This dissertation is situates within the growing research around the stylistic use of digital technology and new media in contemporary cinema. My main area of investigation will be the virtual camera in narrative computer-animated films, with a precise interest in musical cinematography. The term ‘musical’ refers to the narrative premise of analysing song or dance sequences, while the term ‘cinematography’ refers to the stylistic and aesthetic form of the camerawork. The musical context provides a point of consistency across the films and sequences chosen for formal analysis, thereby providing a lineage between different production methods and styles. Prince argues that that digital technology builds “on stylistic traditions established by filmmakers in earlier generations … while providing new and more powerful tools to accomplish these ends.” Likewise this dissertation will explore the stylistic developments in computer-animated films in relation to past cinematic traditions.
This investigation is structured around the aim of outlining and testing the term ‘digital cine-mobility,’ as a cinematic style, through comparisons with established stylistic traditions. Chapter One will explore the visual effects of cel-animation and computer-animation in relation to the Walt Disney Animation Studio. Chapter Two will study the moving camera of the American film musical. And finally, Chapter Three will scrutinize the term ‘digital cine-mobility,’ which we will initially define as, the selection of fantastical, playful, and impossible camera movements in computer-animated films. The concept of digital cine-mobility is framed around a lively camera that presents spatially dynamic, effortlessly integrated, and kinetically expressive movements. The aim of this investigation is to progressively examine, and attempt to define, the descriptive terms above.
 Stephen Prince, Digital Visual Effects in Cinema: The Seduction of Reality (New Brunswick, New Jersey, and London: Rutgers University Press, 2012), 4-5.