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Additional info for Converging Traditions in the Digital Moving Image: Architectures of Illusion, Images of Truth

Example text

McCay initially drew film of Gertie not to be shown in cinemas but as part of a vaudeville stage act, in which he appeared on stage as Gertie’s trainer and talked to her. Gertie apparently obeys his commands, reacts to his remarks and even bursts into tears when scolded, then catches a pumpkin when it is thrown at her. For the climax, McCay appeared to walk right on to the screen and was apparently carried away on Gertie’s back. McCay was here opening a debate about reality and cinematic illusion which runs throughout the century, and which took on new relevance with the development of digital animation, and its capacity seamlessly and invisibly to merge with live-action film.

His favourite writer was Mark Twain (18351910) – best remembered for The Adventures of Tom Sawyer (1876) and its sequel, The Adventures of Huckleberry Finn (1885) – because Twain’s world was a fictionalised version of the one Disney had grown up in during his formative years, living on a farm in the Midwest. The climate in the Disney studio was basically anti-intellectual and the visual style of the films owes more to 19th- and 20th-century illustration than to ‘high art’. Fantasia did mark an attempt by Disney to incorporate into his film elements of ‘high culture’, such as classical music, ballet and abstract art, but the results frequently ring false.

A scene in Pocahontas in which John Smith, naked to the waist, enveloped the heroine in a passionate embrace, was removed from the final cut as though Walt was still haunting the viewing theatre. While animation for television has rediscovered some of the subversive quality of early animation in programmes such as The Simpsons (Matt Groening, US, 1989-) and South Park (Trey Parker, US, 1999-) it seems that the ambition and scope of the animated feature is still limited by its continuing to address audiences containing young children.

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