Abstract

The Carnival of the Animals is a piece for two pianos and orchestra written by Camille Saint-Saëns. It was composed in February 1886, when the composer was on vacation in a small village in Austria. The piece, far from being an innocent musical piece, appears as a social, political and artistic satire. The composer’s objective was to criticize the Parisian musical environment at the end of the 19th century.
From the analysis of “Bugs and Daffy’s Carnival of the Animals by Camille Saint-Saëns”, produced, written and directed by Chuck Jones in 1976 -, we want to understand how the musical work defines the narrative contents of the animated film. In another, in this filmic proposal, the visual component that is built from two characters of animation cinema, Bugs Bunny and Daffy Duck, appears as a link with other form of arts, especially music, in order to clarify the various discursive plans that compete there. The narrative overlaps two planes, the real and the animated one. In another, it reflects, through a fictionalized narrative, a sharp critique of French society at the beginning of the 20th century. So, by its analysis, we expect to understand the contribution brought by the simultaneous use of the real and the fictional plans in order to shape the filmic object.