Evaluating User Experience in Literary and Film Geography-based Apps with a 
Cartographical User-Centered Design Lens 
Min Rezaei1* 
PhD candidate, College of Agricultural and Environmental Sciences, University of California, Davis 
minrezaei@ucdavis.edu 
Patsy Eubanks Owens 
Professor, College of Agricultural and Environmental Sciences, University of California, Davis 
 peowens@ucdavis.edu 
Darnel Degand 
Professor, School of Education, University of California, Davis  
ddegand@ucdavis.edu 
 
 
Geography scholarship currently includes interdisciplinary approaches and theories and reflects shifts in research methodologies. 
Since the spatial turn in geographical thought and the emergence of geo-web technologies, geography scholarship has leaned more 
toward interdisciplinarity. In recent years geographical research methods have relied on various disciplines ranging from data 
science to arts and design. Literary geography and film geography are two subfields of geography that employ novels and films in 
exploring spatiality, respectively. In addition to geographical concepts, these courses include many aspects of relations in space, 
including human-human relations, human-environment relations, et cetera, which were barely addressed in traditional geography 
courses. However, a review of the employment of geo-web technologies in literary and film geography practices reveals that these 
practices have mostly remained limited to isolating “geographical” passages from novels or movies. This paper explores new 
opportunities for designing film and literary geography-based apps using a cartographical user-centered design framework.   
  
CCS CONCEPTS • Human centered computing →Interaction Design • Social and professional topics→ User Characteristics• Human 
centered  computing → Empirical Studies in Interaction Design 
 
Additional Keywords and Phrases: Interactive Literary and Film Cartography, Web Cartography, User-centered Cartography, User 
Experience, Spatial Turn 
1. INTRODUCTION 
In the twentieth century, with the rejection of the values of the top-down approach of modernism by geographers, 
new lines of study emerged which relied less on scientific measurements and more on philosophy, poetics, and 
sociology in exploring humans and their spaces. In the 1960s, with the rise of theories of postcolonialism, Edward 
Soja [1] made a reassertion to the concept of space by using “spatial turn” in humanities and other fields related to 
the built environment such as architecture and urban design. The spatial turn in the humanities indicates that space 
is neither a subjective nor objective experience. It maintains that social and cultural dynamics of power relations 
shape the space [2,1,3,4]. Proponents of the spatial turn assert that the traditional map is a form of 
institutionalization that misses feelings, memories, stories, et cetera [5,6,7,8,9,10]. They believe that lines and 
points cannot represent the actual act of walking, window shopping, or wandering. Exploring this “lived experience” 
of people made geographers more interested in employing materials such as diaries, memories, travelers' notes, 
 
 

2 
and novels. In recent years, geographic information technologies have also contributed profoundly to 
understanding the “spatial turn” in the humanities. These technologies provide the opportunity to create “spatial 
stories” of people's lived experiences [9,10,11,12,8].  
 
Partly because of the emergence of spatial turn theory in geography, and partly due to the emergence of geo-web 
technologies, geography scholarship has shifted toward more interdisciplinary studies in recent years. Also, some 
argue that university-based geography programs have experienced a decline in enrollment mainly because 
geography-related jargon is outdated and being severely outcompeted by environment- and sustainability-related 
language [13]. Since the spatial turn, geographical research methods have relied on a plethora of disciplines, ranging 
from data science to arts and design [10]. Literary geography and film geography are two subfields of geography 
which rest their epistemology on using novels and films in exploring spatiality, respectively. These two fields have 
been well-established in academia in different parts of the world. In addition to geographical concepts, these 
courses include many aspects of relations in space, including man-man relations, man-environment relations, et 
cetera, which were barely addressed in traditional geography courses. However, a review of employing geo-web 
technologies in literary and film geography practices reveals that these practices have mostly remained limited to 
isolating “geographical” passages from novels or movies. This paper explores new opportunities for designing film 
and literary geography-based apps using a cartographical user-centered design framework.  
 
1.1. The Spatial Turn and Geo-Web Technologies 
 
Before postmodernism, dominant thought in the geographical realm considered maps as "scientific'' tools 
representing power [14,15]. As Harley [15:282-283] says, “as much as guns and warships, maps have been the 
means of imperialism.” These graphic representations of boundaries and territories legitimized the victories and 
conquests of rulers as well as ownerships of individuals and national properties, manifested ideologies of religious 
groups, and provided sensitive knowledge for the military [15,16]. While those static maps remain fruitful in 
geographical studies, they leave no room for user engagement in their creation or alteration. Even cartographers 
were not independent creators for the so-called traditional maps. They mainly served individuals, states, or market 
ambitions [15]. In the late twentieth century, with the rise of postmodern thought and the spatial turn, a new 
approach to the concept of space was introduced. Postmodernists believed that space is influenced by different 
power relations and is under constant change over time. Therefore, exploring these shifts can not be limited to 
employing observation and positivist approaches [17,18,19,20]. Postmodernists argue that traditional maps are a 
form of institutionalization that misses feelings, memories, etc. They [10,1,23,24] argue that traditional maps—
which are mainly produced by engineers, planners, technocrats, and scientists—overlook the human side of space 
and downsize it to an object that can be represented by dots and other geometrical shapes [5,21,22]. These new 
lines of thought discern between “space” and “place” and demonstrate that space is a practiced place [5]. For 
instance, according to de Certeau [5], pedestrians transform the street from a place that is "geometrically defined 
by urban planning" into a space that is useful or pleasurable for them. Lefebvre [21], whose ideas had a huge 
influence on postmodern spatial studies, recognizes three different spaces to explain the complexities of exploring 
“space” — perceived space, conceived space, and lived space (see Figure 1).  

