Movies
I liked this movie when I saw it last year. I found the review on a blog space and fiction, project to collaboratively map geographies of fiction including film. Another site, Canadian cinematographic territories is a collaborative mapping:
"In this research project, we propose to geographically and cartographically study the different Canadian cinematographic territories at the local, provincial, national and international levels, so as to provide some answers to the following questions:
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What are the privileged places, depreciated or ignored by the Canadian cinema?
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How are structured contemporary Canadian cinematographic territories and what are the links between those territories and geographical space?
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How to represent these different types of territories to advance our understanding of their organization?"
It seems to me that although the technologies of web based mapping, cartography, GISci, and computing are positivistic, the applications and uses of these tools might diverge sharply when informed by other ways of understanding which recognize the crisis of representation and the limits of grand narrative. Mapping practices in particular lend themselves to atlernative perspectives since maps are representations of simultaneity. They are tools for finding one`s way, express a point of view but are authoritative and subjective at the same time. One map can tell many stories, the one the cartographer intended and shares with the users and the stories that are unintended and emergent in the mapping process.
With the explosion of information, texts are linked to other texts, navigating between them places the reder rather than the writer at the center, like surfing through the internet, we provide meaning-like a set of hyperlinks, maybe reading is more like mapping since we strategically skim...lots of interesting websites are out there....
steve
The Good, the Bad, and the Weird / Le bon, la brute, et le cinglé
The Good, the Bad and the Weird (dir. Ji-woon Kim, 2008) is a remake of Sergio Leone’s masterpiece The Good, The Bad, and the Ugly (1966). Beyond the fact that both versions unfold in different locations and at different times (1860s American civil war and 1930s Mandchuria), the presence of maps in both versions leads to question in more general terms the relationships between westerns and maps.
Dans Le bon, la brute et le cinglé, le réalisateur sud coréen Ji-woon Kim (2008) revisite le chef d’oeuvre de Sergio Leone Le bon, la brute et le truand (1966). Au delà du fait que ces deux versions se situent à deux époques et à deux endroits différents (Les États-Unis de la guerre civile des années 1860 et la Manchourie des années 1930), la présence de cartes dans les deux versions nous amène à nous interroger d’une manière plus générale sur les relations cartes/westerns.