ABSTRACT
In the previous chapter, we discussed the liberated selfhood of Betty Boop and her ‘awareness’ of her own performance. Betty is a neotenous presence, an exaggerated caricature to appeal to the masses; she is inked and animated for the viewer to enjoy, and her body is seen as an instrument of sexuality and play. Disney’s approach to the Toon is wholly different. ‘Self’ is addressed through acting classes in order for animators to achieve a deeper sense of realism and believability within the character (as discussed by Barrier, 1999; Crafton, 2012; Maltin, 1987). However, notions of selfhood within an increasingly conservative Nation result in a compelling struggle between the individual and society.
