In accord with the author’s larger project to bring to the fore the crucial nature of animation for the thinking of not only all forms but all aspects of film, this paper seeks to elaborate a theory of spectatorship “proper to” animation, which is to say, to cinema, to film, to film “as such,” as a form of animation – film animation. Drawing upon what the author calls the Cryptic Complex of film animation – informed by his treatment of Maxim Gorky’s characterization of cinema as “Kingdom of Shadows” and composed for him of the uncanny, the return of death as spectre, endless mourning and melancholia and cryptic incorporation – the essay extends his notion of spectatorship as spectreship, as at once haunting and being haunted, at once cryptically incorporating and being cryptically incorporated. To wit, to this animatic, Derridean-indebted theory of film animation as of the order of the spectre, the hauntological, and the author’s call for not merely a psycho- but a psuché-analysis of film animation – an analysis of the spectres (Homeric) at play in and of film animation – the essay brings the work of Jacques Lacan. It not only incorporates the animatic work of Lacan in film animation, and vice versa, it discovers that work as already so in play there – there in that haunted house, that crypt, where Derrida and Lacan animatically haunt, encrypt, each other, even as another such spectre, Jean Baudrillard, shadows them, animatically so.V skladu z avtorjevim širšim projektom prikazati ključno vlogo animacije za mišljenje ne le vseh oblik, pač pa tudi vseh vidikov filma, skuša prispevek razdelati teorijo gledalstva »lastno« animaciji, se pravi, kinu, filmu, filmu »kot takemu«, kot obliki animacije – filmske animacije. Prispevek se opira na to, kar avtor imenuje »skrivna zgradba filmske animacije«, izhajajoč pri tem iz avtorjeve obravnave Gorkijeve označitve kina kot »kraljestva senc«, ki ga tvorijo nedomačnost, vrnitev smrti kot prikazni, neskončno žalovanje, melanholija in skrivna inkorporacija. Prispevek razširja njegov pojem gledalstva [spectatorship] v prikaznost [spectreship]. To prikaznost razume kot nekaj kar hkrati preganja in je preganjano, skrivnostna inkorporacija in skrivnostno inkorporirano. Prispevek tako povezuje delo Jacquesa Lacana s to animatično derridajevsko teorijo filmske animacije kot vrste prikazni, prikaznološkosti [hauntologcal], in avtorjev poziv ne le k psihoanalizi, pač pa tudi k analizi psihe filmske animacije – analizi (homerične) prikazni, ki nastopa v filmski animaciji in kot filmska animacija. Tako prispevek ne povezuje le Lacanovega animatičnega dela s področjem filmske animacije, in narobe, temveč kaže, da je to delo vselej že prisotno, tu v tisti hiši prikazni, tisti grobnici, kjer Derrida in Lacan drug drugega animatično, šifrirano preganjata, četudi jima druga takšna prikazen, Jean Baudrillard, animatično sledi kot senca
