Geoscience Reference
In-Depth Information
The more fantasy there is in the story, the more colourful the presentation
can be - from simple folding the map to uncover another level of informa-
tion (Romancing the stone 1984,
Fig.4a
) to complicated rotating concentric
resentations, heroes of the stories are able to travel into unknown worlds.
They can use holography springing from an enchanted bracelet (The
Mummy Returns 2001) or are perfectly able to orient themselves inside the
real 3D model of galaxy (Star Wars: Ep. II 2002,
Fig.7a
). In movies we
can also see something resembling GISs, complete with real time data
visualisation (several of James Bond movies or Twister 1996). Overview
of early cinematic digital maps, with functions that appeared long before it
was possible to create them by cartographers in reality, is given by
Caquard (2009).
Another possibility, how moviemakers can deal with a map presence in the
story is omit the map altogether or evoke impression of the map without
actually showing it. The example of “seeing a map without seeing it” is
shown in initial sequences of the movie Indiana Jones and the Raiders of
the Lost Ark (1981). Indiana Jones is standing on the riverbank with un-
folded paper in his hands. As he is evidently looking for something, the
viewer, by association, sees a map in his hands. In reality, there is nothing
on that very dirty piece of paper.
It is apparent, that there are different approaches that moviemakers can use
when creating visual representation of a map in a movie. As the main goal
of moviemakers is to tell the story, the portrayal of the map depends on its
significance to the storytelling. The second point of view is how the story
is told. The map's portrayal is highly dependent on the chosen style of the
movie. This paper explores how different approaches of map portrayal in
movies resonate with the story and style of the movie and how different
types of map portrayal in movies correspond with map use.
It is possible to draw a simple parallel between cartography and art. Both
are trying, among others, to capture face of affairs in one exact significant
moment mainly through use of symbolic images. Cartography, rooted in
technology and science alike, is in fact reflecting changes in society the
same way art does. From the earliest stages of our visual history maps and
works of art have served as a testimony. They often originated in the same
place and political and social situations. From this point of view, it is not
surprising that cartography's dalliance with art is of a longstanding dura-
tion. The part of Cartography that is concerned with map aesthetic is the
one most influenced by art. Kent (2005) defended significance of aesthetic
