In this paper I argue that early French cinema and human geography were in many ways coextensive, drawing on many of the same resources and virtues of the languages that inform them. Using Paul Vidal de la Blache’s 1894 Atlas-général, I argue that Vidal’s maps represent the equivalent of individual shots in film and that the relationship between the maps is best understood using early theorizations of montage in cinema. Vidal’s own language provides a vocabulary for other scholars including Henri Bergson and Gilles Deleuze, who saw cinema and geography in similar terms. By reading images of France as dynamic rather than static, Vidal provides a mobile composite of information pulled from a host of images that together generate a meaningful narrative of French identity. Such a reading, I argue, means that the mental image of France is not fixed but open to many possibilities.

中文翻译：

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电影制图：Paul Vidal de la Blache的电影

在本文中，我认为，早期的法国电影和人文地理学在很多方面是共存的，它们利用了许多相同的资源和美德。我认为，使用保罗·维达尔·德拉布拉什（Paul Vidal de la Blache）的1894年地图集（Atlas-général），可以说维达尔的地图相当于电影中的单个镜头，并且可以通过电影中蒙太奇的早期理论来最好地理解这些地图之间的关系。维达尔本人的语言为包括亨利·柏格森（Henri Bergson）和吉尔斯·德勒兹（Gilles Deleuze）在内的其他学者提供了词汇，他们以相似的眼光看电影和地理。通过将法国的图像读为动态图像而不是静态图像，维达尔提供了从大量图像中提取的信息的移动组合，这些图像共同产生了法国身份的有意义的叙述。我认为这样的阅读，