Greatest Carto

ore than three hundred illusttations-

M two-chirds in full color-showcase the

fifty greatest cartoons of all timi:; selected by
a panel of more than t.ooo cartoon historians and
animation professionals. The result is a fascinating
range of classic animated entertainment. Here are old
favorite characters from Disney and Warne.r Bros., the
imaginarively oflbeat creations of the Fleischer studio,
pioneering efforts from early masters like Winsor
McCay and Ono Messmer, and many more, including
Walter Lantz, MGM, and others.
A portrait of each winning cartoon includes a
plot summary. the production history. and a critical
analysis that explores the unique qualities that have
earned the cartoon a place in film history. Also included
are interviews with the actual anises, as well as sidebars
throughout the book that focus on individual characters,
animators, directors, and studios. ln addition, major
writers in the field of animation- Leonard Makin.John
Canemaker,Joe Adamson, Steve Schneider, Charles
Solomon, and Leslie Cabarga- comment on their
favorite films. And hundreds of illustrations culled
from private and public collections across America
display every stage of the animators' art, from the
first pencil sketches to frame enlargements from the
finished work.
For many readers, The Fifry Greatest Cartoons is
a long-overdue acknowledgment of an overlooked
art form . Brimming \vith lively text and vivid images,
thjs is a nostalgic look at old friends and childhood
pleasures.

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TumerPublishing,Inc.
ATLANTA
est Cartoo
-
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1 A111mJicd l1hru 1 1MtJ Su1u-Caulo~• I Peel Jerry
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18 B,uy Boop {Minni, th« Moocha)
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16 Minnie Mou,e: (6,n, t.t11tr i allo,J
Uw,I hy pt"rm,u111n 19 Donald Duck (fli, l}and Conem)
30 Pluto
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l1 Oroor, (No,1h,.•ur lloltnd,J Po/Ire)
14 Bluto
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18 Muk.Anthony ■nd Puuyfom
(P«J 1b, Ki•!Yi
39 11,. 81~ Sn,,
10 Gm,ld MclJejng Homg
1 • Raoir l oot 1001
1• Hug, Bunny (Robbi, of S"<II<)
13 D,fly Our~ (Pu,k i\no"'kJ
11 M mct fudd (\\IA.,,', Optto, Doti)
15 Po,ky Pig
(tJ11rk Dod&tt& jr1 th( .\,f J/11~ Century)
16 Mm1ln 1h~ M•,t••O
{Dotie Dod&m jn fM '- f 1/ath C,nru,y)
◄1 Gmlt 1hr 01110;.rut

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L....::;
 Contents
Editor's note . .. . ... . .... . .... , . . ............ . .....•..... 6
A Brief History ofAnimation .................. . ....... . .. . 9
An Animation Time Linc . . .. ....... . .................... 1 2
Animation HaUof Fame . . .. ................. .. .......... 22
A Gallery of Cartoon Stars . . ...... . ...................... 2 3
What Makes a Cartoon Great?..... . .... . .. . ... . .......... 26

