ABSTRACT
The authors reasoned together about the potential themes to be explored and, after weighing up a few possibilities, he told him that a monograph on Ocelot's work had never been written before. Indeed, despite the prominent position occupied by the French filmmaker in the panorama of contemporary animated cinema, only short articles and reviews had been written up to that moment. More than twenty years after the release of the feature film, the debate on the issue of the representation of marginalised groups had developed enormously, and he wondered whether his enthusiasm for Kirikou et la Sorciere was also due to his position of privilege as a white person. The film is examined both visually and in terms of narrative choices.
