3Important scholarly work in studies of contemporary censorship has gone to the “stigma of the X rating” (Sandler, Lewis)

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).

Though Pixar films don’t attempt to show sex or violence, the cultural work they have done rede-fining family film fare is an important by-product of contemporary regimes of film industry self-regulation. With the fourteen feature films Pixar has made over the twenty-seven years since its inception, it has garnered not only ex-tremely high box office figures but also (at least until 2011 with Cars 2) aston-ishingly uniform critical praise.

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).