ABSTRACT
The author gains views from animators and directors working within today's CG global animation industry on how identity is created within their own work. Standing at the forefront of an animation revolution, Pixar needed to sustain a strong identity. Pixar's identity lay within the liveliness of 'things'. Pixar acknowledges US culture and its audience. Competition within the CGI animation feature industry has grown significantly since 1995, when Toy Story was released. Pixar, in creating Luxo Jr an audience could feel empathy for an inanimate object. WALL-E, alone in the wilderness, self-reliant, waiting and hoping (perhaps) for something to stir out there, reminds one of Pixar at the dawn of the CGI revolution. The link between Chaplin and WALL-E is explicit and pertinent. Bodies in WALL-E separate liveliness from stillness and point to the abled and dis-abled self.
