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The Ashgate Research Companion to Media Geography

Paul C. Adams, Jim Craine, Jason Dittmer

Film

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315613178.ch2 Deborah Dixon Published online on: 28 Aug 2014

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 Gold 2002;Hanna1996). the “real” and the extratextual character of the “reel” (Benton 1995; Dixon and Grimes 2004; of character mediated the the to regard in taken points conceptual have of variety geographers a make numerous to opportunity distinction, a such of dissolution the for case the arguing In 1985). 1984; Zonn 1998; Lukinbeal (e.g. “real” the to counterpart “reel” the as to referred been often has itself film Indeed, 1994). Zonn and urban (Aitken practices and and processes economic (especially) of terrain “real” the with comparison in ephemeral and also been a tendency within the discipline to eschew cinematic geographies as both marginal recognised, be however,also that as with many must topics considered to help comprise It “popular below.culture,” there has outlined be will these of Some geographies. cinematic productive, conceptual lines of inquiry to emerge in geography have been played out within imaginaries and materialities. spatiotemporal others’ and own our confound, and constitute, to helped has image the effect what with and how,where, of question the on again and subfield time turned has “minor” This geographies. cinematic issue: very this addressed consistently geography has human of area one least at image, the of deployment others’ and own their to regard in uncritical remarkably is geography enterprise, visual quintessentially a for that and bemoaned issues long have these commentators Accordingly,of attention. whilst captured all also has in more visual the of primacy the that doubt no is there characteristics, numerous boasts analysis of object an as its film cinematic Whilst and formation.” “subject in effects, role “globalizing” its industries, cinema of reach” and “extent the understand around someofthediscipline’s key terms,or“primitives.” practice and innovative thought and exploratory for site a as film cinematic to looked have geographers also, factor.But causal a and symptom, analogy,a an metaphor,study, a case a as film to looked have geographers discipline, the of outside scholars with concert in and Certainly,turns.” “spatial new exploring of and terms, these nuancing of means a becomes moreover,film and, that analyses, their of forefront the at are “place” and “space” that fact plot or culture, character, a for tone device. Research emerging emotional from geography, the however,setting is arguably in distinctive by virtue scenes of the such of on screen, role the locations and specific of re-presentation the as well as industry, entertainment the by exhibited activity of scales differential the and produced, a and sponsored is within invoked film settings which andagain economic political the meant time largely is have which studies by cinema,” film of “geography and media as such disciplines in Scholars Introduction It is none too surprising, then, to find that some of the most contentious, as wellas as most contentious, the of some that find to then, surprising, too none is It to desire and of recognition a by driven is interest disciplinary this part, large In Deborah Dixon Film 2

Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 symptom, promisetospeakbroadscaledebatesacrossthegeographicdiscipline. and exemplar an as film using whilst that, inquiry of lines current to turning by chapter the conclude especially.I space with engagement methodological, as well as conceptual, a to speak that essays individual moments key at stress also I available, literatures relevant the work” andhenceuseful on a variety of levels, from the ideological mimetic, to the affective. Whilst providingreal-world a sense of as a film “does that assemblage material and construct social complex a as film to medium, teaching from shift asignificant noting subfield, a matter of identity and power must take into account the potential for a heightened cultural as Scott was to caution, with specific reference to the film industry, any analysis of culture as Algeo 2007; Cresswell 2000; Lukinbeal 2002; Mains 2004; Youngs and Martin 1984). And yet, critical the urge to were analysis of film geographers as a consciousness-raising exercise (for example, Alderman and some Popke 2002; response, In subsumed. are uniqueness and individuality their screening, and production cinematic of part become place and people as argued, was it more, is What 2008). (Dixon individual pervasive neoliberal the of plight asmelodramatic a the with such concern benign more a system, or violence, and sex capitalist of scenes exciting viscerally toward global discourse, the of effects broader the away attention from divert to served not than often more argued, was it films, such of content the as well as shooting The audience. the and screen the the between established as