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A while back I wrote an article about how The Secret of Kells told a medieval Irish story through the idiom of medieval Irish artwork, and how this acts as much more than an aesthetic exercise.Unfortunately, we haven’t seen much of that sort of historicized film-making in animation since then. Cartoon Saloon’s follow-ups Song of the Sea and The Breadwinner do not reconstruct their worlds in this way; the only other example I can think of in the years since is Studio Ghibli’s The Tale of the Princess Kaguya. Kaguya is in many ways even more impressive – Isao Takahata putting in a stupid amount of work to give the film the character of a traditional Japanese brushwork brought to life. And, see, I get it: approaching historical and cultural material this way requires a whole lot of careful attention to detail, especially because you’re tapping into a visual language that by necessity you need to teach your audience as you go along since its outside their lived experience. It is not easy to pull off and I’m sure there are examples I haven’t seen because they never gained the attention that would ensure I’d hear about them, or failed to connect to their source material.

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