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1008SOC Email Update

1008SOC Email Update

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Published by ang101000

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Published by: ang101000 on May 04, 2011
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06/14/2011

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© August 2010 Issue
(Data through August 24, 2010)
The Socionomics Institute •
200 Main St. • Suite 350 • Gainesville, GA 30501 USA • 770-536-0309 • 800-336-1618 • FAX 770-536-2514
When Ted Turner pitched the idea or an all-cartoonnetwork to investors in 1991, he made one key point: Peoplelove cartoons. In act, Turner showed,
all kinds of people
 love them, with nearly hal the cartoon viewers not kids buttheir parents.
1
 The assertion piqued our curiosity: With cartoons embraced  by such a broad swath o society, might social mood drive thesort o cartoons that studios produce and viewers watch?
Bull- vs Bear-Market Cartoons
We ound that cartoon styles shit dramatically with socialmood. Positive-mood cartoons are un and wacky, or example. Negative-mood cartoons, on the other hand, are usually tragicor surreal. Bull-market animation is sae or the amily. Butmany bear-market cartoons contain themes o sexuality, drugsand even racism.Figure 1 summarizes the key dierences. See how many o the characteristics you can spot as we review the most popular cartoons o the past 90 years.
Cycle Wave V of Supercycle (III):The First Animated Stars
 Felix the Cat and Mickey Mouse
The 1920s launched the age o plot and characterization or cartoons.Most historians consider Felix the Cat, the decade’s most popular cartoonstar, to be the rst cartoon character with a distinct personality. Cartooncritic Maurice Horn calls him “the high water mark o silent animation.
2
 Felix is creative, adventurous, un-loving, hard-working and intelligent—a bull-market hero all the way. In the 1926 classic,
Two-Lip Time
, Felix courtsa Dutch girl. Rather than ght a rival suitor, Felix infates the man’s pantswith a tire pump and watches him foat away into the clouds. It was anapt metaphor or both markets and cat; success came easily and Felix’s popularity soared through the decade.
The Right Hero at the Right Time
:Felix the Cat (1925)
 Figure 2
To learn more and receive additional excerpts rom
The Socionomist 
and other socionomics resources, sign up toreceive ree occasional email updates rom the Socionomics Institute at:www.socionomics.net/august-email-updates
   D  o  n   O  r   i  o   l  o   F   i  g  u  r  e  s  :   W  a  r  n  e  r   B  r  o  s .
 Figure 1
 
The Socionomist—August 24, 2010
2
As refected by the stock market, social mood climbed to extreme heights by the end o the 1920s.This climate set the stage or Felix’s impish new rival,Mickey Mouse. Viewers today hardly recognize WaltDisney’s early incarnation. In
Steamboat Willie
(1928),Mickey is a prank-playing river hand who throttles acat that looks quite like Felix (Figure 3). Ebullientaudiences loved the careree, rascally mouse.
Supercycle Wave (IV) Down: Sex, Drugs and Menacein the early 1930s
 Mickey’s New Direction; Felix’s Demise
Mischievous Mickey’s run screeched to a halt withthe social mood crash o 1929-1932. Suddenly, Mickeywas out o step with the times, and audiences let Disneyknow it. In 1931, Terry Ramsaye o Motion PictureHerald wrote:
Papas and mamas, especially mamas, have spokenvigorously … about [the] devilish, naughty littlemouse. … Mickey has been spanked.
3 
In response, Disney morphed the mouse dramatically.The 1933 post-crash short
The Mad Doctor
was released in the depths o depression. It let all rivolity behind.The story opens with wind, thunder, a dark stranger and Pluto’s abduction. A doctor plans a gruesomeexperiment: He aims to replace Pluto’s body with achicken’s to see whether the new creature will “bark,crow or cackle.” Mickey dodges traps and undead skeletons until the doctor’s snares nally catch him.
 Figure 3
A Mouse Transformed
: Pre-1929 Mickey gets into mischief;post-1932 Mickey accepts his destiny as hero.
 Figure 4
   D   i  s  n  e  y
 
