Film Geography: A Review and Prospectus

Sharp, Laura; Lukinbeal, Christopher

doi:10.1007/978-94-017-9969-0_2

Cited by 28 publications

(16 citation statements)

References 38 publications

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“…This role for the viewer builds on the author-text-reader model of film analysis as applied in film geography. The model that Sharp and Lukinbeal (2015) use as the basis for their review aligns with the dominant themes in work on feature films in critical geopolitics: alternative readings of narratives (author), representation (text), and affect (reader). The author modality incorporates aspects of auteurship as well as the economics of production and the flexible specialization in production companies that contribute to the making of a film.…”

Section: Critical Geopolitics Documentary Film and Film Geographymentioning

confidence: 99%

“…Laketa (2019) offers another important exception, considering how experimentation with the documentary format can unsettle dominant ideologies through the creation of a fantastical geopolitics. The discussion in these articles dovetails with the consideration of ethics, objectivity, and auteurship in the making of documentary film as considered primarily in communication studies and film geography more broadly (Aufderheide, 2012;Sanders, 2010;Sharp & Lukinbeal, 2015).…”

Section: Documentary Film and Critical Geopoliticsmentioning

confidence: 99%

“…Although an area of potential alignment between critical geopolitics and film geography, Sharp and Lukinbeal (2015) argue that geographers-including those in the field of critical geopolitics-sometimes fail to attend to film as film.…”

Section: Critical Geopolitics Documentary Film and Film Geographymentioning

confidence: 99%

“…I situate documentary film at the nexus of visuality, affect, and oppositional narrative, and argue that such films open up the possibility for alternative interpretations of geopolitics to emerge (Fregonese, 2020; Koopman, 2011; Ó Tuathail, 1996a). In addition, documentaries are an avenue for greater conversation between the fields of critical geopolitics and film geography (Sharp & Lukinbeal, 2015). I eschew the analysis of a specific film as case study and instead address points of convergence between extant work on documentary film and critical geopolitics as analytical perspective.…”

Section: Introductionmentioning

confidence: 99%

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Theanti‐geopoliticalcinematic eye: Documentary film and critical geopolitics

Holland

2020

Geography Compass

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This article considers documentary film as a format for critique and alternative viewings of the geopolitical. To do so, it reviews work in film studies on documentary film, emphasizing the theorization of the documentary ethos and the role of filmmakers in determining how documentaries depict reality. Identifying three points of consonance between documentary films and critical geopolitics, it reviews the geopolitical nature of many topical choices, the importance of authorial intent and creation, and the viewing of documentaries as texts whose interpretation is determined by their creators and viewers. The conclusion advocates for documentary film as a basis for a return to the consideration of format in critical geopolitics.

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Section: Critical Geopolitics Documentary Film and Film Geographymentioning

confidence: 99%

Section: Documentary Film and Critical Geopoliticsmentioning

confidence: 99%

Section: Critical Geopolitics Documentary Film and Film Geographymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Theanti‐geopoliticalcinematic eye: Documentary film and critical geopolitics

Holland

2020

Geography Compass

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“…While we concentrate specifically on the film set, it is important to note that the emotional qualities of film go well beyond its spaces of production. Sharp and Lukinbeal (2015) note the role of haptic and affective theories in helping to conceptualise film viewing as an emotional bodily experience; Tan's (1996) work on film as an 'emotion machine' for example highlights the importance of the empathetic emotions of the viewing subject in relation to characters. Thus, one must consider the Page 5 emotions of performance in bringing the film's meaning into being.…”

Section: Introductionmentioning

confidence: 99%

Staging atmosphere: collective emotional labour on the film set

Watson

Ward

Fair

2018

Social & Cultural Geography

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Despite a significant multi-disciplinary body of work on emotional labour, its application to geographical debates regarding space remains thin, and the role of emotional labour in the interrelations that produce space is poorly understood. In contrast, a substantial literature has developed in social and cultural geography concerned with 'affective atmospheres', understood as the relational and collective nature of affects. Within this literature, consideration has been given to the ways in which atmospheres might be staged to affect people's moods for a variety of artistic and commercial reasons. Placing the concepts of emotional labour and atmosphere into dialogue, this paper offers a relational account of the film-set as a space in which directors, cast and crew engage in performances of individual and collective emotional labour in order to stage particular atmospheres. Drawing on primary qualitative data, we present the on-set work of film Page 2 directors as attending to three relational projects; comportment, corpsing and conflict. In so doing, this paper offers a new understanding of the staging of atmosphere through performances of collective emotional labour. Such a perspective goes beyond the material to consider the emotional qualities of space and brings agency and intentionally to the fore in accounts of atmosphere.

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Imagined Cities (Cinema)

Lukinbeal

Sharp

2019

The Wiley Blackwell Encyclopedia of Urban and Regional Studies

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What constitutes a cinematic city has been the subject of much debate. Cinema's origins lie with cities and specifically with the processes of rapid urbanization and industrialization in Western civilization during the early modern period. At this time, new devices, modes of transportation, and architectural innovations allowed individuals to walk through or past different orderings of space and time that created a new form of spatiovisuality. From the 1960s to the 1980s, research trends related to cinematic cities often contrasted cities with the countryside and emphasized the anti‐urban sentiment that pervaded films. More recently, research has focused on multicultural exchange, global cities, specific genres, utopian and dystopian cities, urban planning, postcolonialism, reflection on the right‐wing perception of cities, and suburbs.

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Film Geography: A Review and Prospectus

Cited by 28 publications

References 38 publications

Theanti‐geopoliticalcinematic eye: Documentary film and critical geopolitics

Theanti‐geopoliticalcinematic eye: Documentary film and critical geopolitics

Staging atmosphere: collective emotional labour on the film set

Imagined Cities (Cinema)

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