The Fifty Greatest C:moons . ... . .... . ..... . .............. 29

1. \1//](rt's Opcrn, Doc? ....................... . ..... 30
2. DuckA111uck . ... .. . ......... . ... . .... .. .. . .. .. . 36
3. 11,e Band Concert .. . .... . ....................... 40
4. Duck Dodgers in r./1, 1.4J2r.li Ccnwry . ......... . ..... ++
5. One Fro.!;.~ Evening.......... . .. . . . ............ . . 48
6. Gertie t/Je Dinosaur ... ........................... 52.
7. Red I lot Riding /-lood ......... . .. . ........ . ...... 56
8. Porky in Wacky/and ... .. ....... . .... . ......... , . 60
9. Gerald McBoing Boing . . ...... . ..... . ........ •... 64
1o. Kjng-Size Canary .. .... . ....... . .. ... . .... . .•... 68
1 1 . Timc Liu/e Pigs ... . ... . ..•..... . ................ 72
1 2. RC1bbil ofSroillr ............. . ....... . ........... 74
1 3- Swm,boat W illie .. . ... . .. ... .... . ... .. .. . ....... 78
lf. TI1e Old Mill ........................... .. ...... 80
1 5. Bad Luck Black,e .... . ......... . .. .. . . .. . .. . ... . 82
16. TI,c Great Piggy Btmk Robbery .. . ............... . .. 84
r7. Popryc the S,,ilor Mws Sindbad r./1c Sailor ........... . 88
1 8. TIJc Skeleton Dance .. . ............ . . . ... .. .... . . . 92
Lg. Snow W11ite. ... ..... . .....................•. • • . 94
20 . Minnie r./Jc Moocbcr ... . ............. . .. . ... .. ... . 98
2 c. Coal Blcick and de Sel1ben Dwmfs . . .. . ............ ro2
22.. Da Fuclmr's Face . .... .. ....................... ro6
2.3- Liu/c Rural Riding Hood ......... . . .. .. . ......... ro8
24- 77Je Tell-Talc Heart . ... .. .... . .. . ............... n 2
2.5. TI,c Big Snit. ................... .. .. . ....... . .. r 16
26. 8r,rve Little T,1//or ....... . ........... . ...... . . .. c 2 0
27. Clock Clwncrs . . , ......................... . .... 1 24
2.8. Norunucsl Hounded Police ' . . ..... . ... ' ' ... ' ... .. J 26
2.9. Toot, \1//1ist/e, Plunk cmd Boom ....... . . . ...•..... r 30
30. Rabbi1Seasoning ...................•... . . • ... . . 132
3 r. TI1e Scarier Pumpcmickd . ... .. .. . ... . •... . . . ... . . 13 6
32. 17,c Cat Cam, Back .......................... . . 138
33. Supcm1m1... ............. .. .. . ... . .... . ....... 140
34. You Ot1g/JL to Be in Pictures ...... . ..............•. 144
35. Ali Baba Bunryy... ......... . .. . .. ... ..... . .. . .. 14-8
36. fod tl,c K.it9' . .. .. .. . .... . ... . .. .. . ............ 1 5 0
37. Bimbo's Initiation ... . ....... . . . ..............•. 152
18. Bambi Mew Godz illa .... . ... •.. . ....... . . .. ... r 54
~9- Littlt' Rrd Riding Rabbit ....... . .. . .............. 1 56
40. Peace on Eart/1............... . ............ . .... 1 58
41. Rao!}' -loot Toot .......... . ... •.. . ......... .. ... 1 60
4 2. Ca t Concmo . . ......... . ...................... L62
43· ·n1c Barbcr of SC1.1illc '' .. ' ' ... '' .. ' ' .... . . ' ' ... '' T66
4+ TIJc Man \1//JO Planted Trees .... ................ .. r68
4 5. Book R.C1.1ue .•.•.... • .•..•.•.. •• , .••. • . •... . •.. 170
46. Q,i,asi at tbc ;)J,ackadero.. ....... . .... . . . .. . ..... 174
47. Corny Concerto . . . . . .. . ... . ... . . .... . .......... J 78
48. A Unicorn in tbc Garden ......... . .... . .......... 180
49. 17Jc DCYl/er B<?)'s . .......... .. . . . . ............. . . 1 82.
50. Felix in Holfywood ...... . ........... .... . .. . ... 1 84