The Socionomist—August 24, 2010
3
In the climax, Mickey eludes a buzz saw, only towake up in bed and realize that the whole ordeal wasa nightmare.The post-crash plot is a major departure romMickey’s pre-crash adventures. Nowhere does Mickeycause mischie. The antics and songs are gone, while thedoctor’s menace and his castle are righteningly real.With the subsequent rally in mood in the mid 1930s,Mickey received yet another role: that o the heroicleading man. The transormation mirrored America’sshit toward optimism, and it is this triumphant Mickeywho endures today.Meanwhile Mickey’s predecessor, Felix, ailed to adapt to the negative mood o the 1930s. Despitethe breakthrough o sound, the cat clung even to hismuteness. His audience grew similarly silent, and his popularity plummeted. Four times since, producershave tried to revive Felix—in 1936, 1958, 1991 and 1995, always in bull markets. The most successul wasFelix’s run in the 1950s during Cycle Wave III up, whenhe starred in 260 new shorts and regained much o hisormer purr. Each revival, though, aded when socialmood again turned down. Hollywood plans a Felixmovie in 2012. But the release is years prior to our orecast nal low in 2014-2016. As such, Felix’s sixthlie should be short.
 Betty Boop, Vamp
Meanwhile, the Max Fleischer studio struggled tocreate a star to rival Mickey and Felix. It nally struck gold ater mood collapsed in the early 1930s. Their star: Blatantly vampish Betty Boop. Boop routinelydropped her skimpy top, and her skirt was orever ridingup. Betty was so risqué that one 1933 short,
 Boilesk 
, proved too much or even bear-market tastes and was banned in Philadelphia.Betty Boop tackled both coerced sex and druguse. In
Chess-Nuts
(1932), the Black Knight nearlydefowers Betty beore Bimbo the dog comes to her rescue. In
 Boop-Oop-A-Doop
(1932), Betty is a highwire perormer in a circus as the villainous ringmaster lusts or her rom below. Ater the perormance, theringmaster ollows Betty to her tent, where he caressesher legs and threatens her job i she reuses to submit—asore topic at the time, with a quarter o the U.S.unemployed. Koko the clown rushes in and knocks theringmaster unconscious with a test-your-strength mallet.When Koko asks i Betty is ok, she answers in song, "hecouldn't take my boop-oop-a-doop away!"In another episode,
 Ha! Ha! Ha!
(1934), Bettytries to ease Koko’s toothache. She administers nitrousoxide but drops the mask and accidentally exposes theentire town to gas. What ollows is downright trippyas townsolk, plants, cars and bridges all collapse intoconvulsive laughter.
Cycle Wave I Up: The Mid 1930s Suggest Recovery
 Betty Slows Down While Popeye Takes Control 
The reign o sexy, druggy cartoons was short-lived. As social mood recovered in the mid 1930s,Betty’s creators ashioned a more modest wardrobe, but Betty couldn’t make the transition. Her boop-oop-a-doop zzled.Betty’s successor at Fleischer studios, Popeye theSailor, debuted in 1933. His scruy appearance and can-do spirit mirrored the battered but upturning mood thatueled the 1932-1937 bull market. Popeye’s nemesis,
 Figure 5
Bear-Market Sex Symbol
: Her torso covered by just alei, Betty dances a near-topless hula (1933).
To learn more and receive additional excerpts rom
The Socionomist 
and other socionomics resources, sign up toreceive ree occasional email updates rom the Socionomics Institute at:www.socionomics.net/august-email-updates
   K   i  n  g  s   F  e  a   t  u  r  e  s   S  y  n   d   i  c  a   t  e
“What ollows is downright trippy astownsolk, plants, cars and bridges all collapse into convulsive laughter.” 

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