Abstract

This article explores a distinctive representational strategy used in stop-motion animation: the object substitution. Using as its central example a children’s TV episode in which brushes stand in for dogs, it explains how this strategy produces a complex relationship between depiction and representation. The analysis highlights the pragmatic underpinnings of various theories of pictorial and cinematic representation, arguing that, in a substitution, depicted elements constitute explicatures and represented ones implicatures. Connecting this strategy to humans’ capacity for pareidolia (seeing things in other things), it contends that an object substitution achieves its effects—and reconciles its marked incongruities—by prompting viewers to pleasurably reverse-engineer the far-fetched projective imagining that motivated its use. This process, which is a form of conceptual blending, is based on relations that are neither straightforwardly iconic nor purely arbitrary.