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Animation's Exclusion from Art History by Molly Mcgill BA, University Of Hidden Mickey: Animation's Exclusion from Art History by Molly McGill B.A., University of North Carolina at Chapel Hill, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Art & Art History 2018 i This thesis entitled: Hidden Mickey: Animation's Exclusion from Art History written by Molly McGill has been approved for the Department of Art and Art History Date (Dr. Brianne Cohen) (Dr. Kirk Ambrose) (Dr. Denice Walker) The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. ii ACKNOWLEDGMENTS I would like to thank the Department of Art History at the University of Colorado at Boulder for their continued support during the production of this master's thesis. I am truly grateful to be a part of a department that is open to non-traditional art historical exploration and appreciate everyone who offered up their support. A special thank you to my advisor Dr. Brianne Cohen for all her guidance and assistance with the production of this thesis. Your supervision has been indispensable, and I will be forever grateful for the way you jumped onto this project and showed your support. Further, I would like to thank Dr. Kirk Ambrose and Dr. Denice Walker for their presence on my committee and their valuable input. I would also like to extend my gratitude to Catherine Cartwright and Jean Goldstein for listening to all my stress and acting as my second moms while I am so far away from my own family. Finally, thank you to Dr. Claire Farago, without whom this project would have never been started. Thank you for your support and all the guidance you provided me in the early stages of this thesis. Thank you to my family for all their love. I would not be here without all of you. Thank you for supporting me and always being available to listen to my stress-rants. I love you Mom, Dad, Ben, Megan, and Grandma. Thank you for always reminding me that I can do anything I put my mind to. Also, a special thank you to my babies, Bruce and Lucy, for being my rocks during the last two years. Mom loves you to the moon and back (even though you can't even read this). Shout out to my #gradgirls for making this whole process as fun and stress-free as is humanly possible. To Emily Mullen, Gladys Preciado, and Laura Thompson, thank you for your constant love and support over the last few years. I appreciate each and every one of you fabulous ladies! To Ailie Pankonien, thank you for being the best friend I truly needed during this period. I will forever be grateful for the weekend mountain excursions, brunches, and impulse shopping trips that made writing this thesis seem not-impossible. You are flawless and I love you more than you know! #gradgirlsforever honestly. To the miscellaneous people who made this possible: Thank you to John Vojel at the Pearl Street Pub and Cellar for keeping us sane during the last year. Mondays were made easier by your presence and for that I will be forever grateful! Thank you to Taylor Swift, who released her newest album just in time to give me life as I was writing this thesis. It has been on repeat for the duration of my writing process. No shame. Thank you, Michael Bill, without whom I would not be here, living my best life. Thank you to the developers of Zotero for creating a program that saved me countless hours of handwriting citations. In the name of Lord Zotero, I give many thanks. And, finally, thank you to the man himself—Walt Disney. I truly have no words to describe the way you have shaped my entire life. Your work provided me with the best childhood I could have ever imagined and I can think of no better way to honor that than to make dedicate my adult life to preserving it. Thank you, Walt, for creating these rich worlds and characters that have inspired so many of us. Thank you for being the dreamer we all hope to be. And thank you for demonstrating that nothing is truly impossible. "All our dreams can come true if we have the courage to pursue them"—Walt Disney iii ABSTRACT McGill, Molly (M.A. Department of Art and Art History) Hidden Mickey: Animation's Exclusion from Art History, Thesis directed by Dr. Brianne Cohen Despite being one of the most prevalent forms of entertainment in the twentieth century, commercial animation has long been excluded from serious art historical discourse, only considered within the disciplines of film studies or visual studies. As a drawn-medium, reliant on a team of artists for completion, I argue animation warrants discussion within the discipline of art history, particularly to address modernism within the vernacular consumer in the early twentieth century. This thesis operates as a proponent for animation's inclusion in art history, as well as a historiography of the fraught relationship between animation and the art world. Animation's origins in lowbrow, vaudeville theaters and its early relationship to "craft" initially disadvantaged serious discussions on its artistic merit, regardless of the parallels between traditionally accepted art historical areas of study, which are outlined in this thesis. Because of its commercial success in the first decades of the twentieth century, art historians and museums alike were drawn to the medium of animation. However, despite a number of art historical writings and museum exhibitions featuring animation in the 1930s and 1940s, this remained a superficial relationship that did not truly advocate for inclusion within the canon. Cultural shifts within and outside of the discipline in the post-World War II period further marginalized animation as a worthy artistic medium, and the relationship that started in the 1930s and 40s crumbled by the 1970s. With the resurgence of animation in the 1990s, animation's inclusion into the art historical canon needs to be renegotiated, as it offers insight into the vernacular reception of art in the contemporary period. iv CONTENTS Introduction ..................................................................................................................................... 1 Chapter 1: The Origins of Animation's Exclusion .......................................................... 7 Chapter 2: Where Art and Animation Overlap ............................................................ 30 Chapter 3: Early Art Historical Discussions on Animation .......................................... 50 Chapter 4: Derailing Animation's Art Historical Relevance ......................................... 67 Conclusion .................................................................................................................................... 82 Figures........................................................................................................................................... 93 Bibliography ............................................................................................................................... 110 v FIGURES FIGURE 1: J. STUART BLACKTON IN THE ENCHANTED DRAWING (1900) ..................................................................................... 93 FIGURE 2: STILL FROM "GERTIE THE DINOSAUR," WINDSOR MCCAY, 1914. ............................................................................... 93 FIGURE 3: STILL FROM "GERTIE THE DINOSAUR," WINSOR MCCAY, 1914. ................................................................................. 94 FIGURE 4: FELIX THE CAT AND MICKEY MOUSE ARE EASILY VIEWED AS MODERN ITERATIONS OF THE VAUDEVILLE CHARACTER OF THE MINSTREL. ........................................................................................................................................................ 94 FIGURE 5: CLARABELLE THE COW IN BLACKFACE "MICKEY'S MELLERDRAMER," (1933). ................................................................ 95 FIGURE 6: STILL FROM WATER FOR MAYA, STAN BRAKHAGE, 2000........................................................................................... 95 FIGURE 7: STILL FROM VITAGRAPH'S THE HAUNTED HOTEL, 1907. ........................................................................................... 96 FIGURE 8: STILL FROM FANTASMAGORIE FEATURING EMILE COHL CREATING HIS STICK FIGURE CHARACTER, 1908. .............................. 96 FIGURE 9: CUT-OUT ANIMATION EXEMPLIFIED IN NICKELODEON'S BLUE'S CLUES........................................................................... 97 FIGURE 10: BASIC NOTECARD STORYBOARD FOR STEAMBOAT WILLIE, 1928. ............................................................................... 97 FIGURE 11: STORYBOARD FOR "DANCE OF THE HOURS" SEQUENCE OF FANTASIA, 1940. ............................................................... 98 FIGURE 12: CHART DEMONSTRATING THE FLOW OF OPERATIONS AT THE WALT DISNEY STUDIOS CA. 1940, FROM THE ART OF WALT DISNEY, ROBERT D. FEILD, 1942. ......................................................................................................................... 98 FIGURE 13: CONCEPT ART FROM THE GODDESS OF SPRING, 1934. ............................................................................................ 99 FIGURE 14: THE APPEARANCE OF FRAGONARD'S THE SWING IN FROZEN (2013) .......................................................................... 99 FIGURE 15: REFERENCING GRANT WOOD'S AMERICAN GOTHIC IN MULAN (1998) ...................................................................
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