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By Jayne Pilling

Cartoons―both from the vintage Hollywood period and from extra modern function motion pictures and tv series―offer a wealthy box for certain research and research. members draw on theories and technique from movie, tv, and media reports, paintings background and feedback, and feminism and gender studies.

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Knowledge of how the images in Red’s Dream were produced makes the film interesting, and certainly, for a particular kind of ‘non-innocent’ spectator it would seemthat this elementis increasingly becoming thecentral factor for his (suchspectators are overwhelmingly male) appreciation of such images. 10 23 A READER IN ANIMATION STUDIES 24 This paper was presented at the 1993 SAS Conference, Farnham, England. Notes 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. The culmination of these efforts, of course, was Snow White (1937), a feature-length cartoon.

Gilgamesh’s development was complicated. His spider origins secretly remained. His trapdoor stayed. He was to have ridden into space so that strings from his fingers attached to an object. In the film this became a net. In suggested reshoots, Gilgamesh saw an insect along the wires and shot it down; dead Enkidu was spun in a web. 29 A READER IN ANIMATION STUDIES 30 Above left A drawing by violent Adolf Wöllfli, whose works depict visions and punishment fantasies ©Atelier Koninck Above right A caricature by the arist Friedrich SchröderSonnenstern, whose works depict inflamed organs and big-breasted women like ‘baboons in heat’ © Atelier Koninck Gilgamesh turned human, but only via the ‘unbearable singleminded arrogance’,14 as the Quays wrote, of three schizophrenic painters.

I suggest that it helps us to understand what I referred to previously as the ambiguous character of the imagery in the text in question. In the case of Red’s Dream – and this applies to other examples with the same goal in view3 – the new techniques of image/text simulation produce, not a simulation that is wholly indistinguishable from its model, but ultimately, a relatively unprecedented king of image (and text). Certainly, the ambiguity associated with the look of the imagery is reinforced by the subtle use of pastiche, the assimilation of different styles, the tacit adoption of the codes and conventions that underlie them, pervading the whole of the film.

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