Stop-motion monuments

In today’s edition of the Daily Cardinal: my review of Wes Anderson’s latest 140+ mph ace, Fantastic Mr. Fox. Expect this film to figure centrally into my “Best Nine of Ohnine” list (whenever I actually get around to assembling said list).

Oh, and for clarity’s sake: the caption beneath the photo attached to my review implies that the animation in Fantastic Mr. Fox is computer-generated; this, of course, is not the case. I’ll take 86.5% of the blame for the mix-up. I probably should’ve made it clearer in the review that I thought a big reason why watching Fox is such a fulfilling experience is precisely because it’s not the product of an unfathomable complex of logarithms and endless double-clicking. When traces of the film’s physical reality (the sequence of material events that had to have occurred in a very specific order in order for the rest of the film to be what it is) manifest themselves in the texture/grain of the image, that is to say, at the heart of the film’s existence as a visual object: that’s pretty cool, no?

There’s more than one way to bare the device. The difference between the effect that Godard achieves by pointing the camera back at itself in the well-known verse from La chinoise and the effect of watching the stop-motion of Mr. Fox is substantial, I think. But, comme on dit, what do I know.

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One Response to “Stop-motion monuments”

  1. Emma R. Says:

    way to trump the BH’s review once again!

    i liked the movie as well, probably because i saw a lot of elements of “Rushmore” in it, especially Jason Schwartzman’s character. i also liked how the fur moved around on the animals – it seemed to be a reminder of the animators working on each character’s pose.

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