Abstract

This article examines what was, for many decades, to a large audience the paradigmatic example of the short film, i.e. the animated short. Focussing on the first two Mickey Mouse shorts (i.e. Plane Crazy and Steamboat Willie (both 1928)), which I understand as highly self-conscious reflections on animation, I explore how animation relies on a set of pleasures, sensations and fascinations that differ profoundly from what mainstream (‘photographic’) feature-length cinema has on offer, and thereby opens to a series of insights into ‘cinematic experiences’ that cannot be grasped within the logic of the voyeuristic model of the cinematic apparatus that has until recently dominated classical film theory.