relationship well 1930s as places, in and people emerging screened of School, role particular Frankfurt the the understand Germany,to of work the to turned apparatuses in ideological interested already geographers First, practice. methodological and two literature into of grouped bodies loosely very be can efforts Such expression. of medium particular a as looked to interrogate film in terms of its content, form, and distribution, but also its efficacy and se, per culture” “popular of character constructed socially complex, the on discipline medium have beenproduced toallowforadisciplinarysubfieldemerge. popular this on books and articles research engaged critically of quantities sufficient that – collection edited genre-building, in (1994) Zonn’sand and – Aitken of 1990s publication the the since particular only is it Whilst 1985), (1984; 1993). Gold Godfrey of work 1985; pioneering the Sherman recognizing and (Liverman “misleading” and “distorted” are with a tendency to bemoan the “subjective” input provided by filmmakers, such that images subsequent film analyses have echoed this concern over the fidelity of such representations, capturing of their as 1956a; Some Manvell 1953; 1957). 1954; 1953; Knight, Koval (Griffith 1956; field” Wright the insofar thisregard, in movement as well as scenery would allow for an evento photographs more faithful experience of “being in superior was film Indeed, 1967). Sherman see though 1959; (Cons people” its and “earth the students for re-present could clips selected as insofar aids, earliest teaching as utility their with concerned The explicitly were strategies. teaching practitioners’ in disciplinary element writings on film, minor for example, a produced for the as instrumentalized become to was film geography within that doubt no is there – 1997) Clarke (see condition” feature ofsocial a became and the societal impacts ofanalysis of film-watching, were taken by some object as helpingindustry,the of toreach early and important definethe indeed, – century twentieth the a “modern in early writings theoretical acomplex as film Whilst An Emerging“CinematicGeography” THE ASHG n hs hpe, poie n vriw f h eegne f h cnmtc geography cinematic the of emergence the of overview an provide I chapter, this In Such efforts were very much influenced by broadscale debates within and without the without and within debates broadscale by influenced much very were efforts Such at E RESE ar CH C OMP a NION t O M EDI 40 a

G EOG ra PHY G eographical M agazine in the 1950s, Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 shooting of WaltStudios’of versionof Disney live-action shooting film the itself. on filmmaking Writing the of production labored embodied, of the uncover to industry mythology the into deep burrow also can analysis of line a Importantly,such presentation doesnotsumupthetensionsinherentincontemporarycapitalism:instead, montage documentary-style a as insofar crucial, is content as well as form cinematic Jones and Natter For Michigan. Flint, of town the breaking, then and building, in Motors General Moore’sMichael of innovativeanalysis Harvey’s (1989) now iconic analysis of This more avowedly dialectical approach to screen-audience encounters certainly animated “cultural osmosis.” toahomogenized resistance He writes, asustained as well as differentiation, site-specific geographyriven byallmanneroftensions: a to back tracked be can themselves, unto exist to appear doing so in and globe, the across TVs on up pop that place and people of geographies but on-screen the place, how of take something also to filming such enable that performances bodily banal the of sense a gain we emerging following, the In tensions “strike.” attempted broiling an in culminating the themselves, extras the and amongst workers, US imported by contempt place the and describes people Robbins local set, for the on extra an as experiences own his on Drawing constituted.” actually are film, in encoded later colonialism, of practices the that moment, how, “it is here, at the location of filming, where the industry acts in its economic and social observes 160) (2002: Robbins example, for 1994, of spring the in India, Jodhpur, of city the revealed asunreconcilable thattheviewerisforced tochoose.(1993:142) thus positions the between is It contradictions. unresolved as them exposes instead the film’s stylistic juxtapositions does organizes not permit a reconciliation of these differences, but which irony of trope The effects. personalized of their against views economy poor, and rich the of the laws impersonal seemingly the power,and of social and private a both perspectives as capital class present, and past juxtaposes It progressive culturalforces constantlyunleashedbycapitalism.