24 Frames: What’s Opera Doc? (Chuck Jones, 1957)

Elmer, the Wabitt-Hunter. As the critic Daniel Goldmark observes, ‘Simply placing opera into an animated medium is intrinsically humorous, because it violates cultural tradition – we laugh at the juxtaposition of high and low.’ Yet, What’s Opera, Doc? also has a political subtext, one that Walt Disney Productions had seen fit to avoid in 1941,