1. Introduction -- 2. The cinema in the map - the case of Braun and Hogenberg’s Civitates Orbis Terrarum -- 3. Cinematic cartographies of urban space and the descriptive spectacle of aerial views (1898-1948) -- 4. Charting the Criminal: Maps as devices for orientation and control in Fritz Lang´s “M” (1931) and Francesco Rosi´s “Hands Over the City” (1963) -- 5. ‘Merely local’: film and the depiction of place, especially in local documentary -- 6. The Cine-Tourist’s Map of New Wave Paris -- 7. Set-jetting, Film Pilgrimage and The Third Man -- 8. The Cinematic Shtetl as a Site of Postmemory -- 9. “Where Is The Dust That Has Not Been Alive?”: Screening The Vanished Polis In Stirbitch: An Imaginary -- 10. Melancholy Urbanism: Distant Horizons and the Presentation of Place -- 11. Cinematic urban archaeology – the Battersea case -- 12. The cinematic and the televisual city: south London revisited -- 13. Los Angeles and Hollywood in Film and French Theory: Agnès Varda’s Lions Love (1969) and Edgar Morin’s California Journal (1970) -- 14. Urban Cinematic Palimpsests: Moving Image Databases for the City -- 15. Geographies of the Moving Image: Translating cinematic representation into geographic information -- 16. Ghost Cinema App: Temporal Ubiquity and the Condition of Being in Everytime.

This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and their topographies. In doing so it makes a significant contribution to the literature in the growing field of cartographic cinema and urban cinematics, by charting the many trajectories and points of contact between film and its topographical context. Under the influence of new technologies, the opening and the availability of previously unexplored archives but also the contribution of new scholars with novel approaches in addition to new work by experienced academics, Cinematic Urban Geographies demonstrates how we can reread the cinematic past with a view to construct the urban present and anticipate its future. .

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