(1997:15) of traditionalcultures,in manysorts that itencounters and enlightening but alsothe reception creative and resilient the only not set must we culture capitalist of effects Alongside thegrim analyses of the Frankfurt dance. By the time it happened we were all too exhausted to do anything, anyway. anything, do to exhausted too all were we happened it time the By dance. of them were just spinning around in the middle of the courtyard, in a sweaty violent two The budged. one no but attack, mass of kind some rally to trying boys!” London pony-tail. When he wrapped himself around the guy’s neck, he was hollering “come on floor.the a and voice American bellowing a with belligerent target guy a His big was clearing were they while shots, between guy the on sprang He around. him pushing boy with a strained cockney accent who had “had enough of these American bastards” bully- dim, of sort thick-necked, this was all of vocal Most that. of clear well stayed I but representthem to volunteer a for looking were They close-up. in seen frightful is about Hollywoodhierarchy.sense any to have don’t seem movies and admit it must I those all to go They respect. little and hours long about complained They laugh. me made places, all of India in time, first the for line picket the on going tourists class the thought ofallthoseuppermiddle- dining tentandplanningastrikeallnight.The in meeting been had extras The coming. this seen all have should we suppose I Blade Runner (1982), as well as Natter and Jones’s (1993) Roger and 41 S chool about the leveling and stupefying M (1989), which takes to task the role of role the task to takes which e (1989), Rudyard Kipling’s: The Jungle Book Jungle The Kipling’s: Rudyard

FILM in Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 including “the access, negotiation and endangerment of places: perceptions of placelessness films, of theimagebutalsoperceptual positionandperspective. In rhythm. and addition, camera techniques such sequence, as panning, tilting, and tracking define not only the space narrative, film to import great of is action, the holds frame distance the social or how and ashot, of othering space Clearly, the racial 2002). Natter 2005; of (Farish effects lighting invocations by afforded the even and 1998), Dixon and Selby of protagonists and landscapes (Bain 2003; Eriksson 2010; Fish 2007; Jansson 2005; May 2010; (Aitken and Lukinbeal 1997; 1998; Lukinbeal and Aitken indeed 1998; Kirsch 2002), space are fracture the that juxtaposition jump-cuts meanings as such various techniques, and contents how filmic particular by evoked interpret to seek that emerged have analyses of slew Certainly,a evoked. are emotions and meanings particular that such each of components between as well as things, and people between relations the spatiality meant a particular is which by screen, produce on to works camera film the how deconstructing of matter a such medium – the of film camera – to the character isolation of others. The motivation constructed one here ison veryfocus much to differentially tended have geographers however,that the acknowledged, be must it upon objects, predicated is approach an such Whilst As camera. the to eye the Aitken andDixonsummarizetheseefforts, from mediums, of range a though bear to brought themselves are discourses these but discourses, of range a via constructed valence and meaning their is only Not entities. polycentric complex, highly were landscapes, to bodies from objects, offscreen, these boundariesthe wereand to beon-screen subsumedthe within abetween broaderrelation analysis ofthe how particular with concerned also were geographers Whilst import. and shape them gave that referents discursive other of host a to related necessarily presence, – essence, existence, cause, terms origin, substance, foundational subject, truth, God, inviolate and “man,” – and were fixed seemingly which in manner the light to bring to status underlying key philosophical and scientific framings of asitewherein the world, such efforts sought as film meanings were articulated and disseminated. Largely concerned with debunking the truth- approached some geographers how for of repercussions body significant second the with had 1990s contrasted the in theories post-structural of prevalence be increasing The emerge. to asthe literature can linkages, well as such offscreen, “revealing” the and upon on-screen emphasis the between forth and back tracking a Such THE ASHG A prime example is Brigham and Marston’sand Los twoBrigham Angeles–based of is A“reading” example (2002) prime M (2006: 327) place. particular a ‘in’ being actually including mediums, other through established meanings with interconnect on-screen places and people those of meanings the how how cinematic techniques are used to present action, narrative and emotion. And (2), areindeed ascribed topeopleandplace as theyappearonscreen. Thisrequires anappraisal of meanings howparticular (1) at: …look geographers film Accordingly, the Similarly, meaning. nature ofthoseobjectsthatappear onscreenare of justasembeddedinsocial meaning. world the in located firmly is screen the off appear that To besure, thecamerarecords massandmotion, but thenature of those objects point, andthecrew setupforthenextshot,asifnothinghadhappened.(2002:171) Waltz, the one we’ve have been hearing all week and I was getting pretty sick of by this two apart and then hauled the insurgent from the set. Someone turned on that Strauss another. the one pulled kill eventually just largergaffers they’d the hoped of all Some we forever.suppose on I go to seemed It circle. wide a in lounging back, sat just We i Vida at E RESE L oca (1993) and ar CH C OMP Terminator 2 (1991) as expressing a millennial (post)modernity, a NION t O M EDI 42 a