3 
 
Figure 1: trilogy of space, based on Lefebvre’s production of space [21] 
 
According to Lefebvre [21], perceived space is the space of day-to-day lives, a space of daily reality and urban reality, 
and those realities shape people’s mental image of space. Conceived space is tied to the spaces of power, such as 
spaces of technocrats and scientists, and includes maps, plans, rules, and regulations. Lived space or social space 
incorporates social actions [21]; it is the space of resistance against authorized power—the space of freedom—
which users can manipulate without being controlled or watched. Postmodernists suggested that understanding 
these complexities requires borrowing methodologies from other disciplines such as the arts and humanities. They 
emphasized the human side of geography and became more inclined to employ non-scientific materials such as 
paintings, diaries, travelogues, memories, novels, and films to investigate the lived experience of people in 
geographical locations [25,21,1,82]. Reading space through narratives allows users to explore space in a broader 
way than linear chronological order [25,21]. Advocates of the “spatial turn” believe that people’s lived experiences 
resonate more with narrative time [25,21,1,82]. In narrative time, one thing happens not just after something else 
(chronological order), but because something else occurred in a story or history [25]. Lefebvre’s [21] “Production 
of Space'' was one of the earliest studies that used literary analysis to read urban spaces and places and proposed 
revolutionary methods in exploring space using literary texts. Lamme [26] recognizes four types of spatial 
knowledge that can be acquired while reading novels: first, landscape, which includes both physical and human 
landscapes; second, human ecology, which is about people-space interconnections; third, strategy, which is 
authorship over space by tools like maps, plans, et cetera; and, finally, regionalism, which means various 
geographical borders and realities.  
 
Films have also been a popular medium in postmodern geography scholarship. Cresswell and Dixon [27] assert 
that: "While the very idea of landscape study is built around observation from a fixed point of a static scene, film 
viewing involves the observer taking a mobile view on a mobile world." Films can demonstrate both "real" (pieces 
of stuff outside the screen) and "reel" (pieces of stuff on the screen). Film geography was introduced as a 
subdiscipline of geography by Lukinbeal and Zimmermann (2006) [28]. They recognized four trajectories. First, 
geopolitics, which explains how film images and narratives are a part of a larger geopolitical imaginary; second, 
cultural politics, which is how socio-spatial meaning is displayed in the film; third, globalization, which situates the 
impact of economic imperatives of film production; and fourth, the trajectory of film geography research, science, 
and representation, which explores how films portray reality and how this reality is under the shadow of the 
dominant ideology and power. 
 
Geographical representations in novels and films go beyond illustrating physical places. They encompass a wide 
range of “spatial” information such as human relations in spaces; their relation to the spaces; and their memories, 

4 
fears, and everyday life practices in the space. Building upon interdisciplinary research trends, several geography 
programs have started to employ multi-faceted methods such as using films and novels in teaching spatial sciences 
to students in different majors all over the world [29-53]. 
 
Additionally, in the last two decades, the development of geo-web technologies and geographic information systems 
(GIS) revolutionized the mapmaking industry by adding interactivity to map creation. Using interactive maps helps 
blend oral stories, novels and stories, music, or other art forms to represent different representations of space [54]. 
It also provides the opportunity for cartographers to incorporate different layers of memories and other social, 
cultural, and historical aspects of space into the maps [8]. Interactivity challenged the top-down approach in 
producing maps and fostered the democratization of cartography by empowering users to create their own spatial 
representations and facilitating their participation in the planning and design of their communities 
[54,55,56,57,58,59].   
In the late 1990s, as one of the consequences of technological development in cartography, users and usability were 
brought to the forefront of cartographical research [60]. In the 2000s, with the establishment of a new Commission 
on Use and User Issues of the International Cartographic Association (ICA), usability of map-based products became 
more important [61]. While there have been several studies on the usability of map-based apps and web maps, they 
mostly have focused on how previous map users make maps, interact, and explore with map apps [65,63]; User 
Interface design, which includes (map) representations of reality on a small display screen [64, 65]; geovisualization 
and users’ interaction (map features) and mental maps [64]; and map display and graphical user interface design 
of mobile and web maps [61, 60]. Although there has been an emphasis on the involvement of cartographic 
expertise in cartographic design [63], research around the role of the cartographer and cartographical content in 
user-centered design for interactive mobile and web maps is limited. 
  
 
2. METHODS 
This research has been conducted to answer these two questions: 
What are the main themes that are included in literary or film geography course syllabi in academia?  
Do apps related to literary geography and film geography reflect educational information around space?  
To answer the first question, twenty-five courses related to film and literary geography were reviewed. The courses 
were found by searching university course directories in geography, urban planning, urban studies, media and film 
studies, literature, and art history departments; the Google search engine, and the Journal of Literary Geography. 
The keywords we searched were “teaching film geography,” “literary geography,” “literature and the city,” “film and 
the city,” “cinema and the city,” and “digital humanities.” The search was expanded to English-speaking universities 
all over the world to create a geographically inclusive database. Twenty courses were found. The snowball method 
was used by consulting scholars in literary geography, film geography, and the digital humanities to discover if they 
teach courses related to this topic or knew of any related course that we had missed. Ten other syllabi were found. 
The criteria for choosing a syllabus was that it had to have assignments, learning objectives, and course content 
sections. Five syllabi were eliminated as they did not meet the requirements. Then the syllabi were analyzed using 
the MAXQDA 2020 code system. Each syllabus was read manually and the content including the references, 
schedule, and introduction was coded based on the three main categories of space by Henri Lefebvre. Subcategories 
which were defined based on theories of the “spatial turn.” The assignments and learning objectives were also coded 
based on authors’ knowledge of spatial science and teaching experiences. 
 
For the second question, to find apps related to literary geographies, Google Scholar, Elsevier, the ACM digital 
library database, a GIS history database, and the Literary Geographies Journal were used.  The phrases which were 
used in the search were chosen to cover all the themes in the fields of literary and film geography. The keywords 
included “literary,” “literature,” “novel,” “story,” “film,” “movie,” and “deep mapping,” combined with the word 

5 
“app” or its equivalent variants including “geospatial platform,” “digital platform,” “digital interface,” et cetera. 
Five apps were found. By employing the snowball method, the sample was expanded to eighteen interactive web 
maps and apps. We decided to ignore 10 of the web maps because they had similar characteristics. Two apps were 
omitted because they could not maintain funding and failed to get into the market. Finally, after these exclusions, 
we had 6 digital platforms with unique characteristics.  
 
