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MLA Style. (for wimps). Works Cited (place at end of paper). WORKS CITED Adamson, Joe. Tex Avery: King of Cartoons . New York: Popular Library, 1975. _____. "Well, for Heaven's Sake! Grown Men!" Film Comment Jan.-Feb. 1975: 18-20.

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MLA Style

(for wimps)


Works Cited (place at end of paper)

  • WORKS CITED

    Adamson, Joe. Tex Avery: King of Cartoons. New York: Popular Library, 1975.

    _____. "Well, for Heaven's Sake! Grown Men!" Film Comment Jan.-Feb. 1975: 18-20.

    Allen, Heck. Interview. Film Comment Jan.-Feb. 1975: 73.

    Armes, Roy. Film and Reality. Middlesex, England: Penguin, 1974.

    Barrier, Mike. "Of Mice, Wabbits, Ducks and Men: The Hollywood Cartoon." AFI Report 5, 2 (Summer 1974): 18-26.


References in the Text

  • As David Bordwell has pointed out, "[T]he 'rereading' of Hollywood, which has been so central to film theory in recent years, has its roots in the schemata of European 'artistic' filmmaking" (232).


References in the Text

  • During the 1930s and 1940s, Walt Disney was almost universally praised; he was loved by the public, popular journalists and critics, and even academics and "serious" artists (Waller 49-57; "Europe's Highbrows Hail 'Mickey Mouse"' 19).


More Than One Work by Same Author (in Text)

  • Eisenstein called Disney "the brilliant master and unsurpassed genius in the creation of audiovisual equivalents in music of the independent movement of lines and a graphic interpretation of the inner flow of the music" (Nonindifferent Nature 389).


More Than One Work by Same Author (in Works Cited)

Delgaudio, Sybil. "Seduced and Reduced: Female Animal Characters in Some Warners' Cartoons." Peary and Peary 211-216.

Eisenstein, Sergei. Eisenstein on Disney. London: Methuen, 1988.

_____. Nonindifferent Nature. Cambridge: Cambridge UP, 1987.

Ellis, Jack. A History of Film. Englewood Cliffs, NJ: Prentice, 1979.


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