233n14
Pagliero, Marcello, 69
Paisan (Roberto Rossellini), 8, 65, 226n14
Palazzo Vecchio (Florence), 225n10
Palm Beach Story, The (Preston Surges), 224n3
Panique (Julien Duvivier), 130
Paramount Studios, 101–2
Paris, Matthew, 156
Paris qui dort [The Crazy Ray] (René Clair], 21, 23–39, 40, 142, 206, 209, 212
and agoraphobia, 32
cartography of, 38–39
flashbacks, 33–35
and light and darkness, 34, 38–39
as mapped image, 31
as mystical tale, 35–36
theme of immobility versus movement, 30, 33, 34
as topography, 26
and toponymy, 37–38
two copies and comparisons of, 30–37
use of intertitles, 29, 34, 36, 38
views of Paris from Eiffel Tower, 30
and zones of social conflict, 33
Parlo, Dita, 151
Parmiggiani, Claudio, 237n14
partie de campagne, Une [A Day in the Country] (Jean Renoir), 118, 131
Pasolini, Pier Paolo, 235n13
Passarelli, Eduardo, 71
Pastoureau, Mireille, 224n30
Pelletier, Monique, 224n29
Penn, Arthur, 157
Pépé le Moko (Julien Duvivier), 229n19
perspectival object, 38, 60, 221n22
Peters, Jeffrey, 230n3
Peutinger tabula, 156
Pezzini, Isabella, 223n14
Phoenix, Joachim, 192
Pierrot le fou (Jean-Luc Godard), 157, 236n7
Pinet, Antoine du, 229n1
Plummer, Christopher, 14
Pons, Maurice, 108–9, 112, 118
Pont du Gard (Roman aqueduct). See Mistons, Les
Powell, Colin, 205
Promio, Alexandre, 192
Ptolemy, Claudius, 8, 14, 28, 191, 198, 216n11, 217n17, 219n8, 224n27, 238n7
Quarrel of Ancients and Moderns, 115, 124. See also Truffaut, François
Rains, Claude, 99
Ramar of the Jungle, 102
Rancho Notorious (Fritz Lang), 212
Rancière, Jacques, 66, 208, 216n1, 224n3
Rascals, The (François Truffaut). See Mistons, Les
Rathbone, Basil, 236n4
Regeneration (Raoul Walsh), 227n7
Règle du jeu, La (Jean Renoir), 41, 58, 59–64, 113–15, 125–26, 128–29, 155, 181, 210, 222n10, 223n15, 223nn24–25, 231n7
and cartography of fear, 64
and L’Illusion comique, 59
and lateral reframing, 60
moncularity and binocularity, 60
perspectival object in, 60
use of globes and gun barrels in, 61–64
use of perspective, 59–60
Reisz, Karel: and Gavin Miller, 226n20
Renoir, Jean, 7, 9, 20, 39, 40–64, 77, 81, 118, 125–26, 129, 209, 216n14, 222n9, 223n20
cartographic effects of his cinema, 40–41
and La chienne, 233n6. See also Boudu sauvé des eaux; Crime de Monsieur Lange, Le; Grande Illusion, La; Règle du jeu, La
Revel, Jean-Jacques, 140
Revere, Carla, 74
Rimbaud, Arthur, 139
Rivette, Jacques, 111
Rodowick, David, 217n18
Rohdie, Sam, 59
Rohmer, Eric, 5–6
Roma, città aperta [Open City] (Roberto Rossellini), 21, 65–82, 83, 178
and allegorical mapping, 76–77
analysis of, by Jacques Rancière, 66–67, 81
antechamber and map room of, 69, 72–73, 76
and dissimulation, 67–68, 73–74, 77–78
and invisibility of violence, 78, 81
map in Pina’s apartment, 73–74
mapping tendency in, 68
and mural maps, 72
rapid movement in, 79
and split-representation, 80
theatrical gestures in, 71
theory and practice of torture in, 76, 82
topographic view of Rome, 82
and tradition of theatrum mundi, 66
and use of the wipe, 77–80
Rommel, Erwin, 100
Roncoroni, Stefano, 224n6, 226nn14–15, 226, nn17–19
Ropars-Wuilleumier, Marie-Claire, 212, 217n19, 218n19, 227n3
Rossellini, Roberto, 8, 9, 20, 43, 83, 111
and auteur theory, 65. See also Roma, città aperta
Rossi, Aldo, 67
Rouch, Jean, 237n8
Rousseau, Jean-Jacques, 24
Roussel, Raymond, 11
route-enhancing maps, 96. See also maps: existential itineraries in
Rules of the Game, The (Jean Renoir), See Règle du jeu, La
Ruman, Sig, 90
Sadoul, Georges, 26
Sanson, Nicolas, 41
Sarandon, Susan 157
Sartre, Jean-Paul, 237n9
Saskatchewan (Raoul Walsh), 14
Saving Private Ryan (Steven Spielberg), 201, 238n9
Saxon, Christopher, 224n7
Scarface (Howard Hawks), 186
Scarry, Elaine, 237n9
Schilder, Günter, 234n10
