Geography as a physical science, revolves around topography or the layout or characteristics of the land, the natural resources, animals and people. Geography is mainly about location, human and environment interaction, cultural movements and attributions. On the other hand, film is the conglomeration of ideas and images that feature the combination of the physical and human aspects of the world. Further, if given deeper comprehension, film and geography share evident differences and similarities; however, both meet at the same intersection –space.
As written by Joseph Palis (2008) in his dissertation Cinema Archipelago: A Geography of Philippine Film and the Postnational Imaginary, he pointed out the cinematic representation of local cultures, …show more content…
He explained that as the spatial studies dominate the communication arena it would cater analyses of how communication produces space and vice versa.
Film geography (Aitken & Dixon, 2006) stresses that spaces in films are representations of lived material and physical spaces. Film geography does not only highlight space representations in film but also focuses on overlooked cultural meanings, ideologies, dogmas and social practices. Chris Lukinbeal and Stefan Zimmerman (2006) further explain the concept in Film Geography: A New Subfield as “research arena that links the spatiality of cinema with the social and cultural geographies of everyday life” (p. 316).
Travel is a portion of everyday life and Crang (2005) considers travel “as a spatial practice that has been at the heart of geography” (p. 34). On a surface level, there have been a rapidly growing number of tourists visiting locations featured through films which are not intentionally aimed to be some sort of tourism campaign. This phenomenon is known as tourist gaze popularized by John Urry …show more content…
According to Iwashita (2006, as cited in Rewtrakunphaiboon, 2008), films enable the viewers to travel through the physical properties, like scenery and landscape, and their associated theme, storylines, events and actors, which shapes the audience’ feelings, emotion and attitudes towards places. Through film, they get to experience what is depicted on screen and the feeling wired from the setting. The tourist space is easily recalled and reinstated in the viewers’ memory through “associating them with the actors, events and setting” (Riley & Van Doren, 1992 as cited in Rewtrakunphaiboon,
As written by Joseph Palis (2008) in his dissertation Cinema Archipelago: A Geography of Philippine Film and the Postnational Imaginary, he pointed out the cinematic representation of local cultures, …show more content…
He explained that as the spatial studies dominate the communication arena it would cater analyses of how communication produces space and vice versa.
Film geography (Aitken & Dixon, 2006) stresses that spaces in films are representations of lived material and physical spaces. Film geography does not only highlight space representations in film but also focuses on overlooked cultural meanings, ideologies, dogmas and social practices. Chris Lukinbeal and Stefan Zimmerman (2006) further explain the concept in Film Geography: A New Subfield as “research arena that links the spatiality of cinema with the social and cultural geographies of everyday life” (p. 316).
Travel is a portion of everyday life and Crang (2005) considers travel “as a spatial practice that has been at the heart of geography” (p. 34). On a surface level, there have been a rapidly growing number of tourists visiting locations featured through films which are not intentionally aimed to be some sort of tourism campaign. This phenomenon is known as tourist gaze popularized by John Urry …show more content…
According to Iwashita (2006, as cited in Rewtrakunphaiboon, 2008), films enable the viewers to travel through the physical properties, like scenery and landscape, and their associated theme, storylines, events and actors, which shapes the audience’ feelings, emotion and attitudes towards places. Through film, they get to experience what is depicted on screen and the feeling wired from the setting. The tourist space is easily recalled and reinstated in the viewers’ memory through “associating them with the actors, events and setting” (Riley & Van Doren, 1992 as cited in Rewtrakunphaiboon,