Abstract
This article offers Michel Ocelot's animation in Kirikou et la sorciére/Kirikou and the Sorceress (1998) and Princes et princesses (2000) as a test case for notions of spectatorship and our understanding of the embodied animated character. It also looks back to theorists Etienne Souriau, Edgar Morin and Jean Mitry to apply their concepts of the cinematic character to Ocelot's work as well as Murray Smith's studies of character identification.
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