As Chris brains Jeremy with abocce ball, the deer’s head is prominent in the background of the shot. Wewould hypothesize that the deer is a reminder not only of his mother (viahis earlier experience with the dying doe), but also of his ancestors moregenerally. African rhythms begin to pulse as Chris takes down Jeremy, andas Chris’s eyes flick to the buck’s head, lyrics are whispered in Swahili, thesame as the opening credits, translating to “Something bad is coming, listento your ancestors, run.” Through this non-diegetic song, with its whisperedmessage from the ancestors, the deer effectively speaks. It then aids Chris inhis escape when the buck’s horns serve as a weapon to kill Dean Armitage

He is tied up in the game room, facingan old television set, above which is the taxidermied head of a large buck.Its appearance of life-in-death not only foreshadows Chris’s future state ifthe Armitages’ plot is carried off successfully, as a Black body occupied bywhite consciousness, but it also reverberates with characterizations of thehistorical devaluation of Black lives in Atlantic slavery, as socially deadnon-subjects

plainly legible as having a connection to his nefariousconquest of Black lives, which he considers unworthy of being lived

eacts in a strangely unsympathetic way. “Well, you know what I say?”he responds. “I say, one down, a couple hundred thousand to go. No, I don’tmean to get on my high horse, but I’m telling you, I do not like the deer.I’m sick of it. They’re taking over. They’re like rats. They’re destroying theecosystem. I see a dead deer on the side of the road, I think to myself, ‘That’sa start.’

Testament of Pietrobono Burzelli

Letter from Pietrobon

A better description is in the specification itself. Why read secondary remarks when the source is written so good?

http://www.copyright.gov/circs/circ01.pdf

The Viet Nam era draft card is also known by its legal description, the status card. The draft card was an aspect of the Selective Service Act, the federal legislation that legalized the conscription of eligible males into the American armed services during the Viet Nam war (1962–1973).

In Wall-E and the Toy Storytrilogy, the pleasure is of the suspen-sion of knowledge—the pleasure of notknowing.

One of the distinct pleasures in Pixar’s films is the pleasure of seeing the deepest of human struggles, timeless philosophical questions projected in and through remote forms of representation.

in an effort to engineer Buzz “getting lost” behind the desk so that Andy will take Woody on his expedition to Pizza Planet, Woody ends up accidentally pushing Buzz out the window

Stanley Cavell, in dis-cussing Frank Capra’s It Happened One Night (1934), hints at how internaliza-tion of censorship can lead to a flouting of censorship’s very purposes through parody

(Wall-E and the Toy Story trilogy [1995, 1999, 2010]) expand the limitations that have traditionally bound “family enter-tainment” under the G-rating by em-ploying a postmodern adaptation of the “principle of deniability,” a producer-designed multivalence that flourished in Hollywood from 1930–1968 under the Production Code (Vasey 104–13).

Pixar’s Toy Story (Dir. John Lasseter, 1995) and WALL-E (Dir. Andrew Stanton, 2008) are “innocent” animated film about ob-jects, their value as cinema lies in their ability to complexly address human—and sometimes wholly adult—fears about meaninglessness, apocalypse, and oblivion.

riveting mounds of metal dramatically revealed through the birds-eye shots that rival the buildings in height—are actually mile-high piles of trash.

In WALL-E, the humans have converted themselves into floating objects—mounds of flesh laden with too many conveniences to move for them-selves.

Toy Story 3 (2010) be-gins with Andy’s toys playing pretend. The setting is the Old West. Sheriff Woody fights the Potato Heads-cum-bandits to rescue a moving train full of orphan trolls. The Potato Heads escape the train in Barbie’s dream car. But the train is headed toward the precipice at the end of a dynamited trestle. Despite Woody’s efforts, the train plunges off the edge. We hear it thud below and see smoke rise from the chasm. Cow-girl Jessie’s jaw drops in utter disbelief and disappointment. For several long seconds as the energy of the action se-quence diffuses, we believe that Woody has failed. Then Buzz lifts the train out of the hole. But the threat is not, as we had imagined, contained but is instead reanimated and escalated. The toys are assailed by a mushroom cloud of “death by monkeys” and finally an unnamed threat behind a red button in Evil Dr. Porkchop’s dirigible.

Stinky Pete even asks Buzz if Andy “broke” him,