A semi-structured 1:1 interview with the app and interactive map developers through Zoom was conducted and a  
questionnaire was sent via email to those who were not available to meet on Zoom. Additionally, articles, videos, 
and website reports related to the apps or interactive maps were reviewed. The app contents were then analyzed 
based on: 1) team expertise — to see how they used different experience backgrounds and how it leads to a more 
user-centered experience for the digital platform, 2) aim — to explore why they designed the app, 3) user 
interactivity — to explore how the users can interface with the map and what content they will be exposed to, and 
4) methods of data collection of each app or web map — to understand the extent of the research behind the app 
or interactive map. Based on the analysis, a spatial user centered design (SUCD) framework for designing literary 
and film-based maps with a cartographical lens was proposed. The framework links literary and film geographic 
theories to digital practices in order to help people explore “space” with all of its complexities. Finally, a model of 
a literary/film app based on the SUCD model was proposed. 
3. Analyzing Literary and Film Geography Course Syllabi 
Twenty-five syllabi in three different groups including "literature and city," "cinema and city," and "literature and 
film" were imported to the MAXQDA 2020 software. The software allows researchers to do hermeneutical analysis 
by coding different segments of the text. It also helps researchers to understand the relations between the defined 
codes [66]. The three main code categories, as mentioned, were perceived space, conceived space, and lived space. 
After close reading the courses, the main categories were broken down into different subcategories, as shown in 
Tables 1- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Table 1- codes for Conceived Space  

6 
Conceived space  
Codes 
Segments  
Media as 
Representational Tool  
The first aim is to consider film as a geographic practice  
How have filmmakers developed a visual language to evoke viewers' experiences of inhabiting and moving 
through space, to transport them to new places? [29] 
Optimistic and pessimistic portrayals of cities and city living are presented in classic and modern films [30] 
Cinema both emerged out of modern urban life and provided spectators with new ways to see and reflect on 
urban experience  
This class investigates the interaction between cinema and the city by probing the way that film imaginatively 
engaged with urbanity as both an evolving physical and technological environment and a way of life  
How urban representation has been sustained and transformed within particular international film genres 
and modes, including the city symphony, slapstick, noir and detective thrillers, the musical, and science fiction 
[31] 
The twentieth century's ideas of the city are closely tied to its representation in the paradigmatic modernist 
medium of film, and the course will illustrate changing understandings of urban space over time [32] 
In return, the film industry has held a mirror up to the American city, sometimes enhancing, sometimes 
distorting, sometimes oversimplifying its complexities, exploring its realities, confirming and disconfirming 
its myths, always adding to the lore of urban life and influencing the popular consciousness of it 
The beginning of film as a medium of mass entertainment emerged in the last years of the 19th century, 
contemporaneous with the maturation of many American cities into their current metropolitan form [33] 
How are cities represented in films? [34] 
Using film as a lens to explore and interpret various aspects of the urban experience in both the U.S. and 
abroad, this course presents a survey of important developments in urbanism from 1900 to the present day 
[35] 
Students will explore the ideas and representation of the city and the urban experience in literary texts from 
diverse cultural contexts. [36] 
We will probe the city by way of its literature and texts and examine the complementary reflection of a direct 
experience of the space found in the books [37] 
It is a course on how cities are represented in cinema, and a variety of attitudes toward cities in different films 
will be explored  
what attitude the film takes toward the presence of the city.  
It is a film course, and will try to show how films create feelings and express meanings through the materials 
of cinema, compositions and camera movements and light, rhythm and editing and sound [38]) 
Throughout the course we will examine the ways in which New York City as a place, and as a place composed 
of a myriad of places, is represented through the camera’s lens and the director’s vision [39] 
Representations of cities in art, literature, and film [40] 
What does it mean to read or write a city? How might your answer change depending on whether the focus is 
on urban architecture, people? history, climate, design/planning, cultural production and institutions, 
political activity, lived everyday experience, etc.?  
Our seminar seeks to explore their connection as it relates to the emergence and global spread of the modern 
and contemporary city  
How has the spatial and social organization of the modern city informed the thematic and formal choices 
writers make?  
How do the density and scale of the urban built environment impinge on the way writers view the world and 
tell their stories? What genres seem best suited to rendering urban life? Is the city the defining context of 
modern literature or its implicit if barely human hero? To what extent is the global diffusion of the novel form 
related to the growth of urbanization? [41] 
The final strand will explore how and why the changing nature of the modern city and cityscape has shaped 
and variously altered our readings of texts (and understanding of textuality) and vice versa.  [43] 

7 
 
Conceived space  
Codes  
Segments  
Cinematic Techniques 
We will closely consider the ways that various techniques of framing, camera 
movement, cutting, and assemblage of elements (mise-en-scène) construct cinematic 
space [44] 
It is a film course, and will try to show how films create   
feelings and express meanings through the materials of cinema, compositions and 
camera   
movements and light, rhythm and editing and sound [38] 
Modernism and Montage [31] 
Such cinematic effects as montage, movement and subjective camerawork, combined 
with the organizing structures of narrative, will be seen as integral tactics toward 
understanding the city as a complex, lived environment [32] 
How the filmmaking process (camera movements, lighting,   
dialogue, acting, etc.) is used as a method to describe space (filmmaking as a 
geographic method [39 
Skyscrapers  
Views from Above and Below, Changing conceptions of the Modern City [45] 
Suburbs 
Suburbs Vs Cities [30] 
Subcultural Space, Penal Space, Spatial Appropriations 
American Derivé – The Suburbs and Alternative Spatial Practices, The Dualized City 
[43] 
Long parallel lines of horsecar and streetcar racks pushed out from the city centers 
to the open land where residential suburbs began to grow 
Myths and realities of the American suburb [33] 
The Farm and the City  
The urban conquest; the machine in the garden [33] 
Displacement and Immigration 
Political Displacement via Gentrification (Emory University) 
Narrative of Decay and Urban Blight (Urban Renewal in 1960s) [34]  
Houselessness and gentrification [39] 
Dispersal and Houslessnes [31] 
Sizzling New York – Vibrancy and the Melting Pot  
This course will investigate a wide range of works based in the city of New York, from 
the early days of the U.S. republic to the heyday of immigration and the terror of 9/11 
[46] 
Changing Demographics and Immigration [47] 
Immigration and national identity  
Shifting borders and global migration, and identities marked by legacies of slavery 
and colonization. We will also attend to the many ways in which contemporary city 
novels question the lines between local and global, home and exile.  [42] 
Industry moved in downtown, and the middle class moved out, leaving their own 
houses or properties to be occupied by foreigners and migrants from the countryside 
[33] 
 
