Pixar’s Wall-E
(2005) is a film that relies heavily upon other films to shape its meaning. It
specifically features excerpts from the upbeat and sunny film Hello Dolly!
(1957). The two films starkly contrast one another, providing very different
images of the world--one is bright and sunny, concerned only with the love
between human beings, another is a post-apocalyptic landscape from which humans
have been removed entirely, floating alone and isolated on a constructed space
vessel. This paper will examine the ways in which Wall-E uses the intertext to
define landscape and the people in it.
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