G EOG ra PHY Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 as it is about spectatorship (Crang 2002; di Palma 2009; Hubbard 2003; Nicholson 2002; 2006; smelling and touching, tasting, hearing, about much as just film-watching, is that practice a even the bus/train via the mobile phone – are themselves transformed though the practice of those diverse places within which film-watching occurs – the cinema, the home, the car, and of meanings the how of discussion a into out recently,opened More has inquiry of line this construction oftheUS-Mexicoborder, lookstohow, fraught construction. And so Mains (2004b: 253), for example, in interrogating the discursive can even be read as temporary resolutions that, when subject to critical scrutiny, reveal their 2004). andAitken representations Craine such film, Scott’s of to nature Akin dialectic earlier, the noted on argument, 1994; (Aitken flux continual in and are “dominant” that representations such “marginal” transformation continual to open are these representation, of forms other against and over read are films because that also, but them; of representations cinematic prevailing than complex more much are meanings these that made is argument for masculine, as the has as society 2005), scripting of particular landscapes with a geopolitical edge (Crampton and (Lukinbeal Power 2005). The geography encroaching film in research an of subject the and been has feminine example, as Nature of characterization people what pervasiveThe of others. than granted” for “taken notions more much become have like some are place and that argued behind is relations it power wherein meaning, the such querying of in production the interest an is work this of much Underpinning each filmarediscussed,illustrates: firmly tied to an evocation of meaning, as the following quote, wherein the opening shots of are These color, on. and so lighting and of sound, use shots, camera of terms in film each of iconography the decoding of one becomes task The 226). (2002: landscapes” of construction gender,of ethnicity,importance race, fundamental the and dislocation, and the to class and within more recent filmic renderings. (e.g.LoneStar[1996]) tensions that at times provide challenges to dominant representations, particularly of tropes boundaries, over anxieties represented mainstream throughare identities regional US ‘Southern’ which by means a are] films’ [‘border … identity and place, space, define to efforts with interwoven is cinema in narratives border creationof the shots.” (2002:232) of cluster this by caused be could that effect disorientating the by even emphasized scale, a “local” scale, different a at are angles shot different The life. and activity is there indicating quick, is pace the Unlike 2, landscape. Terminator specific very this The cameragivesusavividpasticheoftheparticularplacesthatcodify and coordinate from the moving street to tiresthe cemetery to car’s a string of a stores with of signs in Spanish and level English. the at starting level ground from barrio Park Echo the ups and medium shots that pan the landscape from within the city. The camera tracks close of consists selection shot The scale. of differentregisters use a sequence opening VidaConversely,Mi condition. Loca’s universal a representativeof is landscape this that suggesting war, global of outcome an is condition particular Its fire. perpetual of red the and ruin of blue-black the to reduced space, alienating an as L.A. figuring presence, human minimize landscape future apocalyptic the and freeway the of shots long aerial These life. of devoid wasteland, vast a into stretches landscape the where offA.D.” from 2029 “L.A. of one to cuts image cut The direction. or significantly, destination perceptible any most perhaps and, exposed, trapped, all passengers the with cars, of sea a by overwhelmed freeway, L.A. a of is image first Terminator2’s 43 FILM Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 points oncinema,whichisdominatedbya“moving-image” comprising, Deleuze’skey of summary a provides in 494) (2006: itself Aitken becoming. from of process even constant a differentiating transforming, and mutating, moving, continuously is materiality of all which in one rather but objects, static by shared worldsimilarities a of not 2009; (Aitken mobilized and Curti 2008;2009;Lorimer2010;Olund2012). 