 
Table 1- codes for Conceived Space  

8 
 
 
 
Conceived Space  
Codes  
Segments  
Climate Change  
Climate change and sustainability (Rutgers University) 
Climate change and super storms  
Environmental degradation  
How distinct are the lines between urban/environmental and the built 
environment versus natural environments? How does climate change challenge 
these divisions in the contemporary novel?) 
Nature and the City [35] 
Metropolis and Modern city  
Metropolis and modernity [36] [53] 
Abstract Space, French Modernization [45] 
The rise and decline of the utopian precepts of architectural modernism will be 
traced 
The Modernist City  
The Utopia of the Modernist City  
The Dystopia of the Modernist City: Metropolis and Warner Bros. Cities of the 
1930s  
The Totality of the Modernist City [32] 
This course familiarizes students on an advanced level with key concepts and 
literary texts about the city. It aims to provide insight in and knowledge of the 
historical connections between modernity and the imagination of urban space 
[48] 
Symphonic modernity, complicated modernity, City Symphonies 
Public Spaces and surveillance (University of Southern California) 
Modernism in architecture and urban planning [34] 
Modern Sinophone Cities [31] 
The city as disciplinary and social control [34] 
The City and the Machine: The changing structure of American industry; the 
relationship of industrialism to urbanization [33] 
The Country and the City   
The world has moved from one characterized by rural settlement patterns and 
provincial lifestyles to one dominated by urbanization, industrialization, 
immigration, and globalization. [42] 
The Dark Side of the Small Town, the small town versus the city  
The Small Town in American Imagination  
The enduring myth of the small [33] 
 
 
 
 
Table 1- codes for Conceived Space  

9 
 
Table 2: Codes for Perceived space  
Perceived Space 
Codes   
Code Segments  
 
 
 
 
 
 
 
 
 
 
 
 
 
Diversity and Inclusion  
The Quintessential American City? [46] 
Both the city and the cinema grew with the influence of massive waves of immigrants: in the case of 
the city composing a rich stew of ethnic flavors; in the case of the film industry providing 
entrepreneurial life blood as well as audience 
The Immigrant, The Cinema and the City: Course Overview [33] 
North America: Race Relations  
North America: Immigration and Assimilation 
Europe: Changing Demographics and Immigration  
Ethnic Violence Its Underlying Causes and Manifestations [47] 
A War on Drugs or a War on the Racialized Working-Class? [49] 
The cinematic city is an arena of social control and discipline, but also a site of pluralistic diversity, 
historical memory and social liberation; a society of the spectacle but also a place to make and 
remake one's self [32] 
The city provided the technical advances, a vibrant soundstage of streets and crowds, and varied 
lifestyles to mine for dramatic conflict  
Many American cities doubled their populations; millions of South and East European immigrants 
brought their unfamiliar languages, religious institutions and cultural customs to create diversity 
such as the nation had never before seen {33} 
Race and Space, Race and Representation  
What does it mean to be at home in a city versus a foreigner, and at what points do those lines blur? 
How do cities raise questions of belonging along different scales—from the neighborhood to the 
national to the transnational or global?  [42] 
Race relations in 1980s New York [34] 
Technical Cinematic 
Techniques 
Virtual spaces/spaces mediated by technology/imagined or artificial or fictionalized spaces (such as 
stories within the story, films, books, artworks, or news stories [35] 
Utopian and Dystopian Cities [34] 
We will also track the representation of the city into the realm of cyberspace, where it still functions 
as a site of navigation, perception and self-redefinition 
The Postmodern city? 
Cinema and cities both offer utopian built environments of vast perceptual and experiential richness 
[32] 
The city of the Future: The urban dystopia; The overdeveloped society (San Jose State University) 
Dystopias [31]  
Post apocalyptic Imaginary [50] 
We will especially attend to the revolutionary impetus in dystopian critiques of urban space and 
urban utopias posited by the films [51] 

10 
Perceived Space 
Codes   
Code Segments  
Gender and Space    
Defamiliarization Intersectionality: Race, Class, and Gender [42] 
Mobilizing Sexual Identity [49] 
Another strand will explore forces that reshaped sexuality and gender roles in the modern American 
city and novel 
A third strand will examine the male literary metropolis [43] 
Social and Political Issues  
The Political Economy of the cities [30] 
Urban Politics: New Style: The contemporary machine; politics and the media 
Urban Politics: Old Style: The urban political machine in America; Ethnicity and political 
participation [33] 
East Asia (War Ethics) [47] 
The films will illustrate the development, use, and/or consequences of political power in urbanized 
areas of the United States, urbanized areas elsewhere (i.e., Paris, and Rio de Janeiro 
Origins of Contemporary Political Cleavages in the USA [49] 
The dynamism of metropolis [34] 
Social and Cultural Issues   
Demonstrate an understanding of the key questions of representation and imagination of urban 
space [48] 
Social problems in the city 
Political economy and sociocultural dimensions of cities and urban society  
Lifestyles in the City: class and the urban process  
The city as a social backdrop and cultural icon[30] 
Subcultural Space, Penal Space, Spatial Appropriation [45] 
Social class and the urban process [33] 
The Uncomfortable Classroom: Incorporating Feminist Pedagogy and Political Practice into World 
Regional Geography 
North Africa/Southwest Asia:  Fundamentalist Islam and Women [47] 
We will investigate the social issues of New York City and the ways in which they are portrayed on 
film [39] 
Speed  
The City in Motion - Transit and Automobile Space, The American City of the 1970s [45] 
The Machine in City; The City as Machine [34] 
Bodies, Machines, and Motion [31] 
 
 
 
 

