| Display title | Nothing Left to the Imagination |
| Default sort key | Nothing Left to the Imagination |
| Page length (in bytes) | 2,330 |
| Namespace ID | 0 |
| Page ID | 87360 |
| Page content language | en - English |
| Page content model | wikitext |
| Indexing by robots | Allowed |
| Number of redirects to this page | 0 |
| Counted as a content page | Yes |
| Number of subpages of this page | 3 (0 redirects; 3 non-redirects) |
| Page image |  |
| Edit | Allow all users (infinite) |
| Move | Allow all users (infinite) |
| Delete | Allow all users (infinite) |
| Page creator | prefix>Import Bot |
| Date of page creation | 21:27, 1 November 2013 |
| Latest editor | Looney Toons (talk | contribs) |
| Date of latest edit | 22:03, 14 January 2021 |
| Total number of edits | 12 |
| Recent number of edits (within past 180 days) | 0 |
| Recent number of distinct authors | 0 |
Description | Content |
Article description: (description)
This attribute controls the content of the description and og:description elements. | The attitude beginning sometime in the 1980s and continuing well into the 1990s that computer animation is somehow "cheating" by being too good. The usual complaint, originally lodged against some music videos but also applied to early CGI films like Tron, was that the computer graphics leave "nothing to the imagination", implying not only that were the viewers expected and required to fill in any lapses in production values, but that it was in fact a virtue that they do so. There's an old saying that radio and books can thus beat television because "the pictures are better". |
