There is a fantastic essay on The Third Man in the latest issue of film magazine Rouge:
Few films are as closely identified with a city as The Third Man (Carol Reed, 1949) is with Vienna. Over the years, seemingly endless journalistic, academic, and cinephilic attention has been devoted to the physical locations used in the film. To the present day, guided tours take visitors through the squares, onto the Ferris wheel and even into the sewers that Carol Reed’s film transformed into icons of the city. This analysis provides a counterpoint to the popular fascination with The Third Man’s locations, focusing instead on how the film diverges from its setting, and how it abstracts and reorientates the city’s spaces. The specific site of divergence explored is that of the line.
The same issue has an essay on David Lynch too, which will probably make more sense if one has seen his paintings and artworks.
Greencine daily has more links.