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Fantasmagorie was shot with a vertical mounted camera and consisted of seven-hundred chalk-line drawings, each of which was double-exposed and rendered in a stream-of-consciousness design and style, which observed the drawings morph in and out of just one a different and evoked a sense of continual transformation. Based on the movement of shadows from the toys, this scene appears to have been shot on an out of doors stage, even further heightening the impressiveness of this piece. The motion is remarkably fluid taking into consideration the machines readily available at the time, and movement is witnessed not just among the toys in the foreground but with every item viewable onscreen. There’s little in the way of plot, but the motion alone shows the degree of care and devotion taken by Cooper in his experimenting with this new type of art. As lately as February 2004, when Asahara was sentenced to loss of life, describing Aum members as "manga-like" (manga-teki) or "anime-like" (anime-teki) became an choice way of stating they were mad. Just a decade afterwards, Looney Tunes superstar caricatures began to emerge as well. His 2nd, The Story of a Mosquito, appeared a calendar year later, and the two have been included into his vaudeville act. As the certainly apocryphal story goes, Walt commenced brainstorming the thought for Mickey Mouse on the train journey back from his failed assembly in New York.