11 
Table 3: Codes for Lived Space  
Lived Space 
Codes   
Code Segments  
 
Black Identity 
 
  
The Harlem Renaissance – Double Consciousness and Urban Black Identity [46] 
Identities marked by legacies of slavery and colonization [42] 
American City of the 1970s 2, Blaxploitation and the Ghetto [45] 
Street 
“Violence from Above” and Contentious Politics from Below [49] 
How many different uses and functions can you find for the city streets (i.e., transportation, site of 
public protests, etc.)? [42] 
The street as discursive space [50] 
As places where the best and worst parts of humanity converge, cities are huge, unwieldy signifiers 
capable of containing a multitude of meanings—as centers of cultural and economic production, as 
social experiments, as the sources of moral decay, as breeding grounds for crime, and as sites of 
multicultural exchange [40] 
Flaneur 
Anti-Architecture, Detective Fiction, flâneur, Labyrinth, Legibility, Madness, Postmodernism, 
Textuality [46] 
We will walk alongside narrators and characters as they wander city streets leading through New 
York, Mumbai, London, Kingston, Brussels,  
Vancouver, Phnom Penh, Philadelphia, Lagos, and Los Angeles [35] 
A society of the spectacle but also a place to make and remake one's self (Stanford University) 
Flaneur, Walking the city 
The invisible Flaneur [52] 
Alienation 
The Bright City: Coney Island as Urban "Other" [32] 
Lifestyles in the City: Alienation  
Urban Anomie [42] 
Marginalized Groups 
How the Other Half Lives – New York and Its Dark Side [46] 
In what ways do cities open themselves up to some inhabitants and not to others; where are the 
visible and invisible fault lines that divide, re-route, stall, or prevent access to certain individuals and 
groups? [42] 
We will focus on groups of people often marginalized: certain ethnic and racial groups, women, and 
the economically disadvantaged [47] 

12 
Lived Space 
Codes   
Code Segments  
Contradiction 
“New York is a different country,” the entrepreneur Henry Ford once quipped. Throughout its 
history, the ‘Big Apple’ has been characterized as both an ‘independent space’ in its own right and 
the epitome of the ‘American Dream.’ It is part of this ambiguous rhetoric that the city has come to 
symbolize ‘Americanness’ (being the first U.S. capital), but also  
globalization (‘The World’s Business Capital’). Perhaps more than any other place in the U.S., NYC 
lends itself to such  
contradictory projections [46] 
The city as represented in literature captures some of the generative and degenerative potential of 
modern civilization and its unprecedented capacity to foster joy and terror, stimulation and 
alienation [43]  
We will also attend to the many ways in which contemporary city  
novels question the lines between local and global, home and exile [35] 
South Asia:  
Tradition and Modernity in a Globalizing World [47] 
Cities are places to appear and disappear, to emerge and submerge [32] 
American city, sometimes enhancing, sometimes distorting,  
sometimes oversimplifying its complexities, exploring its realities, confirming and disconfirming its 
myths, always adding to the lore of urban life and influencing the popular consciousness of it 
The celluloid image of urban life is often one of a place of contradictions: of great achievements and 
failures, hope and despair, community and loneliness, freedom and enslavement, harmony and 
discord, power and impotence, security and fear [33]  
Memories and Emotions 
The Music of the City – Ragtime, Jazz, and Nightclubbing  
Brooklyn, Diaspora, Humor, Jewish Community, LA vs. NYC, Art Spiegelman. 
The Romantic City [46] 
Sites of memory [36] 
Shock & Sensation [31] 
The Syncopated City 
History and Erasure [32] 
The Syncopated City [34] 
Sex in the City  
Sound and Space: Designing for the Horror and Science Fiction Film 
City as Musical [50] 
The city as where the heart is [30] 
Children 
Growing Up in the City: Nature vs nurture in the city [33] 
Kids are not alright [50] 

13 
Lived Space 
Codes   
Code Segments  
Crime and Terror 
Organized Crime, the Urban Jungle, and Noir Aesthetics 
Asphalt Jungle, Batman series, CSI, Corruption, Police, Prohibition, Reality Effect [46] 
Urban crime and ghost stories, and stories that represent the city as a place in which different species 
converge [43] 
Terrorism and drone warfare 
Forms of violence, variously defined [35] 
Dark cities  
The Bright Dark City [32]  
Noir cities [31] 
The Violent City: crime, violence and urbanization [33] 
Humans as Subjects 
How exactly do cities get not merely mapped but also emplotted? What kinds of urban spaces and 
city-dwellers become the privileged focus of  
modern fiction and poetry? [41] 
A new world opens up, and we must find ways to orient ourselves and make sense of it all (MIT) 
Modern Woman [31] 
It will be about cities themselves, how we see them and navigate them and remember them, and how 
we might redesign them [38] 
 
 
 
As Table 1 shows, for conceived space, the segments that were coded  are mostly related to ideologies, rules and 
regulations which shape and control space. Codes include: Metropolis and Modernism, which refers to modernism 
as an ideology that has had a profound influence on city shape and also on social relations in the city [68]. Then we 
have Climate Change and Immigration and Displacement, which are mainly the results of the rules defined by 
planners. We include Suburbs, the Farm and the City, Small town, and the Country and the City, and Skyscrapers, 
which are formed by zoning regulations prepared by technicians and planners. We also categorized Media 
Representations and Cinematic Techniques as conceived spaces since they are also produced by the dominant 
power of the society [67].  
For perceived space, the segments which were reviewed were those that best represent how people remember the 
space in their daily lives. Codes include Diversity and Inclusion, which mainly relates to immigration and race 
relations, and the Future City, for how people envisage the future, how technological advancement helps them to 
imagine the future, and how they live in technological-made spaces like cyberspace. For Speed, we considered 
segments that demonstrated how driving a car changed people’s perception of their surrounding area. Social and 
Political issues refers to how political issues changed people’s behavior. Social and Cultural issues indicate social 
representation of the city such as social class. In the Gender category, we considered codes that deal with different 
experiences of people based on sex.  
In lived space, segments that were considered were those that demonstrate how individuals shape their own space 
with their own culture, character, et cetera. Codes include Black identity which refers to how Black people define 
their presence in urban areas and Streets as a place which people can manipulate and use for protests and social 
gathering, among other activities. The other code is Flaneur for those segments which are about a person who 

