In Toward a Geo-Cinematic Hermeneutics, David E. James (1998) uses a "geo-cinematic hermeneutic" as a framework to explore the spatiality in which a media production is set but also the spatialities in which it came into being (p. 23). A geo-cinematic hermeneutic permits us to explore the ideology that is behind a movie. The spatial representations of race relations in Clint Eastwood's (2008) Gran Torino reflect different ideological attitudes. Location serves both through dialogue and visual imagery to play a significant part in understanding the ideological message of Gran Torino. Film critic Roger Ebert (2009) maintains the message "Is about Americans of different races growing more open to one another in the new century" (p. 2). The landscape plays a part in this and its spaces and places are reconstructed to reinforce the message.
Geo-cinematic space is used to reinforce the transition in Walt Kowalski, whose better nature flowers once he recognizes he loves his neighbors more than he loves his own relatives. Formerly, Kowalski's neighborhood was filled with blue-collar immigrant workers employed by the auto industry. Now, the neighborhood is filled with a population of Hmong immigrants from China, Thailand, and Laos. That these individuals fought on our side during Vietnam locates them spatially as "friendly," despite Kowalski still viewing them as the enemy. He calls Sue "Dragon Lady" and tells one gang member, "I used to stack fucks like you, five feet high in Korea, use ya for sand bags" (Eastwood, 2008). Spatially and verbally, then, the message that race relations are changing or need to change is located geo-cinematically.
Seven different locations were used in Michigan during the filing of Gran Torino. The seven were (1) Detroit; (2) Grand Rapids; (3) Grosse Pointe Park; (4) Grosse Pointe; (5) Highland Park; (6) Royal Oak; and (7) Warren (Eastwood, 2008). Michigan Film Production...