Quand des cartes anciennes font leur cinéma dans les films d’animation

Résumé En Fr

If, alongside novels, paintings, comics in the field of still images, video games in that of animated images, fiction films constitute spaces of artistic creation and narration which arouse the interest of geographers, analyzes focusing specifically on animated movies remain rare. However, animated movies represent abundant universes for geographers and deserve our attention. The teams who design an animated movie not only "show" a world, they design it, shape it, model it, draw it (whether in 2D or 3D). In this paper, it is a quest that is carried out, that of going in search of "master map", those which had obviously been sufficiently inspiring for animation teams to take hold of them and make them appear significantly in the screen: map of the British Empire and portolans for the animated film from Aardman studios (associated with the Sony Pictures studio) The Pirates! Band of Misfits (Lord & Newitt, 2012), the Roman map for the animated film Asterix. The Secret of the Magic Potion (Astier & Clichy, 2018). The intention here is to reveal how these famous maps become, under the leadership of the animation teams, full-fledged actresses in these two animated films, while revealing for Asterix the underside of the artistic creation of the "new card" of Asterix.

Si, à côté des romans, des tableaux, des bandes dessinées dans le champ des images fixes, des jeux-vidéos dans celui des images animées, les films de fiction constituent des espaces de création et de narration artistiques qui suscitent l'intérêt des géographes, les analyses portant spécifiquement sur les films d'animation restent rares. Les films d'animation représentent pourtant des univers foisonnants pour les géographes et méritent que nous leur prêtions attention. Les équipes qui conçoivent un film d'animation ne donnent pas seulement « à voir » un monde, elles le conçoivent, le façonnent, le modèlent, le dessinent (que ce soit en 2D ou en 3D). Dans cet article, c'est une quête qui est menée, celle de partir à la recherche des « cartes-mères », celles qui manifestement avaient été suffisamment inspirantes pour que des équipes d'animation s'en emparent et les fassent apparaître significativement à l'écran : carte de l'Empire britannique et portulans pour le film d'animation Les Pirates. Bons à rien, Mauvais en tout (Lord & Newitt, 2012), la carte romaine pour le film d'animation Astérix. Le Secret de la Potion Magique (Astier & Clichy, 2018). L'intention ici est de dévoiler comment ces cartes célèbres deviennent, sous la houlette des équipes d'animation, des actrices à part entière dans ces deux films d'animation, tout en dévoilant pour Astérix les dessous de la création artistique de la « nouvelle carte » d'Astérix. Mots-clefs : cartes anciennes, décryptages géo-cinématographiques, films d'animation, imaginaires géocinématographiques, cartes-mèreIf, alongside novels, paintings, comics in the field of still images, video games in that of animated images, fiction films constitute spaces of artistic creation and narration which arouse the interest of geographers, analyzes focusing specifically on animated movies remain rare. However, animated movies represent abundant universes for geographers and deserve our attention. The teams who design an animated movie not only "show" a world, they design it, shape it, model it, draw it (whether in 2D or 3D). In this paper, it is a quest that is carried out, that of going in search of "master map", those which had obviously been sufficiently inspiring for animation teams to take hold of them and make them appear significantly in the screen: map of the British Empire and portolans for the animated film from Aardman studios (associated with the Sony Pictures studio) The Pirates! Band of Misfits (Lord & Newitt, 2012), the Roman map for the animated film Asterix. The Secret of the Magic Potion (Astier & Clichy, 2018). The intention here is to reveal how these famous maps become, under the leadership of the animation teams, full-fledged actresses in these two animated films, while revealing for Asterix the underside of the artistic creation of the "new card" of Asterix.