14 
develops their character in relation to their experience in the city [69], and Alienation for the codes which are 
related to the sense of isolation in the modern city [70]. Contradiction is considered for the segments that illustrate 
the differences and conflicts in the modern city. Marginalized Group refers to people who have been invisible in 
urban decision making process such as some ethnic, race groups, women, etc. We also coded Children as a specific 
code because of their importance in urban areas and the efforts—such as Growing up in cities [71]—that have been 
initiated to create more child-friendly spaces. Crime and Terror refers to unsafe and menacing urban spaces. 
Memories and Emotions touch on any sort of emotional interaction or social bonds that people develop with the 
city. And finally, Humans as Subjects reflects how humans interconnect with space.  
In reviewing the course assignment, the content was coded into five categories shown in Figure 2. According to the 
chart, the main learning aim of these syllabi is improving social and cultural knowledge that is more related to the 
“lived space.” Even in courses that are taught in the art or film studies department, the film skills which students 
learn with film and the city courses are about cinematic techniques that can portray people’s emotions, experiences, 
and daily lives during different periods of time. 
 
Figure 2: Learning objectives of the twenty-five course syllabi, produced by MAXQDA 2020 
 
 
Reviewing the course content and learning objectives demonstrated that the main focus of the courses is what we 
categorized as lived experiences. As mentioned, lived experience refers to the free spaces in which people can create 
memories, experience different feelings, or roam around. The role of the user in shaping lived experience is very 
critical. For the assignments, as shown in the Figure 3, the majority consist of a research paper followed by a field 
trip. The research paper assignment is mostly around analyzing a literary text critically by exploring the 
representation of the city and the spatial features in it. The research assignment also includes comparing and 
contrasting city representations in different texts or films, or cinematic techniques that create emotion and 
meaning. The fieldwork assignment is mostly observing an urban space as described in fictions by using mixed 
social or other digital media or applying different perspectives. Students are also asked to talk to people in the field, 
understand their point of view and write up their stories, or to describe a scene of city life that the students have 
experienced or discover the history of the place by reading plaques, inspirations, old newspapers, or talking to 
people. Another aspect of the fieldwork assignment is to explore political and aesthetic problems in the city by 
attending in a political event or meeting.  
While both the research paper and the fieldwork assignment aim to engage students in discovering “space” in all of 
its aspects including lived, conceived, and perceived space, the main focus is on the lived space as students are 
encouraged to go beyond the physical features of the space and explore how people experience the city.  
 

15 
 
Figure 3: Types of the assignments of the twenty-five course syllabi, produced by MAXQDA 2020 
 
 
 
 
 
 
With this in mind, we reviewed the apps to explore the extent to which they considered lived experiences among 
other spaces in their content and how they approach users in their design. We created our Spatial User Centered 
Design framework (shown in Table 4) based on codes we defined for the syllabi. The codes incorporate “spatial” 
information that users need to elevate their spatial experiences. This framework can be used for designing digital 
platforms related to literary and film geography.  
Table 4: Spatial User Centered Design 2(SUCD) Framework  
Types of space 
Implications  
 
Conceived Space  
 
  
Media as Representational Tool, Skyscrapers, The Country and the City, Displacement and 
Immigration, Technical Cinematic Techniques, Suburbs, the Farm and the City, Suburbs, Metropolis 
and Modernism, Climate Change  
Perceived Space  
Diversity and Inclusion, Speed, Social and Cultural Issues, Social and Political Issues, Future City, 
Gender and City 

16 
Types of space 
Implications  
 
Conceived Space  
 
  
Media as Representational Tool, Skyscrapers, The Country and the City, Displacement and 
Immigration, Technical Cinematic Techniques, Suburbs, the Farm and the City, Suburbs, Metropolis 
and Modernism, Climate Change  
Lived Space  
Black Identity, Alienation, Marginalized Groups, Contradiction, Flaneur, Street, Children, Crime and 
Terror, Humans as Subjects, Memories and Emotions  
 
 
 
4. Analyzing Literary and Film Geography-based Digital Platforms 
 
We reviewed the digital platforms related to literary geography to explore how these apps are designed and what 
content they deliver to the users. Our analysis is shown in Table 5. 
 
 
Table 5: Analyzing map-based apps and interactive maps  
Digital Platforms   
Team Expertise 
Aim 
User Interactivity 
Methods of Data 
Collection 
Mappo/ 
Mobile 
app  
Initiated 
by 
a 
software developer 
a navigator and a 
book 
lover 
[72]. 
Now includes AI, 
NLP 
specialists, 
product 
designers 
and 
business 
developers [73] 
Mapping 
culture 
related 
points 
of 
interest 
(including 
books, 
music, 
podcasts 
and 
movies), a point of 
interest 
-Presenting 
uniqueness of every 
place to pedestrians 
and drivers [72,73] 
Listening 
to 
quotes, 
podcasts, explore and learn 
more about the place and 
other 
contents, 
share, 
comment and like, follow 
recommended and popular 
routes, create personalized 
routes, save, and purchase 
items (novels, films) 
Data 
were 
collected 
automatically 
with 
a  
Named 
Entity 
Recognition algorithm in 
machine learning. Fifty 
thousand 
points 
of 
interest were collected, 
and people can also add 
their 
own 
points 
of 
interest. [72] 

17 
Digital Platforms   
Team Expertise 
Aim 
User Interactivity 
Methods of Data 
Collection 
JoyceWays/ 
Mobile app 
The 
project 
was 
done 
by 
Boston 
college students in 
different majors as 
part 
of 
their 
assignment 
and 
their 
research 
project. They were 
responsible for the 
marketing, 
designing the layout 
of 
the 
map, 
photography 
and 
organizing the app 
content [78] (The 
app is not available 
on 
App 
store 
anymore)  
Joseph Nugent an 
English professor at 
Boston College came 
to this idea to teach 
Ulysses 
more 
effectively and also 
he believed that if 
students 
collaborated 
in 
making the map, they 
would 
produce 
knowledge 
and 
improve 
the 
field 
[78] 
Quotations from Ulysses 
with contemporary photos, 
cartoons, quick facts and 
images of today (such as 
bars and pubs which  are 
somehow associated with 
James Joyce and his works). 
The app also includes video. 
People 
can 
not 
comment/like/share or add 
their own information [78] 
Data 
was 
collected 
manually 
by 
reading 
Ulysses. 
100 
locations 
were identified from 6 
chapters of Ulysses and 
were located on the map. 
They chose 6 chapters 
which had the richest 
geographical implications  

