Presenting objects with a utopian kinesthetic, they grant them just a bit more fluidity and less gravity than they have in reality. These films have therein shifted spectatorial possi-bilities—and enabled additional payoffs with repeat viewing (Belton 198).

The de-cision of Pixar to mirror the techniques of the cinema—to render things not in perfect focus but to invent in the realm of the digital blurry focus, shadow and darkness, is an important part of the emotional and philosophical make-up of these films, and links Pixar with “so-phisticated” cinema, making it a part of a cinematic canon in ways that margin-alized animation has rarely been.