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Cartoonists and animators have given animals human characteristics for so long that audiences are now accustomed to seeing Bugs Bunny singing opera and Mickey Mouse walking his dog Pluto. The Animated Bestiary critically evaluates the depiction of animals in cartoons and animation more generally. Paul Wells argues that artists use animals to engage with issues that would be more difficult to address directly because of political, religious, or social taboos. Consequently, and principally through anthropomorphism, animation uses animals to play out a performance of gender, sex and sexuality, racial and national traits, and shifting identity, often challenging how we think about ourselves. Wells draws on a wide range of examples, from the original King Kongto Nick Park''''s Chicken Run to Disney cartoons such as Tarzan, The Jungle Book, and Brother Bearùto reflect on people by looking at the ways in which they respond to animals in cartoons and films.
[...]... of culture and the work of Tom Wolfe and the other who “throws poo” but, though mute, is able to read and engage in sign language These jokes inevitably throw into relief discourses about the perception of animals and the natural world, but they necessarily sustain the limits of the narrative to those traits and tropes readily known and acknowledged in the public domain Once the film segues into the. .. authenticity, but rather evaluates the outcome of how they function together How, then, can we solve the Madagascar Problem? It is important to understand the problem from a number of perspectives, from the point of view of both those who make animated films and those who seek to understand, enjoy, and analyze them The key discourses, then, are how animals are represented from the point of view of animators... 21)—gave way to the “squash ’n’ stretch” circular designs of Fred Moore, while Disney was embarking on creating the hyperrealist approach that would eventually lead to Snow White and the Seven Dwarfs (David Hand, USA, 1937) and the apotheosis of the aesthetic in Bambi (David Hand, USA, 191) In their early incarnations in the short form, rope and circle figures were intrinsically performative and coincidentally... filmmakers, and so on), that is, as a practice phenomena and a creative paradigm, and how animals are represented from the point of view of critical and cultural interpretation, that is, as a created phenomena and a paradigm to evaluate in the eyes of the audience.” Further, to create narrative and thematic coherence in narratives such as Madagascar, and to embrace meaning “in -the- making” or the idea of the. .. relationships between human and animal, nature and culture, and art and reality, while taking into account the aesthetic and technical variations so distinctive to the animated film This is the purpose of the following discussion A Happy Feat Following a series of largely disappointing computer-generated animated features during 2006, the status of talking animal movies was once more at the heart of debates... animators and by extension, writers and directors like Cooper—creating the phenomena in animated films that pertain to humans and animals but nevertheless “unthink” or “undo” conventional notions of either and both This will be particularly addressed when looking at the ways practitioners facilitate their work through the use and deployment of animal imagery, and will take into account more of Deleuze and. .. different terms and conditions The essential questions, in another kind of formation, therefore, become those about the status and implication of the use of animation, and the symbolic assumptions about animals in relation to humankind One immediate observation is the fact that in the film it is crucial that Kong functions as a persuasive character able to support the imperatives of the narrative, and that... transcended mortal life, and hold their pose forever, with muscles tensed, noses aquiver, veins in the face and delicate ankles and folds in the supple skin all prominent No visitor to a merely physical Africa could see these animals This is a spiritual vision made possible only by their death and literal re-presentation Only then could the essence of their life be present Only then could the hygiene of nature... animals and nature when fixed in the dioramas (and indeed, in wildlife photography), it is valuable to think about the ways in which the IN T RODUC T ION 17 animated form embraces sculpture (among other methods) and photography as vehicles by which to create subjective, open, and suggestive ideas about animals and nature This provokes discourses rather than embedding, rationalizing, and fixing them Rather... “animals-in-themaking” and how their creation is a consequence of these conditions, 18 T H E A N I M AT E D B E S T I A RY and speaks readily to Haraway’s conflation of nature and culture in the term “naturalcultural.” The “naturalcultural” is effectively the creative and intellectual environment in which the representations of animated animals exist; consequently, this raises fundamental questions about the . absolute 8 THE ANIMATED BESTIARY courage; the hare, lechery. The animal once lived near the ori- gin of the quality. It was through the animal that the quality. that fall outside the comic aesthetic, and are not necessarily experimental either. Further, it resists the ways in which the freedoms of animated vocabulary