Duck Amuck is an American animated surreal comedy short film directed by Chuck Jones and written by Michael Maltese.

Pandemonium reigns throughout the cartoon as Daffy attempts to steer the action back to some kind of normality, only for the animator to either ignore him or, more frequently, to over-literally interpret his increasingly frantic demands.

In 1994, it was voted #2 of The 50 Greatest Cartoons of all time by members of the animation field, behind only What's Opera, Doc?, also directed by Jones and written by Maltese.

[5] In 1999, Duck Amuck was added to the National Film Registry for being "culturally, historically, or aesthetically significant.

Daffy also finds himself generating random sound effects when he tries to speak, and finally regains his voice when he becomes enraged and shouts angrily at the animator.

The camera pulls back and the animator is revealed to be Bugs Bunny at a drawing table, who turns around and says to the audience, "Ain't I a stinker?".

A similar plot was also included in the episode "Duck's Reflucks" of Baby Looney Tunes, in which Bugs was the victim, Daffy was the animator, and it was made on a computer instead of a pencil and paper.

It is done once again with Daffy tormenting Bugs in the New Looney Tunes episode "One Carroter in Search of an Artist" (for this reason, this version has garnered the alternative name "Rabbit Rampage II" among series fans) with the technology updated and the pencil and paintbrush replaced by a digital pen, the victim is Bugs Bunny and the animator is Daffy Duck.

A Nintendo DS game was published based upon the short, where the player takes the role of the animator and is tasked with finding ways to anger Daffy.

Animation historian Greg Ford writes, "The duck glowers directly at the camera, the eye contact always implicating us, the viewers, in the cartoon's gleeful sadism.

While Mel Blanc's voice acting is masterful, writer Michael Maltese's gags are great, Maurice Noble's mismatched backgrounds are hilarious, and the Disney-derived yet highly defined 'stop and start' animation executed by Ken Harris is extra crispy here, the film belongs to Chuck Jones.