Much has been said about the geometric shapes and camera angles in Chuck Jones’ “The Aristo-Cat” (1943) when the spoiled housecat (Claude) realises the butler he has been tormenting has walked out on him.
There’s an interesting effect that adds to the cat’s discombobulation from the audience’s perspective. After some smear drawings (Ben Washam?), the cat runs toward the camera, then turns into a profile. Jones then had the camera enlarge the drawings of the cat to make it larger and bring it into the foreground. Claude doesn’t run closer to the audience. He’s actually running in place; it’s all a camera trick.
The cartoon marks the debut of Claude and the head-game-playing mice, Hubie and Bertie.