摘要：For events to occur, they must occur somewhere. It was for this reason that, for Heidegger, the nature of being was immanently spatial. Events in film and television are no different. Because they serve as the stage on which all narrative events take place and are visual-material references to the audience’s lived reality, film locations are integral to world-building and the suspension of disbelief. Film locations provide insight into character psychology, helping viewers create emotional connections to them. Through establishing shots, long shots that periodically re-situate the viewer in the film’s current geographic whereabouts, viewers experience an emotional relief from the ‘cartographic anxiety’ [2] of being unmoored from the physical world, a sense of discomfort produced by cinema’s phantasmagorical barrage of disjointed and geographically vague imagery. As cinema scholars become increasingly aware of the constitutive role that locations and geography play in film they have turned to cartography, in both theory and practice, to better understand this role. In this article, I explore a cinematic cartography that as of yet has still been little discussed: the cartographies of the moving bodies behind the film camera. I refer to this here, in a reference to Doel, [3] as cartographies of the ‘unscene’, which are those practices and places that enable the scene to unfold without actually being visualised in the frame. I place the emphasis on the scene rather than seen to clarify that these practices and places are no less visual/visible for not appearing on screen.