Schindler’s List (Steven Spielberg), 201
Schulten, Susan, 228n11
Schulz, Juergen, 73, 223n21, 225n10
Schwartzkopf, Norman, 205
Scorsese, Martin, 159
Scott, Ridley, 14, 21, 156, 173, 211. See also Gladiator; Thelma and Louise
Scudéry, Mademoiselle de, 127, 140, 158, 211, 213n5. See also Carte du Tendre, La
Searchers, The (John Ford), 3
Seberg, Jean, 227n8
Sesonske, Alexander, 221n2, 222n13
Sheridan, Ann, 234n3
Shirley, Rodney, 235n10
Siskel, Gene, 203
Skelton, Raleigh, 224n1
Sloane, Everett, 181
Sous les toits de Paris [Under the Rooftops of Paris] (René Clair), 27, 219n7
Spartacus (Stanley Kubrick), 201, 211
Spears, Britney, 205
Speed, John, 224n7
Spelman, Elizabeth W.: and Martha Minow, 234n4, 236n20
Spielberg, Steven, 21, 100, 102, 210. See also Indiana Jones and the Raiders of the Lost Ark
Stagecoach (John Ford), 161
Stallone, Sylvester, 178
Starobinski, Jean, 221n24, 232n2
Stendhal (Marie-Henri Beyle), 174–75, 176
Stewart, James, 228n10
Stroheim, Eric von, 55
Stromboli (Roberto Rossellini), 65
Sturges, Preston, 236n4
Sullivan’s Travels (Preston Sturges), 192
Taghmaoui, Saïd, 177
Talens, Jenaro, 229n22
Tarzan’s Secret Treasure (Richard Thorpe), 102
Tati, Jacques, 111
Taxi Driver (Martin Scorsese), 159
Terdiman, Richard, 221n21
Terra trëma, La (Luchino Visconti), 230n7
Thelma and Louise (Ridley Scott), 22, 156–72, 173, 182, 191, 211
and automotive enclosure, 161
baroque style of, 167
and baroque world-maps, 163–65
as cinematic diagram, 159–60
citations in, 159–61
and codes of gentility, 158–59
and gender, 171–72
place-names in, 164–67
and projective identification, 172
reflections and bent space in, 166–67
sequence in roadside motel, 162–66
use of freeze-frame in, 158
and Vermeer, 169–71
windshield as map, 166–67
They Drive by Night (Raoul Walsh), 234n3
Thirty-Nine Steps, The (Alfred Hitchcock), 151, 216n8
Thrower, Norman, 228n11, 228n15
Tifft, Stephen, 62
Tirez sur le pianiste (François Truffaut), 227n8
To Be or Not to Be (Ernst Lubitsch), 90
Toni (Jean Renoir), 222n9
topography, 8–9, 20, 28, 225nn7–8
and relation to geography, 8
toponymic narration, 89, 105, 168, 227n8
toponymy, 86–88
Toutain, Roland, 62
Trade Winds (Tay Garnett), 217n15
Triumph of the Will, The (Leni Riefenstahl), 202
Truffaut, François, 21, 107, 140, 173, 209, 230nn4–5
and autobiographical cinema, 107–8
on Henri-Georges Clouzot, 230n9
and La Grande Illusion, 51
and politique des auteurs, 108
relation with Maurice Pons, 110–11. See also 400 coups
Mistons, Les Turgot, Michel-Etienne, 23–24, 29, 38, 39
map of Paris, 24
Ulmer, Edgar G., 157
Under the Roofs of Paris (René Clair). See Sous les toits de Paris
Ungar, Steven R., 222n13
Vermeer, Jan, 169
Vertigo (Alfred Hitchcock), 216n8, 228n10
Vertov, Dziga, 25
Vidler, Anthony, 232n11, 235n18
Vidor, Charles (King), 9
Vie est à nous, La (Jean Grémillon), 186
and L’Atalante, 220n13. See also Zéro de conduite
Villalonga, J. L. de, 126
Villon, François, 175, 189, 236n4
Vilmorin, Louise de, 126
Virilio, Paul, 194, 217n22, 220–21n20, 224n5, 237–38n3
visite, Une (François Truffaut), 230n2
Visscher, Claes Jansz, 165–66, 169–72, 191
Viva l’Italia! (Roberto Rossellini), 65
Voyage to Italy (Roberto Rossellini), 82
Walsh, Raoul, 14, 160, 218n26, 227–28n10. See also Desperate Journey; High Sierra; Saskatchewan; White Heat
Warner Brothers Studios. See Casablanca; Desperate Journey; High Sierra
White Heat (Raoul Walsh), 160, 235n14
Whitman, Walt, 155
Williams, Linda, 217n21
Willis, Sharon, 236n20
Winters, Shelley, 14
Wolff, Francis, 219n34
Wood, Denis, 5
Woodward, David, 221n3, 227n9, 239n1
Woolf, Virginia, 159
Wyler, William, 7–8
You Only Live Once (Fritz Lang), 157, 234n2
Zéro de conduite (Jean Vigo), 102, 147, 151. See also 400 coups, Les
Zunzunegui, Santos, 232n15