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Though for a long time marginal to the historical and theoretical concerns of mainstream film culture, animation has recently received increasing attention from critics and scholars owing to its prominent status in contemporary screen media culture and the dramatic expansion it has undergone in the digital age. Its newly relevant significance and ubiquitous presence have inspired Chris Gehman and Steve Reinke to write that “animation has become a kind of black hole or singularity through which all of cinematic practice must now pass, emerging forever changed on the other side” (6). In her Introduction to Pervasive Animation, in turn, Suzanne Buchan has placed this art form within an even broader context and has observed that animation “is transforming cinema, is the basis for computer games, is used throughout the web, and advertising and propaganda learned early on of its power to astonish, influence and coerce” (1).