4 Matching Annotations
  1. Oct 2016
    1. Few sequences in contemporary cin-ema evoke the sense of isolation we get from the sequence where a panicked Jessie refuses to go back into “stor-age,

      A scene evokes powerful emotional fears of isolation and perhaps a fear of the unknown.

    2. Sharing with Toy Story the trope of mounting an overwhelming set of ethi-cal tragedies and concerns beneath the veneer of fun, kinetically-driven enter-tainment, the first several minutes of WALL-E underscore the literal massive-ness of Earth’s problems

      Pixar films often mask serious issues beneath their fun, family friendly exteriors.

    3. resonant with the his-tory of slavery. Jessie tries to convince Woody that he is “valuable property” (a virtue we don’t know quite how to take) and that although he will be sold away from his “owner,” this is a good thing because he will be sold as “a set” with herself, Bullseye, and Pete—mak-ing him part of a new family with which he was always destined to belong. There is much anxiety about being sold away from the “set”—and about being left be-hind. In the same sequence, Stinky Pete even asks Buzz if Andy “broke” him, a double entendre that takes on a disci-plinary resonance within the surround-ing discourse on ownership, auctioning and captivity.

      Author makes note of the underlying issue of historical slavery hidden in "Toy Story 2", and issues of being human property (objectification).

    4. If identification with the object is ex-hilarating, it is also, at moments, fright-ening. The Toy Story films and WALL-Ealso generate important, though embed-ded, insights on both human and inani-mate objectification

      The author makes a connection to the audience identifying with an object, with human objectification and the fears associated with that issue.