volume 11, issue 1, P23-39 2016
DOI: 10.1177/1746847715623689
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Abstract: The animated cartoon has traditionally been excluded from photographic theories of cinema on the grounds that the animation camera is only incidental to the cartoon's production, an assumption this article challenges. Taking as its basic premise that all works of celluloid animation were photographic in origin, this article demonstrates the ways in which the physical reality of our world, and particularly the world of the animation studio, leaves its mark on the cartoon image. Through the frame-by-frame analys…

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