Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles
In this paper, I trace themes of the animetaphor. I interpret Akira Mizuta Lippit’s term as a moving image of the re-membered animal that projects a collective anxiety of oblivion for all animals, including humans. I begin with an exploration of this theme with respect to early cinema and the philos...
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| Language: | English |
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European Association for American Studies
2018-06-01
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| Series: | European Journal of American Studies |
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| Online Access: | https://journals.openedition.org/ejas/12459 |
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| author | Laurel Schmuck |
| author_facet | Laurel Schmuck |
| author_sort | Laurel Schmuck |
| collection | DOAJ |
| description | In this paper, I trace themes of the animetaphor. I interpret Akira Mizuta Lippit’s term as a moving image of the re-membered animal that projects a collective anxiety of oblivion for all animals, including humans. I begin with an exploration of this theme with respect to early cinema and the philosophical and psychological movements that accompany it. I then investigate more contemporary examples of these models in three case studies—Chuck Jones’ characters in the Looney Tunes, the movie Who Framed Roger Rabbit, and the Netflix series BoJack Horseman—to explore the imagined city of Los Angeles as a cartography of animal ghosts, invented and reinvented as semiotic machines, which force us to look at animals as ourselves and at ourselves as animals. Mechanisms of mass cultural memory are at work in the cinematic history of Los Angeles, and animation is often a projection of those memories. The link between psychoanalysis, the emergence of cinema, and modernism during the early part of the twentieth century serves as the philosophical-aesthetic background for my approach to social and artistic themes that haunt cinematic and real space in Los Angeles through the movement of animated animals. I argue that the fascination with animal movement of early cinema and cartoon animation suggest a particular function of cinema, and even more so cartoon animation, to remind us of repressed sensations and images from our collective unconscious. |
| format | Article |
| id | doaj-art-f72e83cb820342dd87fef21efbf66316 |
| institution | Kabale University |
| issn | 1991-9336 |
| language | English |
| publishDate | 2018-06-01 |
| publisher | European Association for American Studies |
| record_format | Article |
| series | European Journal of American Studies |
| spelling | doaj-art-f72e83cb820342dd87fef21efbf663162025-08-20T03:39:49ZengEuropean Association for American StudiesEuropean Journal of American Studies1991-93362018-06-0113110.4000/ejas.12459Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los AngelesLaurel SchmuckIn this paper, I trace themes of the animetaphor. I interpret Akira Mizuta Lippit’s term as a moving image of the re-membered animal that projects a collective anxiety of oblivion for all animals, including humans. I begin with an exploration of this theme with respect to early cinema and the philosophical and psychological movements that accompany it. I then investigate more contemporary examples of these models in three case studies—Chuck Jones’ characters in the Looney Tunes, the movie Who Framed Roger Rabbit, and the Netflix series BoJack Horseman—to explore the imagined city of Los Angeles as a cartography of animal ghosts, invented and reinvented as semiotic machines, which force us to look at animals as ourselves and at ourselves as animals. Mechanisms of mass cultural memory are at work in the cinematic history of Los Angeles, and animation is often a projection of those memories. The link between psychoanalysis, the emergence of cinema, and modernism during the early part of the twentieth century serves as the philosophical-aesthetic background for my approach to social and artistic themes that haunt cinematic and real space in Los Angeles through the movement of animated animals. I argue that the fascination with animal movement of early cinema and cartoon animation suggest a particular function of cinema, and even more so cartoon animation, to remind us of repressed sensations and images from our collective unconscious.https://journals.openedition.org/ejas/12459Los AngelesanimationBoJack HorsemanWho Framed Rogger RabbitLooney Tunes |
| spellingShingle | Laurel Schmuck Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles European Journal of American Studies Los Angeles animation BoJack Horseman Who Framed Rogger Rabbit Looney Tunes |
| title | Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles |
| title_full | Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles |
| title_fullStr | Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles |
| title_full_unstemmed | Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles |
| title_short | Wild Animation: From the Looney Tunes to Bojack Horseman in Cartoon Los Angeles |
| title_sort | wild animation from the looney tunes to bojack horseman in cartoon los angeles |
| topic | Los Angeles animation BoJack Horseman Who Framed Rogger Rabbit Looney Tunes |
| url | https://journals.openedition.org/ejas/12459 |
| work_keys_str_mv | AT laurelschmuck wildanimationfromthelooneytunestobojackhorsemanincartoonlosangeles |