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TheStereoscopicMickey:SPACE,ANIMATION,ANDTHEMOUSEBYJ.P.TELOTTEMickeynavigatesperilouslyclosetoatreeinascenefromPlaneCrazy(1928).PhotocourtesyofPhotofest.Abstract:Filmhistoryhaspartiallytionawayfromsomethingfundamen-studio’sproblematicrelationtomod-obscuredtheaccomplishmentofthetaltoanimation,asenseofhowtheseernism.ThisarticleexaminesthefirstfirstMickeyMousecartoons.WithfilmsconfrontedtheproblemsofspacedecadeofMickeyMousefilmsinthistheappearanceofthefullysynchro-andconstructedacharacter—Mickeyspatialcontextinanefforttoexcavatenized-soundSteamboatWillie(1928),Mouse—whomustseemathomeinthatdistinctivevisualstyle,onethattheyhavebeenprimarilydiscussedthatspace.Thisissueofspaceispar-clearlystronglyappealedtoaudiencesinrelationtothattechnology,beingticularlysignificant,sinceitaddsaofearlyanimation.bothpraisedandattackedforthewaysnoteofcomplexitytodiscussionsoftheyusesound.Whileuseful,suchDisney’slaterdevelopmentofa“real-Keywords:animation,WaltDisney,assessmentshavealsoshiftedatten-istic”styleandshedssomelightontheMickeyMouse,modernism,space133134JPF&T—JournalofPopularFilmandTelevisionTheinventionofanewspaceconceptionitshedssomelightonthestudio’sprob-productofdesperationandcalcula-wastheleitmotivofmodernityitself,sup-lematicrelationtomodernism.tion,”done“asquicklyaspossiblesoportedbythemodernistavant-gardecallLeonardMaltin’shistoryoftheAmeri-thatWaltcouldfindadistributorandforanescapefromhistory,thataffirmedtheimportanceofspacebothforarchitec-cancartoonclaimsthat“therewasnothingkeephiscompanyafloat”afterlos-turalplanningandformandformodernspecialordifferent”aboutthefirstMickeyinghisOswaldcharactertoUniversallifeasawhole.Mousecartoons(34),thatessentiallythey(114–15).However,Gableralsonotes—AnthonyVidler1weresimilartoDisney’ssilentOswaldthethattworepresentativesofMGM,How-ThishadalwaysbeentheobjectiveofLuckyRabbitefforts,thedesignofwhichardDietzandFelixFeist,likedthemodernism:toflattenout,tobringtothehadalsolargelybeendeterminedbyUbsilentPlaneCraz
