Geoscience Reference
In-Depth Information
There is another point of view why the map looks as an antique map. The
aforementioned map supposedly originated in the 16th century and as
such, it should look like a map produced in that time period. How the map
in the movie looks is how the story is told. The “visage” of the map helps
strengthen visual connectivity of the story which also includes costumes,
furnishing and so on and the map is basically a prop supporting the
movie's desired effect. In the 1985 version of the movie, there was a comi-
cal twist to it and so the map is also in a way comical. If a cartographer
looks at the Sheba's figurine and sees a 3D model, it is his interpretation
deeply enrooted into his knowledge, experience and imagination and it in
no way signifies that the movie maker though it more than just a joke.
2.5 2006 adaptation - Charmed by technology
So far the last rendition of the map to King Solomon's mines can be seen
in the movie from Flynn Carsen series The Librarian: Return to King
Solomon's Mines (TNT 2006). The plot is not based on the original novel;
nevertheless, there is a map to the King Solomon's mines. Deviation from
a historical adventure to a fantasy enabled use of every accessible technology
for the map visualisation. The story of the 1985 adaptation was affected
by the strong stream of fantasy themes in cinematography as well, but only
in a minor way. The lost diamond mines of the King Solomon from the
book changed into the place, where an important African artefact is
hidden. In the 2006 version, the function of the mines is even further
removed. In a very “Däniken” style we are confronted with supposedly
alien technologies.
The shift from map published in original book in 1885 to slightly futuristic
3D rendering awakened by musical key is on one side remarkable, on the
other side it also shows, how much our day-to-day visual communication
is fixed on realisms. It is also necessary to say, there is a little possibility
for anybody to orient himself by the shown map, not only before
Solomon's song as a map key is played but even after that. For one, the 3D
version of the map is visible only when playing on the key. Secondly, even
when rendered, there are no landmarks. Flynn Carsen himself states that he
saw the hills from the plane, and there lies the means of recognition. The
map has for all its modernism no other role than being a “cool” picture
(
Figure 6
).
