Happy Endings and Blowing it All to Hell - A Comparative Assessment of Classic and Modern Animations from Bozzeto, Bakshi, and Pixar

Walls, RL

Happy Endings and Blowing it All to Hell - A Comparative Assessment of Classic and Modern Animations from Bozzeto, Bakshi, and Pixar

Walls, RL

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Publisher:: University of Technology, Sydney
Publication Type:: Other
Citation:: pp. 73 - 79 (7)

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Field	Value	Language
dc.contributor.author	Walls, RL	en_US
dc.identifier.citation	pp. 73 - 79 (7)	en_US
dc.identifier.isbn	978-0-9808083-2-2	en_US
dc.identifier.uri	http://hdl.handle.net/10453/45296
dc.description.abstract	The interrogation of diaspora, disaporic nostalgia, and disaporic reconstruction are intertwined in films such as The Incredibles (2004), Wall-E (2008), Fritz the Cat (1972), and Allegro non Troppo (1976). In each of these works, extremely dark and subtle explorations are made into diaspora, its mechanisms, and its fallout. These strikingly different films are purport a happy ending for mankind, even when that happy ending is annihilation. These films share a playful sense of the inevitable; a joy in complete obliteration. This paper details the use of diaspora as a comedic device.	en_US
dc.publisher	University of Technology, Sydney	en_US
dc.title	Happy Endings and Blowing it All to Hell - A Comparative Assessment of Classic and Modern Animations from Bozzeto, Bakshi, and Pixar	en_US
dc.type	Other
utslib.location	Sydney, Australia	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
utslib.copyright.status	open_access
pubs.confidential	false	en_US
pubs.place-of-publication	Sydney, Australia	en_US
pubs.publication-status	Published	en_US

Abstract:

The interrogation of diaspora, disaporic nostalgia, and disaporic reconstruction are intertwined in films such as The Incredibles (2004), Wall-E (2008), Fritz the Cat (1972), and Allegro non Troppo (1976). In each of these works, extremely dark and subtle explorations are made into diaspora, its mechanisms, and its fallout. These strikingly different films are purport a happy ending for mankind, even when that happy ending is annihilation. These films share a playful sense of the inevitable; a joy in complete obliteration. This paper details the use of diaspora as a comedic device.

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http://hdl.handle.net/10453/45296