Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinema

Understanding the contrast and challenge of cinematic cartographies may lie in querying what John Pickles (2004, p.89) calls the "cartographic paradox." The cartographic paradox is that linear perspective and projectionism inform cartographic practice. Yet, these two scopic regimes are both complementary and contradictory. The cartographic paradox has been mobilized by montage, animation and motion pictures. The penultimate technology of linear perspective is cinema, whereas the penultimate technology of projectionism is GIS and animated cartography. I argue that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations.A compreensão do contraste e do desafio das cartografias cinemáticas pode residir na indagação do que John Pickles (2004, p.89) chama de "o paradoxo cartográfico." O paradoxo cartográfico é que a perspectiva linear e o projecionismo informam a prática cartográfica. Contudo, estes dois regimes de visão são complementares e contraditórios. O paradoxo cartográfico tem sido mobilizado pela montagem e a animação de imagens em movimento. A penúltima tecnologia da perspectiva linear é o cinema, enquanto que a penúltima tecnologia do projecionismo é o SIG e a animação cartográfica. Discuto neste artigo que compreender a mobilização destes regimes de visão pode conduzir à produção de geovisualizações afetivas

Visualising the visceral: using film to research the ineffable

While cheaper technology, wider training availability and the online digital learning environment have broadened the opportunities for geographers to use film and video, it has also led to calls to improve the discipline’s media literacy. This need is made even more urgent by the shift in qualitative research to practice-based methods targeted towards how we experience our lived environment. Other shifts in empirical and conceptual focus are also relevant, particularly interest in emotional beneath the surface geographies and calls for participation rather than observation encased in recent debates on the Anthropocene. The negative association of film with entertainment and marketeering has led to concerns about the suitability of film as a research output and has led some scholars to restrict themselves to a stringent use of real-time ‘video’ in a primarily data-collection context. This paper adopts a practice-based approach in order to identify some of the complex qualities that a research film holds and contribute to the debate about its future as a form of academic research and publication. Reflecting on a recent film-based research project on heritage tourism in Syria and Jordan I argue that the potential to manipulate, distort or entertain should not be ignored or refuted. Rather the wide range of relationships between people, objects and landscape within the frame such as depth of field, mise-en-scene and between the frames via editing (montage) give film a complex viscerality and multi-sensorial power that can help us explore how we communicate our feelings and connect the experiential qualities of filmic research methods to final outputs.This work was supported by the Economic and Social Research Council grant number RES-062-23-324

YouTube: fragments of a video-tropic atlas

In this article I make a plea for human geographers to make use of the rapidly growing collection of video materials that can be found on Youtube. My tiny atlas of Youtube picks out three videos in order to exhibit the richness of audio-visual materials to be found there and also one potential way of analysing them. These videos are common amateur genres on Youtube: home movies of family occasions, a video-blog and the counter-surveillance of the police. I argue that geography is particularly will situated to turn toward the video itself on Youtube as a source of data on the temporal, embodied, bodily, material and mobile aspects of spatial practices. Brief analyses are also provided of the videos to demonstrate how they can be analysed in those terms but also toward understanding video practices within different settings. Finally, I present a case for selecting 'badly produced' videos for good analytic reasons

Schuldig landschap. Over de toeristische aantrekkingskracht van Baantjer, Wallander en Inspector Morse

De opnamelokaties van tv-detectives genieten een toenemende populariteit onder toeristen. In dit artikel wordt, op basis van een tekstuele analyse van ‘Baantjer’, ‘Inspector Morse’ en ‘Wallander’, onderzocht welke inhoudelijke kenmerken van deze tv-detectives mogelijk als ‘trigger’ fungeren. Uit de analyse blijkt dat plaats en beweging een centrale rol vervullen binnen de narratieve structuur van dit genre. Door zelf de lokaties te bezoeken, kunnen toeristen het spoor nalopen van hun geliefde detective om aldaar, vanuit een veilige positie, tijdelijk op te gaan in het schemergebied tussen fictie en werkelijkheid

Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinema

Understanding the contrast and challenge of cinematic cartographies may lie in querying what John Pickles (2004, p.89) calls the “cartographic paradox.” The cartographic paradox is that linear perspective and projectionism inform cartographic practice. Yet, these two scopic regimes are both complementary and contradictory. The cartographic paradox has been mobilized by montage, animation and motion pictures. The penultimate technology of linear perspective is cinema, whereas the penultimate technology of projectionism is GIS and animated cartography. I argue that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations.A compreensão do contraste e do desafio das cartografias cinemáticas pode residir na indagação do que John Pickles (2004, p.89) chama de “o paradoxo cartográfico.” O paradoxo cartográfico é que a perspectiva linear e o projecionismo informam a prática cartográfica. Contudo, estes dois regimes de visão são complementares e contraditórios. O paradoxo cartográfico tem sido mobilizado pela montagem e a animação de imagens em movimento. A penúltima tecnologia da perspectiva linear é o cinema, enquanto que a penúltima tecnologia do projecionismo é o SIG e a animação cartográfica. Discuto neste artigo que compreender a mobilização destes regimes de visão pode conduzir à produção de geovisualizações afetivas

Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinemaMobilizando o paradoxo cartográfico: traçando o aspecto na cartografia e o prospecto no cinema

Understanding the contrast and challenge of cinematic cartographies may lie in querying what John Pickles (2004, p.89) calls the “cartographic paradox.” The cartographic paradox is that linear perspective and projectionism inform cartographic practice. Yet, these two scopic regimes are both complementary and contradictory. The cartographic paradox has been mobilized by montage, animation and motion pictures. The penultimate technology of linear perspective is cinema, whereas the penultimate technology of projectionism is GIS and animated cartography. I argue that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations. Keywords Cartographic paradox; Linear perspective; Cinema; Scopic regime; Place-mapping Resumo A compreensão do contraste e do desafio das cartografias cinemáticas pode residir na indagação do que John Pickles (2004, p.89) chama de “o paradoxo cartográfico.” O paradoxo cartográfico é que a perspectiva linear e o projecionismo informam a prática cartográfica. Contudo, estes dois regimes de visão são complementares e contraditórios. O paradoxo cartográfico tem sido mobilizado pela montagem e a animação de imagens em movimento. A penúltima tecnologia da perspectiva linear é o cinema, enquanto que a penúltima tecnologia do projecionismo é o SIG e a animação cartográfica. Discuto neste artigo que compreender a mobilização destes regimes de visão pode conduzir à produção de geovisualizações afetivas. Palavras-chave Paradoxo cartográfico; Perspectiva linear; Cinema; Regime de visão; Mapeamento de lugare

Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinema/Mobilizando o paradoxo cartográfico: traçando o aspecto na cartografia e o prospecto no cinema

<DIV align=justify>Understanding the contrast and challenge of cinematic cartographies may lie in querying what John Pickles (2004, p.89) calls the “cartographic paradox.” The cartographic paradox is that linear perspective and projectionism inform cartographic practice. Yet, these two scopic regimes are both complementary and contradictory. The cartographic paradox has been mobilized by montage, animation and motion pictures. The penultimate technology of linear perspective is cinema, whereas the penultimate technology of projectionism is GIS and animated cartography. I argue that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations. <p><DIV align=justify>A compreensão do contraste e do desafio das cartografias cinemáticas pode residir na indagação do que John Pickles (2004, p.89) chama de “o paradoxo cartográfico.” O paradoxo cartográfico é que a perspectiva linear e o projecionismo informam a prática cartográfica. Contudo, estes dois regimes de visão são complementares e contraditórios. O paradoxo cartográfico tem sido mobilizado pela montagem e a animação de imagens em movimento. A penúltima tecnologia da perspectiva linear é o cinema, enquanto que a penúltima tecnologia do projecionismo é o SIG e a animação cartográfica. Discuto neste artigo que compreender a mobilização destes regimes de visão pode conduzir à produção de geovisualizações afetivas

‘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.12 month embargo; published: 17 May 2022This item from the UA Faculty Publications collection is made available by the University of Arizona with support from the University of Arizona Libraries. If you have questions, please contact us at [email protected]