18 
Digital Platforms   
Team Expertise 
Aim 
User Interactivity 
Methods of Data 
Collection 
StoryTourists/ 
Mobile app  
Initiated 
by 
humanities, and a 
game 
developer, 
and continued with 
marketing 
and 
graphic 
design 
people [75] 
Johanna 
Forsman, one of the 
founders, wanted to 
share one of her 
favorite 
books, 
Goodbye to Berlin,  
with her partner and 
cofounder of the app, 
Andreas Jansson.  
Johanna 
located 
the spots where the 
narrative of the book 
takes place and had 
Andreas sit down and 
read those passages 
of the book while in 
those places. Andreas 
liked the idea and 
they decided to turn 
it into business [75] 
Solve intricate puzzles, 
trigger 
sounds 
and 
animations and search for 
clues 
in 
immediate 
surroundings 
-Listen to audio books 
-Camera feature which 
lets users compare the way 
the story’s city looks at 
present to the way it looked 
during the story’s time 
period. 
There is no function 
within the app to let users 
add any type of content [75] 
This is a gamified app, 
and for each story there is 
an exclusive design. The 
user takes a role, and the 
narrator also has a role 
guiding the user through 
the tour and helping them 
to solve puzzles and learn 
about locations. The data 
are provided by reading 
the books that they base 
their tours on and we 
then write an adaptation 
script of the story where 
they essentially fit an 
entire book into a 1.5 
hour format. This is done 
manually. Each StoryTour 
has its own script. Most 
tours include around 10 
points 
of 
interaction, 
where 
different 
interactions are triggered 
depending on what is 
available in the physical 
surroundings 
(statue, 
plaque, et cetera). All 
interactions are either 
puzzles, 
images, 
animated sequences, or 
sounds[83] 
Toronto 
Film 
Map/ 
interactive 
map  
An assistant media 
archivist 
and 
a 
geographer 
and 
media 
specialist 
[79] 
The idea came from a 
similar 
novel-based 
interactive 
map 
at 
the Toronto Public 
Library: 
The 
team  
gathered information 
based 
on 
the 
available sources in 
the library and media 
commons 
Users can click on the 
points and a popup 
window will show 
information about the 
address, the film 
synopsis, director, 
production year, and 
if it is available in the 
media commons.  
There is no tab that users 
can provide information on 
or 
change 
the 
current 
information.  
They 
gathered 
information based on the 
available sources in the 
library 
and 
media 
commons [79] 

19 
Digital Platforms   
Team Expertise 
Aim 
User Interactivity 
Methods of Data 
Collection 
Cultural 
Atlas 
of 
Australia/ 
interactive 
map 
(CAA) 
The 
project 
was 
initiated 
by 
ARC 
Discovery Grant. It 
was carried out by 
Peta Mitchell – a 
geography 
professor and one 
of 
 
the 
main 
founders 
at 
the 
university 
of 
Queensland 
Designed to meet the 
needs 
of 
anyone 
interested in tracing 
the ways in which 
Australian places and 
spaces 
have 
been 
represented 
in 
fictional texts [74] 
They click on the places and 
they can read the name of 
the 
place 
and 
some 
information 
about 
the 
novel/play or film. There is 
a tab in the website where 
users can contribute to the 
map making.  There are also 
other 
sources 
of 
information on the website 
for the places or topics. For 
instance, in the ShowCase 
tab users can learn more 
about ecological themes in 
Australian films and novels 
According to Mitchell [80] 
close reading of texts that 
were set in Australia and 
focused on space and 
place and were either 1) 
films that had had a 
mainstream release, 2) 
plays 
that 
had 
been 
performed or organized 
by a major company, and 
3) novels that had won 
major awards (because 
there are more novels 
than films or plays). They 
also focused on texts that 
had multiple adaptations 
(for example, novel and 
film).  
 
They 
used 
the AustLit 
database to help them 
determine their sample, 
particularly when it came 
to novels, but the sample 
was ultimately a highly 
selective 
and 
non-
representative 
one, 
focusing on texts that 
would 
provide 
rich 
readings for them. They 
also looked at primary 
and high school curricula 
to see which texts were 
on set reading lists, so 
their selection was also 
always thinking about 
what 
narrative 
representations 
of 
Australian space young 
Australians were being 
exposed 
to 
in 
their 
schooling [80] 
 

20 
Digital Platforms   
Team Expertise 
Aim 
User Interactivity 
Methods of Data 
Collection 
Lord of the Rings 
interactive map  
The developer is a 
huge fan of Lord of 
the 
Rings. 
His 
background is in 
chemical 
engineering   
Emil 
Johansson, 
a 
huge fan of LOTR , 
first published the 
genealogy, and he 
received hundreds of 
emails, from teachers 
which want to use it 
for 
education, 
or 
hotels emailed him to 
put it on the wall of 
hotel. And then the 
project found its way 
to the press. Then he 
decided to put the 
timeline next to the 
map and add more 
features to the map 
Users can see the routes, 
places, forests, et cetera by 
clicking on them from the 
left menu; from the top 
menu there are tabs which 
users can explore other 
non-geographical 
information such as a family 
tree, statistics, a geolocated 
time line of the events, et 
cetera. Users can not add or 
manipulate 
the 
map, 
navigation is restricted    
The data was gathered by 
developers’ readings of 
the Lord of the Rings 
books  
 
 
 
 
 
