Geographers' interest in film has increased during the last 20 years. Methodological and theoretical perspectives tend, however, to be bipolar and reflect either cognitive or social approaches. Work reflecting these approaches is reviewed with geographic research grounded in transactionalism and postmodernism as examples. A geographic view of film that recognizes the importance of more than one theoretical framework, positions the cognitive and social in a continuum reaching from the individual to the societal, and makes traditional notions of scale antiquated is recommended. Research by geographers contesting the assumed objectivity in documentaries is reviewed as are geographers' contributions to understanding the construction of meaning of urban and natural settings in films. Suggestions for future directions in film research are made.

The form of San Diego County's cinematic landscape is shaped by processes of inscription, whereby particular representational techniques are brought to bear, but also by processes of incorporation, which can be understood as the off-camera decisions, tasks, and events that allow for filming to take place. One of the primary tasks involves selecting sites with a high level of production value while minimizing costs and fulfilling the needs of the script. The San Diego Film Commission (SDFC), which aids filmmakers in the tasks required to produce films, is a key entity in shaping this region's cinematic landscape. Where geography often focuses on how a film inscribes meaning and identity into its form, I show how the form of a region's cinematic landscape extends beyond a single filmic event to engage a multiplicity of representations, tasks, and practices. I use a mixed method approach, including spatial analysis to examine and map the inscripted form of San Diego's cinematic landscape. In-depth interviews and fieldwork were used to evaluate how a location's production value plays a key role in the formative process of incorporative tasks of an ever-changing landscape.La forma del paisaje cinemático del Condado de San Diego está moldeada por procesos de inscripción, en los cuales técnicas representacionales particulares son puestas en acción, pero también por procesos de incorporación, que pueden entenderse como las decisiones fuera de cámaras, tareas y eventos que permiten que la filmación tenga lugar. Una de las tareas primarias tiene que ver con la selección de sitios con alto nivel de valor de producción pero minimizando costos y cumpliendo con los requerimientos del libreto. La Comisión Fílmica de San Diego (SDFC), que ayuda a los cineastas en las tareas requeridas para producir películas, es una entidad clave en la configuración del paisaje cinemático de la región. Allí donde la geografía a menudo enfoca la cuestión de cómo una película inscribe significado e identidad dentro de su forma, yo indico cómo la forma del paisaje cinemático de una región va más allá de un simple evento fílmico para capturar una multiplicidad de representaciones, tareas y prácticas. Utilizo un enfoque de método mixto, que incluye análisis espacial para examinar y cartografiar la forma inscrita del paisaje cinemático de San Diego. Se utilizaron entrevistas a profundidad y trabajo de campo para evaluar cómo el valor de producción de una locación juega un papel clave en el proceso formativo de tareas incorporativas en un paisaje siempre cambiante. Palabras clave: cine, paisaje, rodaje en exteriores, San Diego, paisaje de tareas.

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Why is it important for us to consider the history of media literacy? Beyond forging connections of the past to the present, exploring the history of the field can deepen intellectual curiosity and understanding for those who work in media literacy education, ignite interest in others, and drive investigation into understanding the relationships of the facets and fundamentals of media literacy from past to present and into the future. The theme of leadership emerges from questions such as: How do people build programs? How does information get disseminated? What were the challenges? Who were the learners? Who were the teachers? What were the tools? The discussions borne from these themes lead to questions about the influence of changes in society and technology over time to media literacy education. Just as our individual experiences shape and define our personal identities, a community's past and present shape how the field sees itself today and shapes a vision for the future.

Hispanics are an internally diverse population, yet residential segregation within census-defined groups is often overlooked. Census data are used to examine evenness and exposure segregation among Hispanics in Chicago, Miami, and Phoenix along the lines of national origin, race, year of arrival, and income. Results suggest that segregation exists in Miami where there is more national origin diversity, between white and black Hispanics in Chicago, in all three cities for foreign-born Hispanic recent arrivals, and especially between highand low-income Hispanics. Attempts to theorize immigration, social capital and solidarity, and the future of democratic society have inadequately conceptualized "diversity"; our work critically employs quantitative analysis to suggest an enriched and more nuanced socio-spatial understanding of the term.