Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? What are differences between the use of landscape in Western filmmaking and in the work of Middle Eastern and Asian filmmakers? How is cinematic landscape related to the idea of a national cinema and questions of identity. The first collection on the idea of landscape and film, this volume will present an impressive international cast of contributors, among them Jacques Aumont, Tom Conley, David B. Clarke, Marcus A. Doel, Peter Rist, and Antonio Costa.

This book brings together critical and theoretical essays examining the connections between films and landscapes. It showcases the work of established and emerging academics whose research probes the complex relationships between moving images and the filmed environment, and accounts for the impactful effects of viewing lived spaces and human places on screen. The essays in this collection actively engage with examples of contemporary popular and art cinema, genre films and auteur canon, historical films, propaganda, documentary and animation in their explorations of the meanings with which filmed landscapes are endowed and invested. The breadth of the study is matched by the depth of the interest, with writers here approaching the subject of film landscapes as critics, as film practitioners, and as teachers of film studies and film making. Film Landscapes gives voice to a great many ideas, and includes coverage of a great many films; but it also points forward to ways in which we might revisit discussions of the environments of film and consider ways in which history and creativity, critical understanding and the interaction of human beings and place could be reconsidered and revised to produce new insights.

This book explores the dynamic landscapes of global youth through spatially grounded chapters focused on film and media. It is a collection of incredible works concerning children and young people in, out, and through media as well as an examination of what is possible for the future of research within the intersections of geography, film theory, and children’s studies. It contains contributions from leading academics from anthropology, sociology, philosophy, art, film and media studies, women and gender studies, Indigenous studies, education, and geography, with chapters focused on a spatial area and the representations and relationships of children in that area through film and media. The insights presented also provide a unique and eclectic perspective on the current state of children’s research in relation to the ever-changing media landscape of the 21st century. Film Landscapes of Global Youth approaches the subjects of children and young people in film and media in a way that is not bound by genre, format, medium, or the on-/off-screen binary. Each chapter offers an insightful look at the relationships and portrayals of children and young people in relation to a specific country, culture, or geographic feature. This book is a must-read for anyone interested in the intersections between geography, young lives, and the power of film, television, social media, content creation, and more.

British rural landscapes on film offers insights into how rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the twenty-first century. It is the first book to exclusively deal with representations of the British countryside on film. The contributors demonstrate that the countryside has provided Britain (and its constituent nations and regions) with a dense range of spaces in which cultural identities have been (and continue to be) worked through. British rural landscapes on film demonstrates that British cinema provides numerous examples of how national identity and the identity of the countryside have been partly constructed through filmic representation, and how British rural films can allow us to further understand the relationship between the cultural identities of specific areas of Britain and the landscapes they inhabit.

The notion of landscape is a complex one, but it has been central to the art and artistry of the cinema. After all, what is the French New Wave without Paris? What are the films of Sidney Lumet, Woody Allen, Martin Scorsese, and Spike Lee without New York? Cinema and Landscape frames contemporary film landscapes across the world, in an exploration of screen aesthetics and national ideology, film form and cultural geography, cinematic representation and the human environment. Written by well-known cinema scholars, this volume both extends the existing field of film studies and stakes claims to overlapping, contested territories in the humanities and social sciences.

Western films have often been tributes to place and setting, with the magnificent backdrops mirroring the wildness of the narratives. As the splendid outdoor scenery of Westerns could not be found on a studio back lot or on a Hollywood sound stage, the movies have been filmed in the wide open spaces of the American West and beyond. This book chronicles the history of filming Westerns on location, from shooting on the East Coast in the early 1900s; through the use of locations in Utah, Arizona, and California in the 1940s and 1950s; and filming Westerns in Mexico, Spain, and other parts of the world in the 1960s. Also studied is the relationship between the filming location timeline and the evolving motion picture industry of the twentieth century, and how these factors shaped audience perceptions of the "Real West."

Cinema and audiovisual media are integral to the culture, economy and social experience of the contemporary global city. But how has the relationship between cinema and the urban environment evolved in the era of digital technology, new media and globalization? And what are the critical tools and concepts with which we can grasp this vital interconnection between space and screen, viewer and built environment? Engaging with a rapidly transforming urban world, the contributions to this collection rethink the 'cinematic city' at a global scale. By presenting a global constellation of screen cities within one volume, the book encourages juxtapositions and comparisons across the North and South to capture the global city and its dynamics of exchange, hybridity, and circulation. The contributions examine film and screen cultures in a range of locations spanning five continents: Antibes, Beijing, Buenos Aires, Busan, Cairo, Caracas, Copenhagen, Jakarta, Kolkata, Lagos, Los Angeles, Malmö, Manila, Mumbai, Nairobi, Paris, Seoul, Sète, and Shanghai. The chapters address topics that range across the contemporary film and media landscape, from popular cinema, art cinema, and film festivals to serial television, public screens, multimedia installations, and video art. Contributors: Chris Berry, Yomi Braester, Jinhee Choi, Pei-Sze Chow, Thomas Elsaesser, Malini Guha, Jonathan Haynes, Will Higbee, Igor Krstic, Christian B. Long, Joanna Page, Lawrence Webb.