According to Table 5, It can be understood that the represented information in these platforms is largely focused 
on fundamental physical geographical concepts such as relative location, distance, scale, et cetera, reading excerpts 
of novels, exploring the locations of films pinpointed on the maps, or generally what this paper categorizes as 
“conceived space” in the syllabi. Some of the apps (Mappo and CAA) [73,74], which let users add places or 
information to the maps, are mostly representing perceived space as it relates to remembering places that people 
have already visited and might want to recommend to others. Creating personalized routes is based on the 
information which already is presented on the map. Restricting users from changing the map or creating their own 
map has made the user centered experience challenging as people are not able to share their own experiences. In 
designing these apps, it is hard to maintain “geospatial” information while including “literary” and “film” 
information, as most of these apps or interactive maps have been developed based on developers' passion for books 
or films [73,75]. For instance, Dedi Zucker, Mappo CEO, said that they started with the name “Books of Maps,” but 
as they moved forward they realized that their scope is much greater than books [72]; and Lundin [75], marketing 
and community manager of StoryTourist, says that the “idea behind StoryTourist is that the user should be able to 
step inside their favorite story. Everyone loves a good story.” Depending on the users, the research behind the 
design is different. For instance, for CAA, the additional information about the points of interest is included in PDF 
and JPEG photos to give users different environmental, social, and cultural layers of geography to meet their target 
users, who are researchers. For the other apps, when users click on the points of interest a popup window shows 
up with information about that point. Teams on these digital platforms are mostly literary analysts, software 
developers, and marketing analysts. Only two interactive maps [74,76] have cartographers and geographers on 
their production team and that has also influenced their content creation. As shown in Figure 4,  users can get 
clustered information both in terms of film and geolocation on the Cultural Atlas of Australia interactive map while 
other platforms do not provide these types of information. In CAA [74] users can also zoom in and zoom out or 

21 
navigate through the map and find more points of interaction. In Mappo, users can navigate the map in relation to 
their own location. The app also allows them to choose their journey based on their interests. The app also has a 
voiceover, which makes it more accessible to different groups of people. StoryTourist and JoyceWays are mainly 
centered on entertaining users by engaging them in different VR or AR games, as their target users are Joyce lovers 
and game lovers.  The target users for StoryTourists are tourists and the app provides a self-guided literary based 
app for them. The Lord of the Rings project centers on the specific group of users’ needs, and has a great amount of 
classification of Middle Earth characters, timeline of events, et cetera. However, users’ interaction is limited to 
choosing routes and seeing them on the map, and navigation, as shown in Figure 5, does not give users any extra 
information. Reviewing these apps reveals that, contrary to literary and film geography theories in academia, the 
information in these apps is mostly concerned with literary or film information. Some of them include excerpts of 
the book but without any spatial analysis. These apps mostly prioritize creating an immersive experience for users 
to delve into stories and films, while they are in the physical spaces in which the story or film takes place. 
 
 
 

22 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Figure 4: 
Geolocated types of 
information offered in Cultural Atlas of Australia, retrieved from: http://www.australian-cultural-
atlas.info/CAA/showcase.php?id=EcologicalThemes 
 
Figure 5:  Interaction in the Lord of the Rings interactive map is restricted to clicking on the left menu to see the information. Users can 
not click on the route to get more information. Retrieved from: http://lotrproject.com/map/#zoom=4&lat=-
1185.66666&lon=1198.33334&layers=BTTTTTTTT 
 

23 
5. Analyzing Literary and Film Geography-based Digital Platforms 
Based on the SUCD framework, a model has been designed for a literary/film based app. The focus of the model is 
on 
“spatial” 
knowledge, 
to 
help 
users 
learn 
about 
“space” 
through 
a 
story 
or 
a 
film. 
 
To model the framework, we had to choose a film. To find the most popular movies among possible target users, 
the first author of the paper lectured on film and literary and film geography to the First-Year Seminar course at UC 
Davis in Fall 2018, and as part of the lecture asked students to name some films that best represent their lived 
experiences. Lady Bird (2017) was the most frequently mentioned film. The film was watched and the spatial 
information was categorized according to SUCD framework. Then a prototype of a digital platform was designed in 
Adobe XD 2020. Figure 6 illustrates the information architecture of the app.  
 
 
 
 
 
 
 
 
 
 
 
Figure 6:  Information architecture of the proposed app  
 
 
When users sign up, they first read about the idea behind designing the application and then are led to a page 
explaining the three categories of space. They can choose each category and read the explanation of subcategories. 
The app will take them to a page where they can select a city, film, or novel. After choosing their preferred medium, 
they are directed to a page containing a short introduction to the film or novel. On that page, users can explore each 
of the three categories and subcategories. Each of them represents a specific layer of spatial information.  
Figure 7 represents exploring lived space in the film Lady Bird in the app. 
 

24 
 
Figure 7:  some parts of the user’s journey when they choose Flaneur. When they choose Flaneur the following map pops up so they 
can choose the district or two other locations. By clicking the location for “Blue House” they will be led to Lady Bird and her friend 
Julie’s experiences roaming around the Blue House.   
 
 
As shown in Figure 7, based on watching the movie, the content was categorized to three subcategories for lived 
space: Alienation, Contradiction, and Flaneur (shown on table 4), then the content of the app was designed based 
on these three categories. In Figure 7, the user's journey has been illustrated for the selection of the Flaneur 
subcategory. To keep users engaged in exploring all different spaces,  when they finish a journey, they will deliver 
a badge (shown in Figure 6). The app also lets them share their own thoughts and experiences. We did our first 
initial round of expert interviews for the app. According to the interviews, we found that the app can be applied in 
educational realms, by individuals, and by tourists in the entertainment industry. 
 
6. Conclusion 
  
Employment of cartography in map-based applications can bridge the gap between academic literary and film 
geography and digital practices. The SUCD framework can be applied in geographical learning environments, as 
well as in tourism and entertainment. It will broaden users' experiences to more than interaction, to learn about 
“space” that they live in and map their own spatial practices. The proposed SUCD framework empowers users and 
prepares them for engaging more in making their space. Future research is needed on feasibility of the data 
collection and analysis of the map using computation methods.  
 
 

25 
 
ACKNOWLEDGMENTS 
We wish to thank Nikki Yang, a senior Sustainable Environmental Design student, for her valuable contributions to 
the 
project.  
 
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