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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

, the live-action filmmaking and the rotoscope work in concert to “lend a kind of corporeal authenticity and carnal density to Betty’s racialized body” (2000: 50). The rotoscope, in particular, “facilitates a transference of reality and materiality” to

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

technical history. At each such pivot point, she demonstrates, the racialized body served to cover threatening gaps in the capacities of the filmic apparatus and to ensure a more complete bonding of the audience with the cinema’s truth-claims—often because