But, as you can see, other things have grabbed my attention. I WILL get back to cartoons, though I don't know when.
Meanwhile I was cruising Morton's joint and came across this oldish post about ecocriticism and animation. I know, just what the doctor ordered. Check it out anyhow, it's good, like spinach, or blueberries. What the post implies is that animation is the avant-garde, the bees knees, the tip of the top. You know that, I know that. It's nice to know that they no that, no?
Anyhow, here's what I posted as a comment to Tim's post; take it as a quick reminder of cortoonology on New Savanna:
I'm surprised I missed this one, Tim, as animation is one of my main interests and I've written at least one post explicitly in animation and OOO, Cartoon Metaphysics, and there's this one here, Animation and the Sentient Text. I've blogged a ton about Miyazaki. Here, for example, is a catalog of Miyazaki's use of animals.And Disney, Disney too. You gotta' get around whatever reservations you have about Disnification or Disney, Inc. because Disney's Ink & Paint are more important and deeper. It's not that there's no reason for concern, there is, lots of it. But, first, look at the ink (and thank the women whose hands put it on celluloid). Start with the Nutcracker Suite episode (and here, where it's packaged with The Sorcerer's Apprentice, which, BTW, can be read as a gloss on Fordism) of Fantasia. It's the most gorgeous piece of film ever made, and from the minds of women, too! not only their hands.If weird's your style, check out Pink Elephants on Parade. It's elephants all the way down, baby! And then we've got Miyazaki's pig man, Proco Rosso. Talk about weird objects, what do you do with Road Runner, where signs and things trade places in tricky ways?Lotsa weirdness goin' on.
BTW, does anyone know what "plastmaticness" is?