Cinema geography comes alive with an interactive map linking films to real places

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The Kino-Teatr portal has introduced an interactive map that highlights locations used in well known films, TV series, and notable film events. This development is reported by a respected regional newspaper, underscoring the growing interest in cinema geography and the way screens connect with real places. The project aims to assemble the most important moments of Soviet and Russian cinema onto a single, accessible platform, turning scattered memories into a cohesive resource for fans and scholars alike.

Creators, screenwriters, online cinema operators, and film studios can contribute by adding venue addresses to the map and enriching each entry with fascinating background details and photographic material. Examples already noted include films such as How I Spent This Summer, Whale Hunter, and Exit, which were filmed in Chukotka and drew attention at international festivals. The Epidemic series, shot in Karelia, is another case in point, illustrating how geographic variety has long shaped Russian storytelling. These entries help paint a broader picture of where cinema happens and how landscapes become character in a story.

With user authentication, regular viewers will eventually be able to add their own markers for locations they recognize from their favorite projects. Once established, the platform aspires to grow into a network of travel cinema routes that link the geographic footprints of films with experiential itineraries. In practical terms, travelers might follow a path that traces the places seen on screen, reconnecting with scenes and moments that resonated on big and small screens alike. The concept aligns with a broader trend of audience engagement through location-based storytelling and immersive media exploration.

Prior to this launch, cultural institutions have also announced related initiatives. For instance, the Bakhrushinsky Museum recently released a sticker pack featuring slogans from Ostrovsky’s plays, reflecting a parallel mood of blending theatre heritage with modern forms of audience participation. This sequence of announcements highlights how institutions across cinema and theatre continue to explore new ways to present classic works to contemporary audiences and pastry new connections between text, performance, and place.

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