received rave reviews in the trade magazines, although Cohl was identified only as "Gaumont's animator". It was probably in response to Fantasmagorie that Winsor McCay made Little Nemo (1911). Motifs of Cohl's can be found in Little Nemo and later films by McCay: the dots coalescing into Little Nemo reflect effects in Un Drame Chez les Fantoches and Les Joyeux Microbes; the metamorphosis of the rose into the Princess may have been inspired by Fantasmagorie; the titular character of The Story of a Mosquito (1912) sharpening his beak comes from Un Drame Chez les Fantoches; the live-action/animation interaction of McCay throwing a pumpkin to Gertie the Dinosaur (1914) may have been an answer to the matador hurling his hatchet at the moon in Clair de lune espagnol. But if there were borrowings of Cohl by McCay, there was also a wealth of style and spirit in McCay's films that were uniquely his own. On 30 November 1910, Cohl left Gaumont for Pathé, probably for more money. He made only two animated films before being forced into exclusively live-action work as a director of burlesques starring Jobard (Lucien Cazalis), one of the first generation of great screen comics. Cohl made ten Jobard films between March and May 1911 before leaving for a vacation. Apparently, one of these films was the origin of pixilation, the technique of applying stop-motion to human beings. One of those two animated films was Le Ratapeur de cervelles ["Brains Repaired"], which is a rehash of Les Joyeux Microbes using a mental disease. The transformations here are some of the most remarkable (and non-sensical) of Cohl's career: as two men shake hands in profile, their heads expand into huge crossed bird beaks, filling the screen in a zoom until only their shared eye is seen, which itself expands into a bellows. The other film, La Revanche des esprits [The Spirit's Revenge] (now lost), may have been the first film to combine live-action and animation by drawing directly on the live-action film (previous work had used mattes exclusively). In September 1911, Émile Cohl learned that his daughter Andrée had died of a miscarriage. Dissatisfied with Pathé and too proud to return to Gaumont, Cohl signed with Eclipse in September. Only two of Cohl's Eclipse films have survived; one of them, Les Exploits de Feu Follet (a.k.a. The Nipper's Transformations), is currently seen as the first Western animation film which