A Geography of the Screen: Mapmaking as Bridge between Film and Curatorial Production Processes
1. Research Intent
- The territory of a map can be understood as the relationship between a defined geographical area and its representation. In filmmaking, the concept allows us to consider the relationships that exist between the filmmaker(s), the subject(s), and place(s).
- The legend of a map is its key. In filmmaking, the legend can be understood as a set of codes that navigate the spectator into and through the work.
- The modality of a map determines how its data is visualised. In filmmaking, it considers how diverse film production technologies and processes mediate how the territory of a map is aestheticised and the resulting effect on our understanding of its subject.
3. Rhea Storr and Phanuel Antwi
4. Compose the Territory
4.1. Framing the Territory
“Far away is close at hand in images of elsewhere”—Graffiti, author unknown, Paddington Station, London, 1970s
4.2. Framing the Territory: For the Record Design Analysis Part 1
4.3. (Re)Framing the Territory: The Role of Image-Making Technologies in Forming the Territory
4.4. (Re)Framing the Territory: For the Record Design Analysis Part 2
4.5. (Re)Locating the Territory
4.6. (Re)Locating the Territory: For the Record Design Analysis Part 3
5. Defining the Legend
6. Set the Modality
6.1. Defining the Modality
6.2. Deploying the Modality
6.2.1. The Zoom Image
6.2.2. The Zoom Sound
- Our bodies are constantly archiving. Our hearts, (Storr)
- Our hearts, (Antwi)
- Our guts, Our guts,
- Our feet, Our feet,
- Our skin, Our skin,
- Our tongues, Our tongues,
- Our mouths, Our mouths,
- Our anus, Our anus,
- Our unitary tracts, Our unitary tracts,
- Our bloodstream, Our bloodstream,
- In our bodies everything is constantly archiving.
- Let’s find out what we can about each other based on this thing we carry with us all the time.
6.3. Set the Modality
- Compose the Territory
- Define the Legend
- Set the Modality
Data Availability Statement
Conflicts of Interest
Martin Lefebvre describes the relationship between landscape and artist documentary film as one in which landscape determines film form, “in the domain of art, landscape is not so much the result of a work; rather, it is the work itself which is the result of the landscape” (Lefebvre 2007).
This speculative approach is adopted to kindle conversations that foreground Black and Asian voices in subjects where those voices have been historically crowded out in the West, in this case, circling subjects of intimacy, touch, and love.
Referencing here Maurice Merleau-Ponty’s understanding of a “body-in-the-world” in which the presence of our physical body within a space alters our perception of it. As a body-in-the-world, we do not view the world from a detached objective position, but rather we live through our body, which in turn helps shape our experience of space (Jean Nouvel in Cairns 2013).
The dérive can be understood as an embodied practice of ‘drifting’ across an urban environment in an unplanned or unstructured manner. Outlined by Guy Debord in 1956 and later taken up by the Situationist International (1957–72), it is a tool associated with psychogeography. Also defined by Debord, psychogeography explores interpersonal relations with place through affect and the resulting actions of the individual.
Punctum draws the viewer into the image and its themes by sparking their subjectivity, the quality of a photograph that Barthes described as “pricking” or “bruising” him (Barthes 1981).
A reference to the common expression for electrical signal interference as ‘white noise’.
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James, B.E. A Geography of the Screen: Mapmaking as Bridge between Film and Curatorial Production Processes. Arts 2023, 12, 94. https://doi.org/10.3390/arts12030094
James BE. A Geography of the Screen: Mapmaking as Bridge between Film and Curatorial Production Processes. Arts. 2023; 12(3):94. https://doi.org/10.3390/arts12030094Chicago/Turabian Style
James, Ben Evans. 2023. "A Geography of the Screen: Mapmaking as Bridge between Film and Curatorial Production Processes" Arts 12, no. 3: 94. https://doi.org/10.3390/arts12030094