| Summary: | This article explores the way in which the global can be imagined in the cinema by taking up the concept of cognitive mapping as proposed by Marxist cultural theorist Fredric Jameson. It contends that the totalising remit of the concept offers an especially productive avenue through which to assess how the world has been mapped out in contemporary genres as disparate as the global network film and the world symphony. In particular, the article proposes that the film THE HUMAN SURGE (2016), by the Argentinean Eduardo Williams, updates an aesthetics of cognitive mapping in revealing ways – one that is as attuned to the phenomenology of lived experience and the topology of an elusive world system as it is to the earth as both the ground and planet we share with other human and nonhuman beings.
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