| Acknowledgments | p. vii |
| Introduction | p. 1 |
| Theory and Cartography | |
| Cinematic Taxonomy and Cartography | |
| Archive and Diagram | |
| Dislocation, Distance, Discretion | |
| Mental Mapping and Mobile Topography | |
| A Map in a Movie | |
| Icarian Cinema: Paris qui dort | p. 23 |
| A Site of Immaculate Origin | |
| A Film in Flux | |
| Two Spatial Stories | |
| Points of Comparison | |
| Liberty; A Vanishing Point | |
| Jean Renoir: Cartographies in Deep Focus | p. 40 |
| Boudu cartographe | |
| Tracking a Revolution | |
| La Grande illusion: Terrae incognitae | |
| Globes In and Out of Perspective | |
| Maps and Theaters of Torture: Roma, citta aperta | p. 65 |
| A Map Room | |
| Italy Wallpapered: A Map in an Apartment | |
| A Theater of Torture | |
| Wiped Surfaces | |
| A Desperate Journey: From Casablanca to Indiana Jones | p. 83 |
| Crashing In and Crashing Out | |
| A Map in a Montage | |
| Desperate Journey | |
| Camouflage | |
| A Map-Dissolve: Casablanca | |
| From Historical Geography to Melodrama | |
| A Place Named | |
| Indiana Jones | |
| Juvenile Geographies: Les Mistons | p. 106 |
| A Story Plotted into Film | |
| Correspondence and Rewriting | |
| Scenes of Writing | |
| As the Crow Flies | |
| Old Films and New Worlds: An Allegory | |
| Michelin Tendre: Les Amants | p. 125 |
| A Book and a Movie | |
| "Attention au depart" | |
| The Gleaner and the Grease Monkey | |
| Pleats and Folds | |
| The Michelin Map after La Carte du Tendre | |
| Paris Underground: Les 400 coups | p. 141 |
| The "Quarrel" | |
| Credits | |
| Class Room and Map Room | |
| Mother and Mother France | |
| A Child's Map | |
| A Roadmap for a Road Movie: Thelma and Louise | p. 156 |
| Geography and Gentility | |
| Cinematic Diagrams | |
| A Map Room and a Baroque Motel | |
| Reflectors and Benders | |
| Orpheus Rewritten | |
| The Map in the Picture | |
| Women Plotted | |
| Cronos, Cosmos, and Polis: La Haine | p. 173 |
| Children of France | |
| Events Crosscut | |
| The Lower Depths | |
| The World Is Ours | |
| Graffiti and Glossolalia | |
| Ptolemy, Gladiator, and Empire | p. 191 |
| A Correspondence: Empire and Gladiator | |
| Ptolemy's Italia | |
| Map Effects and Special Effects | |
| Super Bowls | |
| Aftereffects | |
| Conclusion | p. 207 |
| Notes | p. 215 |
| Bibliography | p. 241 |
| Filmography | p. 251 |
| Index | p. 255 |
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