To browse Academia. This book addresses questions surrounding the constructions of space, culture, society, identity and representation. The geography of cinema extends beyond the screen, director and audience, to include the wider industrial and political complex of the cultural economy. In this sense, culture can be viewed as an economic commodity set within the broader frame of globalization and postmodernism. A cinematic world occupies a territory between our citys streets, the Cineplex, the TV set, and our geographical imagination and identity.
These contexts invite inquiries into the production, distribution, exhibition, and consumption of film as well as global cinema, hapticalities of viewing, critical political economies, and cinematic ethno-graphies.
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This collection provides unique and eclectic insights into the exciting and emerging subfield of film geography. With this paper, we use the film The Day after Tomorrow to explore four future trajectories of film geography research. The first, geopolitics, examines how film images and narratives constitute shifting eddies within a larger geopolitical imaginary.
The second, cultural politics, positions film as an arena in which social-spatial meaning is defined, contested and negotiated. The third, globalization, situates film under the rubric 'cultural industry'. As a cultural industry, film is engaged in the 'spaces of flows', in that cultural meaning has been commodified for global consumption.
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The fourth trajectory of film geography research, science, representation and mimesis, examines the role of film in terms of the 'crisis of representation', realism, ideology and power. With this paper we review past works that have established film geography as a sub-discipline. The paper is organized around the author-text-reader ATR model and pays particular attention to its role in defining the area of study and how it is approached theoretically and methodologically.
