Maps are ubiquitous in movies. They appear constantlyand in a variety of forms: hung on the wall of aclassroom, framed in an office, and unfolded by gang-sters on a table. In movies maps serve a variety ofpurposes: They serve as decoration, as a means oflocation, to aid narration, as metaphors as well as toincrease the dramatic tension of a sequence. They canplay a prominent role in the unfolding of the action orappear only for a split second behind a closing door.They can serve to address the audience or as a mean ofinteraction between characters. They can be classic andstatic, or unique and dynamic. This pervasive presence ofdiverse cartographic artifacts in films contrasts dramati-cally with the marginal impact that cinematographictechniques, concepts and artifacts have had on carto-graphy over the course of the last century. There hasbeen substantial use of cartography in cinema but thishas had very limited impact on the theory and practice ofcartography.
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