Cinematic Map-Making
  • Amy Lynn Corbin
Part of the Screening Spaces book series (SCSP)


Watching any film is a travel experience, one that psychically transports viewers into another place. From a sedentary position in the movie theatre or in one’s living room, film invites the spectator to imagine that she is in a different space. Giuliana Bruno describes the way that sensations of travel are built into the medium through its multiple types of motion—moving humans, moving camera, contrasting angles, and points of view that allow the spectator to occupy several different locations:

Film spectatorship is thus a practice of space that is dwelt in, as in the built environment. The itinerary of such a practice is similarly drawn by the visitor to a city or its resident, who goes to the highest point—a hill, a skyscraper, a tower—to project herself onto the cityscape, and who also engages the anatomy of the streets, the city’s underbelly, as she traverses different urban configurations. Such a multiplicity of perspectives, a montage of “traveling” shots with diverse viewpoints and rhythms, also guides the cinema and its way of site-seeing. Changes in the height, size, angle, and scale of the view, as well as the speed of the transport, are embedded in the very language of the filmic shots, editing, and camera movements. Travel culture is written on the techniques of filmic observation.1


Cultural Landscape Movie Theatre Travel Experience White Middle Class Indian Country 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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