2007) 2005; Doel and Clarke 2010; (Clarke engineered were affects various wherein assemblage, of site complex a as but analysis of so object an not as much film rework to opportunity an were geographies” “non-representational of rubric the under together brought ideas and concepts various the geographers film some for that and subject to interpretation, as with any other semiotic system. It is no small wonder, then, this was very much a example, matterfor ofitself, assumingbody bodilythe behaviorsthrough andand routineson topower) beof bothexercise intelligible the thereby (and relations term the interpreted scholars wasworld.there the Whilst all all-pervasiveto “name” apparently to sought that discourse accompanying an was post-structural emphasis workupon how such foundational such terms also performed in as pivots overfor an brushed arguably was what Yet, media. visual and capturing namely, and impossible, language, thought, in referent world a real – the mirroring and confining in as indicate – reflecting to former the for tendency traditional a terms the between distinction a mark crafting traditionsofHollywood. filmmaker was firmly implicated within the context of the fur industry as well as the image- “innocent” the 1980s early the and 1970s late the by – (1956b) Manvell by echoed view a it, of a ‘natural man’ locked in a tragic struggle with the environment,” as Smith (2002: 1922 101) puts Whilst reality the of unfolding “the context. – phenomenon cinematic new arrivala the of reviewershailed critical differential, a in received was exhibition each more, is What THE ASHG Nanooks” circulatingoutsideofthescreenedimage,Smithdetailshow “other of importance the Asserting experience. sensory full-on a in audience cinematic the voice-over and footage engage of to efforts their in combinations ingenuity considerable demonstrated exhibitions various these narration, of screening the to addition In release. N documentary classic Flaherty’s Robert which in manner the of by exploration provided (2002) Smith’sis inquiry of line this of “harbinger” excellent An 2011). Sharpe and Tranter anook ofthe To a large extent, this work has been inspired by a Deleuzian ontology that describes, that ontology Deleuzian a by inspired been has work this extent, large a To to tendency the is inquiry of line this of feature observable readily a together, Taken [The latter is a] movement of expression that carries stories between different levels different between stories carries that expression of movement a] is latter [The … affection-image the (iii) and … me on have they that action’ ‘virtual the grasping image that is partof me perceiving things here atthecenterof my universe andthen to acentralsubjectiveperception,at theperipheryofmyuniverse (ii)theaction- (i) the perception-image that focuses on moving me from indistinguishable knowledge was suggestedthey“gettheEskimoatmosphere.” (2002:112) Movie exhibitors were encouraged to decorate their lobbies with arctic-like artifacts; it to addition in windows, hiring someone to dress shop “like an Eskimo” and stroll in about town with a igloos sled on wheels. and mannequins Nanook as such tie-ups” encourage Tolocal businesses to publicize Nanook of the North, activities. the campaign book promoted “shop “tie-in” local for recommendations and releases, press for suggestions a displays, window and theater,and posters the featuring book” in “campaign pre-packaged shown be to North the of Nanook a produced Pictures Pathé at E RESE N a ehbtd n ies vne i te eae floig t 1922 its following decades the in venues diverse in exhibited was orth ar CH C OMP far beyondfar social discourse of inscription the include to speech a NION t O , thereby critiquing thereby re-presentation andrepresentation, M EDI 44 a

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Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 and downsizingwar to(nownongeopolitical) individualheroicsandterrors. Down (2001) does some form of work, principally, they argue, in regard to decontextualizing for example, the visceral upheaval encountered by watching war movies such as (2006), McCormack and Carter for intellectually.so as wellAnd as viscerally recognised is that affect of part that as described usefully more be can and process, this from emerge but Emotions, such as fear, excitement, boredom, and so on, are not the properties of individuals, appear to cohere by working together, or initiating processes that are specific to that relation. being affected by other partial objects, constituting – if only for a moment – assemblages that force and so and on), there are continuously interconnecting movement multitudes of partial objects affecting of and perspectives the from relations: rather than structured, whole objects (the human, the screen, the film, the camera, encountered geography a is then, Here, of suchspectacles.Hence, affect mobile shifting, the over glosses practice this that narrative,” and sound, lighting, to shots ‘establishing’ and ‘point-of-view’ and juxtaposition from techniques, film-making of through the camera lens only to be reterritorialized with ideological intent through a variety“deterritorialized is image screened the how consider to tempting is it whilst that suggest been described as an incisive indictment of capitalist exploitation