Labor, Page 115
In The Enchanted Drawing (1900), James Stuart Blackton mugs for the camera, acknowledging his audience. Like the wink of an animated character that it prefigures, Blackton's performative gesture demonstrates the vaudeville aesthetic of early animation. Self-reflexively cluing the audience into the constructed nature of what they are watching, the animator and his characters treat the boundary between the drawn and real worlds as porous.
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