8 Matching Annotations
  1. Oct 2016
    1. Cen-sorship became a productive force, re-channeling the censored material symp-tomatically across the text in a nascent, uncrystalized form (Foucault 4–11).
    2. Although on the surface 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.
    3. As Ju-dith Halberstam has noted, Pixar films are also doing curious cultural work, in their “preoccupation with revolt, change, cooperation, and transforma-tion” (Halberstam 79)
    4. “The visual and nar-rative incoherence that often arose from the effacement and displacement of sen-sitive subjects encouraged audiences to become active interpreters, obliging them to make their own sense of contra-dictory evidence” (Vasey 127–28).
    5. If “veiling something from sight turns out [as it did] to inspire as signifi-cant an erotic reaction as the unveiled event would have done...If the film screen works like a kind of censoring, elaborating the effect of what it covers, how will you censor that?” (Cavell 83)
    6. making strange,” as Brecht would have it, allows the paren-tal viewer to process these narratives as an “other,” “unintended” audience and thus relieves them of the burden of full-frontal spectatorship (Brecht 93).
    7. “Why prolong the inevi-table? We are all one stitch from here [the shelf] to there [the yard sale].”

      Note how the brackets are used for editorial clarification; to make the quote make sense.

    8. :

      Note the source setup and use of the colon. This is an excellent rhetorical strategy for citation.