of Westernboth oil-rich land violent, and the labor.of exploration They good andeviltobeproffered. of nature the concerning messages moral particular for allows that affect this is it as insofar in particular the tortured masculine face of Mel Gibson in and heroics, masculine of watchingscenes of experience visceral the is it (2006), For Aitken of “pushing” broader-scale thinking on the nature of space. As a means of concluding this concluding of means a As space. of nature the on means thinking broader-scale a “pushing” of as film in interest an discern still can one that, said Having career. their at some in point on film written have who many are there foremost, and first geographers” “film be to claim would who few relatively are there while Hence, audience. wide-ranging a to economic, of manner all political, and in cultural topics, insofar as interested film becomes a geographers vehicle for the representation with of these chord a strikes inquiry an of as object film that doubt no is there subfield, minor a remains geographies cinematic Whilst Future Directions An extended example of this line of inquiry is provided by Aitken and Dixon’s(2011) and Aitken by provided is inquiry of line this of example extended An (2011: 203–4) muscle. political own with our landscape fragile of a mapping geography, intimate a an createpictures: moving We use. we something into landscapes moving the reinvent and localities affective the embrace we love; fear,the anger,the the discuss rewind the moments that pulled us into new spaces of intimacy and appreciation. We over,movie Withthe personal. and intimate connections, reflecttime on we same the feminist cartographiesenableanopeningofthepolitical subversive thatisalsoandat affective-that mind-fromthe in this with is representation.it morethan And arealso Films, buildings, plans, and other geovisual data are always representations, but they valued, themythicandactual. of articulation; for example, between the embodied and the visceral, the moral and the There Will Be Blood 45 Braveheart (1995), that is of interest (2007), a film that has often has that film a (2007), Black Hawk FILM Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 THE ASHG consequence ofitsactions.Eachencounterdrawsattention tothebeingnessofasitethat, theclean, into cosmic himself environment of inserts Axiom, a spaceship that Earth-Class”) has allowed humanity Lifter to scruffy escape the polluted the Load as Allocation “Waste second, (or, then, WALL-E and Evaluator”), Vegetation “Extraterrestrial (or, EVE an of arrivalthe and plant growing a of discovery the by anew made is reclamation terrestrial of world hero’s lonely singular the first, as, encounter of shock the out draws analogy,Shaw of infinity a the of articulation the is simultaneous the this namely – idea”; paradox “cinematic the presenting of of component capable intertextual yetthoroughly culture popular aspecific is “event,” film of Here, notion Badiou. the by with outlined term as the infuses who (2010), Shaw by provided is however, are fragments significant highly yet placed over andagainsteach other. noncompossible how theorize might we how case, this in things; between relations of study the as geography around debates for grounding the provides again once vision, of architecture complex highly its of because perhaps film, Nevertheless, 2011). Featherstone’s critique, also (see economies film emerging of analyses unclear at the moment as to is what this particular it empirical example however,contingency,adds to prior underpinning geographic diversity ontological the emphasize than Other understood asjustsuchasingularity, insofaras, usefully is – nickname its of spite in – Nollywood (2007), al. et Marston For reemerge. and the congealments and blockages of force relations, affording a distinct assemblage to emerge through together” “hang that singularities unfolding differentiating, and differentiated are organizing) event-spaces dynamically composed of bodies, doings, and sayings. These sites self- is, (that immanent as sites portray a to philosophy,seeks Deleuzian here largely work a as geographers some by deployed recently been scalar, than ontology. rather flat, a of composition the denoting of by means has inspired Again that term a “site,” complex a as look settoprovidefoodforthoughtfutureeffortswithinbutalsobey chapter, then, I want to identify two such lines of inquiry that have recently emerged, and that An alternate discussion of site that does move beyond film as an extended example, an extended as film beyond move does that site of discussion alternate An viewing and distributing, filmmaking, of description the discern to possible is it First, appearance of the site causes a world to reconstitute its transcendental because it is it because transcendental its reconstitute to world a causes site the of appearance the . … transcendental the to invisible is it world: the to respect with inexistent is it that follows it autonomous, is site the because . … within placed itself finds it world