Since Pixar’s release of the groundbreaking blockbuster, "Toy Story" (1995), computer animation has become hugely profitable and popular with audiences. The 3 dimensional cartoon platform engages audiences in a variety of ways. At first glance they act as an unworldly ‘kidified’ visual spectacle, however once you dig deeper you understand a true care and precision placed into the filmmaking that attracts audiences through other means. The social commentary that runs throughout these family oriented films encourages audiences to challenge their own moral integrity. Likewise, an engagement through humor, both slapstick and implicitly adult makes watching such features with children a satisfying experience, rather than a parental endurance. In my essay I will cover potential social, economic and political factors that contributed to the genre’s development and question why audiences continue to respond to these features in such a positive manner. The "Golden Age of Animation" was the ‘remarkable period in the late Thirties and early Forties, when Walt Disney transformed the movie industry with a visionary zeal and unbroken string of [cartoon] hits" (Lee M, 2009). His artistic creations helped animation thrive, in a way that granted it commercial recognition and popularity from the public. Unfortunately, soon after this booming era, which brought us unforgettable classics such as ‘Bambi’ (1942) and ‘Pinocchio’ (1940) the animated film industry faced a serious downfall in both reputation and sales. Some argue this was caused by ‘Chuck Jones at Warner Brothers [placing of ‘Looney Toons’ (1930-present)] on at children’s hour.’ (O’Harra H, 2007) Although the movement from cinema to television made cartoons popular with children, it unintentionally created a ‘60’s and 70’s [parental perception that] Saturday morning animation was just for kids.’ (O’Harra H, 2007) This meant that adults rarely invested money in animated features, especially when their children could watch these comically entertaining ‘distractions’ at home for free. It was debatably not until the 90s that animated features made a profitable come back. This was arguably because John Lasseter, the creator of the ‘innovative, self-shadowing 3d animated short Luxo Jr’ (Garcia C, 2013) joined Steve Jobs’ pioneering computer Animation Company ‘Pixar’ and created ‘Toy Story’ (1995). The combined forces of Jobs’ ‘PhotoRealistic RenderMan’ (RenderMan, 2013) programming skills and Lasseter’s belief that although ‘art challenges technology, technology inspires art’ (Lasseter, 2012) there was no doubt the first feature length computer animated movie would be a huge success. A ‘3 Oscar nominated,’ (IMDB, 2013), rare 100% rating on Rotten Tomatoes’ (2013) and ‘$200 million domestic grossing’ (Box office Mojo, 2013) success, to be precise. The CGI (computer animated images) offered audiences a unique visual spectacle that ‘people got excited about initially because it was generated with a computer.’ (Garcia C. 2013) This made viewers feel like a privileged insider, and satisfied their ‘self-esteem needs’. (Maslow, 1943) In application to Maslow’s needs theory, audiences felt a sense of trust with the moviemakers as they were provided with a sufficient cinematic experience unlike any other. Additionally, Pixar, ‘the first and remains the most successful animation company’ (O’Harra H, 2007) continues to retain the trust of its audiences and distribute brilliant movies: 12 out of 14 were Oscar nominated, and a majority of them are on ‘IMDB’s top 250 movies.’ (IMDB, 2013) The ‘commitment-trust theory of relationship marketing’ (Robert M, 1994) can be applied to Pixar. This is because the well-established production company continues to provide audiences with consistently quality films. Hence, they maintain their brand identity, cater to consumer demand and sway audiences to watch their films over others. Furthermore, with this new style of film’s success, computer animation has spawned what John Lasseter ‘who is currently Disney’s animation chief creative officer [believes is] a second golden age of animation.’ (Lee M, 2009) He goes on to