Other Grear Cartoons ........... . ..... . ...... . . . . ... . .. 186

llluscrations .... . .... . .... . .. . .............. . ....... . .. 187
How to Find the Fifty Grcarcsc Cartoons ....... . ....... . .. 188
Animation Art Sources and AS!fA ............ . .. . ....... 189
Index .... . ................ . ......... . ... . .......... . . 1 90
Acknowledgments .................. . .... . . .... . . .. .... 192
llluscracion and Connibutor credits . . .... , ................ r92
Editor's Note
T
his volume is an
cbbornte program
hook ror the car-
toon festival of my dreams.
The flfry cartoons show•
cased here were chosen in n
survey of more than 01,e
thousand animators, cartoon
hiscoii:ms, and animation
professionals. Their deci-
sions turned into my pica·
sure- I ?,Ot to rcscrcen all
the films to conllnn their
consensus.
No single person picked
these llfty lllms. All of us.
myself included, have m:my
favorites which did not make
the final cut. But to my
delight, chis is an extraordi-
narily weU-rounded collec-
tion of classic animation.
\Miilc it is r~i11 of popular
Disney. MGM, and Warner
Bros. films, it also includes
cmoons by Walter Lintz,
the Fleischer Studios, UPA.
and rhc National Film Board
of Canada, as wdl as pio•
nccring cffo1ts like Catie the
Dinowur nnd the work of
contemporary artists.
Many of those polled nrc
members of the New York.
Hollywood. Ponbnd. and
San Francisco chapters of
ASIFA (Association
lnrernationalc du Film
D'Animation-see page 1 89
for more information), a lllm
sociccy made up of anima-
tors, lllm students, and car-
toon buffs. B:illots were :tlso
sent to members of the
Sociccy for Animation
Studies. one hundred anima-
tion studios, and film crii:ics
at more than one hundred
periodicals. All were asked
to nmk their favorite car-
toons from numbers 1 50:
nny lllm, foreign or domes·
ric, classic or conrcmporn,y,
was eligible, so long as it was
short Qcss than chiny min-
utes) nnd eel animated (o
special exception was made
for Gmfr tbe Dinosaur, which
was animated with paper).
The ballot was cnllicd by
weighing each choice with
its rnnking.
Of the thousands of car-
toons produced since t 908,
there arc probably a few
hundred more that could
hove made the grade; we
have listed Lhc runners-up
at the end of the list offlrry,
but even that docs noc
cover every wonhy cartoon.
6
I think everyone rending this
book will flnd nt bst one or
two absences that they con•
sider inexplicable, and might
even wonder why one or
two of those present merit
inclusion. Many of those
poUed remarked that they
h:id trouble comparing car·
roons of vasdy different
styles and arristiy, 9unlifying
their lists with voluminous
notes. Every voter used his
or her own c1itcria, but the
decision came down to a
simple question: Is this a
classic cartoonl The answer
for every cm-won included is.
of course, ycsl
~/7,c Fif!:Y Grcmcst Cartoons
celebrates these cartoons
with prime ex.:tmplcs of origi·
nal animation art, chosen
from the gnnccst private col-
lcct1ons and g:illcries located
all over the world. We've
also used Frnmc enlarge-
ments from rare 3 5mm
p1ints, pencil sketches, and
seldom-seen advertising
material to illustratc sclccccd
cartoons. Anise and
Fleischer historian Leslie
Cabnrga provided us with
two OJiginal paintings (Snow
\1//Jite and Bimbo's Initicnion) ;
animation director DaryU
Van Citters helped us illus·
er.ice K!ng-Si,::e Canary. Duck
Amuck, and Tiic Scarlet
Pumpcmickcl.
In addition to a concise
plot synopsis, fl1II credits,
and producrion information,
.:ach cartoon is given a c1iri-
cal apprnisal from a distin•
guishcd animation pundit.
I'd like to especially thank
Lhese critics for sharing com·
mcnLs, insights, and wisdom
with us. (Sec page 192. for
their crcdirs.)
This book is a nibute to
fifty very special cartoons.
Bur the only true way to
appreciate these films is to
sec them-at animation festi-
vals, on television (you can
catch many of them ifyou
gl ue yourself co The Car-
toon Network, 17,e Disney
Channel. and ickclodeon),
or by purchasing videotapes
and laser discs. I encourage
you co seek out the fifty
g1·eatest cartoons and sec
what all the fuss is about.
You'll have a marvellous time
doing it. I did!
- Jcny Beck
I lol/ywood, Cct/1fomi11
1994
 y firsr impression
on reading this
list of the Jlfty
grcaLest carroons is whar a
superb gathering it is. I do
believe chat you could
blindly shumc the entire
pack of cartoons severnl
times and puc them down
in random order and it
would in every case- no
matter how orccn the sh uffie
- represent a great and
7
amazing overview or chc
cighcy-odd years of this
wonderful, yourhl"ul crali: of
ours. Lf you put them down
alphabetically, W/Jat's Opera,
Doc? would probably be
lase and I would still be
delighted and honored to
be there. A special hosanna
to Jerry Beck for providing
this star-spangled ciibure
co animacion- a worthy
craft indeed.
A Brief History of Animation
A /l 11t/ 1/11111,v of An,111,11,on
Below: Muybridge's experiment.
Above, righL: In n !limed inLro•
duccion to his vaudeville act,
Winsor McCny drew Gertie for
n gro\1p orr,icnds inn New York
resrnurnnc.
he history of animntion
encompasses sever.ii st01ics.
Like all hist01ies, it begins
with individuals, in this case
creative and inventive people
whose rnlcnt, ingcnuiry, and
vision allowed chem ro go
beyond an art. form as they'd
found it. Because animation
combines a1tistry and tech-
nology, its history also
involves the development of
rechniques and procedures
which varied from simple
paper cutout.s to daborntc
computer setups. Many of
these innovations were ere·
aced against the backdrop of
the complex studio system
of I lollywood; the stories of
these studios arc another
clement of animation hisro•
ry, as is the development of
unique artistic styles assoc i•
ated ,,vith these studios. Arid
finally, the characters created
by mere mortals often took
on immortal and fantastic
lives of their own, and thei1·
biographies arc another
10
integral part of animation
histmy. Throughout this
hook. you ,.viii find these
components highlighted in
sidebars. ln th.is chapter, we
will attempt to unite them in
a cohesive chronology.
The earliest attempts at
animation can be found in
cave drawings of anin,als
drawn 1vith legs in several
positions to imitate motion.
-111c effort to analyze motion
on film culminated in an
experiment by photographer
Edward Muybridge. To sec•
de a bet made with Leland
Stanford (then governor or
California) as to whether all
four feet of a racehorse were
oil' the ground at the same
time, Muybridge set up
twelve cameras with ttip·
win:s; as a horse passed each
one, a photograph was
snapped. By looking at all
twelve pictures, Stanford was
ahlc to sec chat at one point
none of chc horse's hooves
were touching the ground.
Muybridgc foL1nd a way to
project these animated
images and showed them to
Thomas Edison, who was
inspired to invent chc
kinetescope. By looking
through this machine, view·
crs could sec a Oickering,
minute-long motion picrurc.
The movie industry had
been bom.
Animated films began as
an olTshoot of aick phorog,
raphy movies, or "trick
ftlms," popular in the early
1goos. In the beginning, just
chc novdcy of an animated
drawing was enough to cap•
civacc audiences who were
getting used to seeing live•
action moving pictures. As
audiences gained soph.istica,
tion, cartoon makers kept
the public's ancmion with
broader humor, appealing
characters, md better draw,
ings.1ivo early experimenters
wcrcJ. Stuart Blad,-ion, with
his /-lumorous Phases of Funny
Faces (1906), in which an
unseen hand draws words
and pictures, and French
 A 811 ,f ll1sro1) u/ An1111,ir1on

