| dc.description.abstract | This thesis examines the changes in musical humour strategies in Asterix animated films across five decades, addressing a significant gap in academic scholarship at the intersection of musical representation of antiquity, satirical anachronism, and animated comedy. Through comparative and comprehensive analysis, the study examines three films, Astérix et Cléopâtre (1968), Astérix et le Coup du Menhir (1989), and Astérix: Le Domaine des Dieux (2014), to trace shifts in musical strategies and their role in constructing cultural identities, representing musical instruments, and deploying anachronistic music as a satirical device.
Findings reveal a shift from early reliance on orientalist musical codes, original orchestrations, and audio-visual incongruity for humour toward complex uses of musical anachronism, with later productions embrace pre-existing music with strong cultural associations as vehicles for contemporary social commentary. By analysing the interplay between music, humour, and animation, this thesis demonstrates how Asterix films blend entertainment with critical reflection, offering insights into the relationship between classical reception, comedic expression, and audiovisual storytelling in animated cinema. | |
| dc.subject | This thesis explores how musical humour has changed in Asterix animated films from 1968 to 2014. Focusing on three key films, it analyzes how music represents antiquity, constructs cultural identities, and uses anachronism for satire. The study reveals a shift from original, orientalist soundtracks to the use of culturally loaded pre-existing music, showing how Asterix blends comedy with social critique through its musical choices. | |
