It was Sergei Eisenstein, in a series of essays written in the early 1940s (later published as Eisenstein on Disney, and as Sergei Eisenstein: Disney – edited by Oksana Bulgakowa and Dietmar Hochmuth, Potemkin Press 2013), who described Disney’s films (and by extension all animated cartoons) as having the quality of plasmaticness: “The rejection of the constraint of form, fixed once and for all, freedom from ossification, an ability to take on any form dynamically.