rHOWA CARTOON IS MADE 7

any people a,·c mnnzcd when they lc:1rn how much skill, d Tort, and labor nrc involved in the mo king of n
cartoon . Thousands of drawings md eels. nnd dozens orfinis hed bnckgl'ound pnlntings-plus n scripc,
musical score, s pecial effects, nnd voices--<irc required for each seven-minute s hort. Every animation Stu·
dio followed its own production procedures, but most followed the same general plan.
In mosc studios. idens were flesh ed out on scoryboat'ds, where gngs were plon ed nnd refin ed. Usually,
dinlogue wns recorded before the drnwing commenced, so thoc nnimotors could cime rhcir ~c.qucn ccs to
1hc words being spoken. O nce the story was finalized, th e work was divided up; in most cases, several animators worked on every cnr-
toon . For every ~ccond orfilm cimc, becwem cwdvc nnd cwcncy,four drnwings were created, each only slightly different thon the preced•
ing on e. The master mimntors drew the moin poses for each character, ,:.~pertly capturing motion and expression: "in,betwecners'' drew
the rest. These drawings were then traced onto celluloid by inkers; the back of the eels were painted co cxncc specifications. For the aver-
age s hort mm, nbout four thousand animation drnwings nnd ed s were required.
At the same cimc. background paintings were prepared by layout artd background artists. Cameramen combined the eels and back•
grounds, s hooting ench eel ag:iinst che proper background in contin uicy, frame b)' fram e. Musical scores an d s pecial effecrs were rhen
added to chc flni.shcd fllm.

L ~

r-

~~ ;:;..,! 1f
I[

/ :~!~
I

T
wc, import:1nt s inges in the creation of nnimntion : Above: A nirnntio n dmwings from Nonlnvcst Hounded Police. Thousands of
mimotion drawings arc produced, each slightly udvoncing the motion. Below: Ccl nnd eel with background from Duck Dodgm
in 1/)c l 4'/,11 C,ni1,ry. Animocio11 drawings ,vcxc tt:1ccd onto celluloid; backgrounds were painted sepa[lltcly. Cam ernmen combined
the eels with the proper backgrounds and s hot them in sequen ce.

