The cinematographic view depends upon the creation of ‘virtual’ places – locations, sets, or, nowadays, electronic representations thereof – which match the stereotypical expectations on which the perceived ‘authenticity’ of the representation depends. We propose archaeological investigation of film locations, and the outdoor sets constructed in them, as one of our material anchors for exploring the cinematographic view. The virtual reality represented may be subdivided into different categories, e.g. urban landscapes, rural landscapes, seascapes, and interiors. A further consideration with regard to locations and sets is the recycling of modified landscapes, studio sets, props, etc in different movies; a famous example is the repeated re-use of the vintage building around which the Bray Studios complex was constructed in Hammer movies.