In recent years, a number of scholars have pointed out the applicability of the concept of queerness to different forms of animation (Wood 2008; Halberstam 2011; Maier 2018; Ruberg 2019; Ruberg 2020). As Kodi Maier (2018) has suggested on this very blog, fantasy/animation and queerness are all connected by the ways in which they bend, break and question our concepts of the real and the normal, respectively.
Read MoreFor nearly 100 years, the name Walt Disney has been synonymous with top class, polished, and popular animation. Teams of animators churn out major films every couple of years, often to great financial success, and usually with a very particular ‘Disney-esque’ style. Timothy White purports that this style is, at least partly, typified by an attempted realism and continuity editing, typically associated with “Hollywood” cinema (1992: 3-16), meanwhile Paul Wells similarly ascribes a “mimetic” quality to Disney’s style, describing it as “orthodox” (2003: 220).
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