Both mapping and artist documentary filmmaking offer us subjective translations of reality and strategies to relate to and represent space, sharing analogous methods of production that allow for a useful application of the spatial language of mapmaking to filmmaking. Immersing the film process within the language of mapmaking can then act as a bridge into the spatial practices of the gallery environment, curatorial practice, and exhibition design. This process is defined here as “film-mapping” and is investigated through the development of the work For the Record by Phanuel Antwi and Rhea Storr commissioned by the transmediale festival in Berlin (2021), for which the author of the present paper is the film curator. A process for film-mapping is laid out according to three stages: (1) Compose the Territory, (2) Define the Legend, and (3) Set the Modality. Understanding the production of For the Record through this mapping terminology enriches the spatial understanding of the work, providing a translation device between filmmaking and curatorial practice and mediating between the disciplines by providing a shared language.

中文翻译：

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屏幕地理：地图制作是电影和策展制作过程之间的桥梁

制图和艺术家纪录片制作都为我们提供了对现实的主观翻译以及与空间相关和表现空间的策略，共享类似的制作方法，使制图的空间语言在电影制作中得到有用的应用。将电影制作过程沉浸在地图制作语言中，可以作为通往画廊环境、策展实践和展览设计的空间实践的桥梁。这个过程在这里被定义为“电影映射”，并通过由 Phanuel Antwi 和 Rhea Storr 受柏林跨媒体艺术节（2021 年）委托开发的作品 For the Record 进行调查，本文的作者是电影策展人。电影制图过程分为三个阶段：(1) 创作领土，(2) 定义传奇，(3)设置模态。通过这种映射术语理解 For the Record 的制作丰富了对作品的空间理解，提供了电影制作和策展实践之间的翻译设备，并通过提供共享语言在学科之间进行调解。