the to respect with singular and autonomous therefore is and itself, indexes site the the against indexed are that transcendental – indeed require world the transcendental for their a own worldy appearance – in multiples other Unlike “autonomous”. is advertise their city to the upcoming releases. (2007:54) throughout plastered posters movie publicizing and to films entirely andtelevision video devoted the radio shows television Lagos billboards, as are magazines, well as advertisements, there But films. video new their hawk stars where tours national no are There . … Nollywood to particular are that content, theactiontheyrecord, andstories from derive of videopractices arange from more mainstream cinematic products. very different product is being created that possesses a visuality significantly different recently indigital format. From themomentcamerabeginstoproduce footage,a onvideo recorded equipment, made quickly, and marketed are directly to the consumer, Nollywood initially in on videocassettes and films more video Hollywood, Unlike at E RESE , which promises excess. Using the animated film animated the Using excess. promises which being, ar CH C OMP a NION t of the finite, which promises closure, and closure, promises which finite, the of appearance O M EDI 46 a

G I n addition, the representations of their EOG ra PHY WA ond thesubfield. LL - E (2008) as an as (2008) Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 are madeandremade.Watching speeds variousand intensities, such at that diversereassemble proximities and and distances, contacts interpenetrate, and other,connections each against up rub forces and materials focus on the material connections among mobile bodies; that is, the manner in which various would touch of ontology an name, very spatiality.its imaginary By more one become they lest geographies, topological “ground” simultaneously and for account might that touch” of “ontology an is accounts such from missing is what that observe (2012) Jones and Dixon Irigaray,Luce of philosophy “intimate” the and 2002) (Crang viewing cinema of “haptics” a as well as Soderbergh, Steven of cinema” “hyperlink the via discussion their Grounding distributes” (ibid.),apointthattakesustosecondlineofrecentinquiry awareus makes geography “topological relationsand the distorts, of upon, feeds cinema that splayed Moreover,this 395). (2010: animations” uncertain in travellers impure as ideas; its “can only be understood as splayed across lived geographies Real and representational, and For Shaw, if philosophy be a form of cinema for Badiou, then this is because philosophy itself part issimilarlystretched out. to others. These networks cross over each other, fold and ‘scrumple’ as each constituent organisms and technologies, and each with its particular velocity, or speed, in relation many its of re-assemblings, bodies are embedded in diverse networks, each constituted from other virtue by and Rather, occurs. stretching this which along network, or by theenvironments theyinhabit and traverse.There isnoonesetof connections, ways diverse in affected are they as and materials, and energy shed and incorporate self-sufficient, they as as time and space across constituted ‘stretched’ Rather,are self-reproducingentities. bodies they are nor spaces, are time ontology rigid constitute within that contained “bodies” not The things. and and people “stretching” between made a be to geographers, connections allowing thereby for proximity, into points denote, brings that to space of “folding” come has “topology” term The itself timeandagain. animates thisdialectic.(2010:398) that Axiom the of world the with encounter hero’s metallic our WALL-Eis movie it the in and Badiou, for torsion political of source the is site, and world or being, and site is the eventual subversion of appearing by being. The dialectic between appearing site. Thatistosay,ontological ofthe unable toabsorbtheexcess appearance ofthe the back again. are crucial points of passage, asthevirusspreads from mouthtohandobject and other points of connection, each of which becomes yet another epicentre. Slick surfaces between cities – but these are constantly being interrupted, exceeded, overwhelmed by and within move hosts as primarily – flows rapid of set a as spreaddisease ‘global’ of the show scenes sure, upon. be coughed To being people or fingers, by touched being aparticular, epicentres and lines by of flow, appear confirmed intermittently; more often, we see is footage of objects space emerging their with scrumpled maps, computer-generated of shots On-screenrepertoire. and visual stretched This . … time and space across stretches it as networks more produces and them, traverse that things technological space, moves rapidly across transportationroutes andthehosts socio-environmental- interconnected thoroughly already an enters during virus thenarrative, the which throughout on networks emphasis flat yet strong a is There C ontagion thusmapsaviraltopology thatstretches andfolds backon C ontagion (2011),theynotethat, 47 .

