Like a straight, poorly drawn, less fluid Ambiguously Gay Duo

"Tashlin's tenure at Warner Bros. did not provide him with a 'cartoon aesthetic' that could be applied, ready-made, to his features; rather, it allowed him to develop a feature filmmaking aesthetic through cartoons."

"When you come at the king, you best not miss."

"Anderson, like Dahl, seems to have told a story to appeal to a child's inner adult."

"It's just a little less Disney"

"Avery's pics confirm an always-lingering suspicion that the many radical plays with movie syntax and the numerous distancing techniques employed in '60s live-action films, of 'New Wave Cinema' extraction, were, in fact, first invented, and used for purely comic effect, in animated cartoons."

"We were the Nazis."

"I wrecked Washington, and I wrecked New York, and San Francisco. That got rather tiresome after a while."

Eat first, talk later? If only!

"It's hard to be intuitive when you've got 42 crew behind you and they're like, 'Look, they don't know what to do here. They're panicking, look at them!'"

Getting down way down under

When ants got big, and kids got small

Bob Zemeckis and Stephen Spielberg want your money. Give it to them.

"The more you're able to project your own world upon the work, the more power it has."

He's fun-damental, not fundamentalist!

Trey Parker and Matt Stone fight Hollywood ignorance with some ignorance of their own.

"The football game where the chicken mascot runs around crazy with an erection was inspired by a story that someone told me."

Hers may have been the real sensibility behind the Hubley Studio.

In a freethinking, whimsical world, relativism reigns and there is no point — or is there?

The sound of no hand clapping

The famed doofus of WWII propaganda served purposes patriotic and perfidious.

Masters of anime riff on The Matrix in this sizzling collection of shorts

The creator of Princess Mononoke brings his sleek Boschian vision to America, courtesy of Disney

If only "little" Otik had stayed that way!

There's more trouble in Toontown than even the Toons imagined

This brilliant Brit's artistry breathes life into wood and wire

Jordan's collage films are "moving" in two senses

A review of Henry Sampson's book on black imagery in commercial cartoons

As if radically rethinking the Hollywood cartoon weren't enough, our boy Tex can also be thanked for inventing or perfecting Porky Pig, Daffy Duck, and perhaps the greatest character in animation, Bugs Bunny.

For young audiences, Avery preserves the trappings of the fairy tale genre — talking animals, supernatural events — and adds the cinematic touch of physical law constantly challenged. For adults, he litters his work with sexual innuendo and distancing devices that replace the sense of reassuring archetypes with a modernist construct that merges the story with its audience, puts adult preoccupations (e.g., sex) in place of children's, and imagines characters not as clueless tabula rasas awaiting moral enlightenment but as sophisticated, willful creatures with a bottomless bag of tricks.

By 1935, the films of avant-garde animator Oskar Fischinger were being shown on cinema screens and at film festivals throughout the world as the last word in modernism.

Cartoons have always been a rich repository of queer subtext. How else to explain all those too-close buddies and their serious lack of female companionship?

With a head like a giant peanut, vast mascara'd eyes, too-kissable lips, baby-doll voice (courtesy of singer Mae Questel), flattened marcelled hair, and mere threads of a dress exposing miles of hot flesh, she was the perfect celluloid sex toy.