FILM Downloaded By: 10.3.98.104 At: 08:34 24 Sep 2021; For: 9781315613178, chapter2, 10.4324/9781315613178.ch2 Aitken, S.C. and D.P. Dixon. 2011. Avarice and tenderness in cinematic landscapes of the of landscapes cinematic in tenderness and Avarice2011. D.P.Dixon. and S.C. Aitken, film. of geographies Imagining 2006. Dixon. D.P. and S.C. Aitken, ikn SC ad . uiba. 97 Dssoitd aclnte ad egahe o the of geographies and masculinities Disassociated 1997. Lukinbeal. C. and S.C. Aitken, THE ASHG Aitken, S.C. 2006. Leading men to violence and creating spaces for their emotions. their for spaces creating and violence to men Leading 2006. S.C. Aitken, Aitken, S.C. 1997. Analysis of texts: Armchair theory in and couch-potato Geography geography. of In Journal book. the read than movie the watch rather I’d 1994. S.C. Aitken, References conceptual thresholds of their field, and to consider what lies not beyond but outside of outside but beyond this surface. not lies what consider to and the field, about their carefully of more thresholds think conceptual to geographers for time is it perhaps, toencircle And, limit. own figureproceeds its a such however, notes, Secor As geographers. film of and cohorts viewer offscreen, and on-screen of notion the viewed, spectacle and spectator, only subject and object but also not the narrative devices of previous out inside turn to continue strip, insofar as geographers concerned with cinema, and the grounding of spatial thinking, making “real”ofadreamspace,wherein, so And interiors. their exteriorize and subjects of exteriors the interiorizes constantly that twisting a exhibit figures topological here, interest; of is that multiplicities, Deleuzian than rather Lacan, following is subject,” it however,“topological Secor, the For 431). (2013: topological” as city the of experience our into tap to of imagery the (2011), as well as feel the on dwells Secor vein, similar In American West. In Wissenschaftliche Geographie60:326–36. P road. In J. Ketchum,S.Luria,andD.Richardson. LondonandNewYork: Routledge,196–205. in H t s prpit, tik t ed h catr y eeec t ti slyd u Mobius out splayed this to reference by chapter the end to think, I appropriate, is It lace and igher H splayed out,aMobiussurfacethatencircles itsownlimit. introjection ofthecity.city andthesubjectinsteadare, The onecouldsay, distributed, of. It is not simply a projection of the subject – any more than the subject is merely an argument is not simply “subjective,” something that each person has her own version as thefieldwithin which powerand desire are constituted. To beclear, thecity in this [Thus] the city, with all of its historical and geographical specificity, can be understood that . … space dream inhabitable from of fantasy strange this in resurfacesabstractable – contains it which as space – space blatant absolute the fact despite in city, that folded argue the could of topology one labor, of division this Given . … well as out city exceeds Ariadne’s subjectivity. Indeed, it is both exterior and interior to Cobb inside- this actual), but – unconscious his stalks that wife dead his of apparition the presencemerelyhis not there(and is is apparenther Cobb with like that – given And her.to exterior and interior both is it her; inhabiting thus is inhabit to scene, the in appears, she that city The two. in city the folding by power her with experiments she so and space, dream the designed who one the is she is, that architect; the is Ariadne M uman idnight in at E The Road The ducation E RESE C G ulture 13(5):491–507. eography. Edited by R. Flowerdew and D. Martin. Harlow: Longman, 197–292. ar P 18:291–306. M (2011), and (2011), aris CH G ovie Book eohumanities: Art, C OMP a . Edited by I. Hark and S. Cohan. London: Routledge, 349–70. NION I t nception O M H EDI istory, Text atthe 48 a (2010), insofar as “These films [can] be said be [can] films “These as insofar (2010),

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