.u
 arrist Emil Cohl, who made
FanwsmHgoric (1 908), in
which stick figures meta-
morphosizc against a bbck
backgi-ound.
But the creation ur ani-
mation as an art is ofrcn
credited to newspaper car-
coonist Winsor McCay, who
produced more than four
thousand meticulously
drawn pictures for his first
animated cartoon, Uuk
Nemo (1911). His second
mm, TI1e Swry ofcl Mosq11iro,
portrays an encounter be-
tween a drunken man and a
mosquito. In his third car-
coon, he made ariocher giant
leap fmward by imbuing
his charmer, Gertie the
Dinosaur, with a personality.
The mischievous Gertie
cats, bre::nhcs, b1.1ghs, and
T
he followin g •J. Stumt Blackton 's
ti.me line does /-lumorou~ Pl,asts of
n oc purpon: ro Ft.nl)Y Faces.
be an all-inclusive hist ory
of animation. Usccd in the
time lin e ore notnblc high,
lights in chronologicnI order.
including importnnr film~,
famous creators, and tech1~i-
4 --~~
col achievements.
~5
.,
)~•
-~ ( ~
cries- and even LOday Gertie
tbc Di11osat1r is considered
one or the greatest animated
films ever produced (it is
number six in this book) . As
Leonard Maltin wrote in Of
Mice and 1\lfogic, "Winsor
McCay breathed life into
an imnimatc char.ictcr, and
th is was his greatest ac hi.:v-:,
mcnc. It did not go unno-
ticcd. Gertie was so success-
ful that it made people forget
the animated films that pre-
ceded it, even McCay's. For
years, Gmie has been
named in film histories as
the first animated cartoon.
Wich all its impact, it might
as well have been. "
TECHNOLOGY
Throrighout the years, ani-
macors have embraced tech-
• Winsor McCay animates
if -
• Emil Cohl'$
Fimtasmagorie.
J:2
nic:11 innovations co make
their lnbmious job easier, the
finished films look better,
and the images more spec-
rncular. The first major
innovation w:lS the use of
celluloid overbys. In the car-
liest animated carcouns,
such as those of Winsor
McCay, the :inist had co
draw everything in the pie·
turc, over and over m, paper,
with only slight changes in
each drawing to create the
illusion of movement.
Pioneer cartoonist producer
J. R. Bray first patented the
use of celluloid sheets in
r91 'I· to paint the static
background. The moving
characters, still drawn and
animated on paper, were
shot through the dear pur-
tion of the eel overlay. Artist
Liult Nano.
'II
I
• McCay's second Glm,
17,e Story of a Mosquito.
rclcn.scd.
Earl Hurd patented the use
or eels later the same year,
transferring the animated
cha1·acters fi·om paper to eels
and photographing them
over the static background
art- the basic method of eel
animation still practiced
today. The use of eels short-
ened production schedules
and made possible the mass-
production or animation.
Ma.x Fleischer invented
the roroscope in 191 8 as
another method of speeding
1.1p cartoon production. This
device enables an animator
co trace live action photogra-
phy one frame at a time for
animation purposes; acro1·s
were Ill.med simulating the
desired action, so that ani•
mators could sec and cap·
turc the movement of actual
• First Oimited) nnimaciun comic strips
•ppc•r •s supplemen t in newsreels:
17,c Nciu!ywtds, Mutt and Jeff. Colonel f-lta:a Liar.
•J. R. Brny's earliest films released.

This illuscrotion nceompnnicd Flcisehcr's potent ~ppUcotion for the rotoseope.
M, flll5Ctlll,
bodies. Though not as prac,
l\,ltnttd Oo~ O, 1017.
1,242,674. tical :is Max envisioned, the
rotoscopc has become a
valu:iblc tool in the speci:11•
dTects flcld and has enhanced
many anim:iced features,
including Gullhler's Tr,rvcls
and Lord of cl,c Rings.
Color and sound, 3-D
:ind CinemaScopc, all came
to animation ac the s:ime
time thm Hollywood :idopt-
ed these adv:mcemencs ror
live-action subjects. Prints
still survive of hand-timed
color cartoons made during
rhe silcnc•Rlm days. includ·
ing McCay's Little Ncmo.
Max Fleischer expe,imenrcd
llft(ll~Off with sound cartoons in
Hi,1' /"/.,,;.,/#t'htir
.. ~\/1. r924 with a se1ies of sing-
Alrl}lllri(,Y
along DeFom!SL Phonofilms,
• Firs t Mn.>: Fleischer
• K,razy K,at series begins in Out of tbc Inkwc/1 cucoons, wit:h
Hearst Vitagraph NruJs Pictorial.
•J. R. Bray produces Paul Teny's • First appearance of Felix the Cat
Famm Al Fa /fa en.rtOOn$. in Fclt'n1 Fol/its.
• The /(µizenjammcr Kfds series begins.
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• McCay introduces Gcrii'e the Dinosaur • f irst Max Fleisch er roto;cope uperiments released.
to vnudevillc audiences. • Winsor McCoy's Sinking of tbc Lusitania released.
•J. R. Brny and fad Hurd apply for
patents to simplify cartoon production
techniques by using eels.
13
A Brit/ lliSLori of Anlm,111on
hut it was Walt Disney who
popularized sound cmoons
when he introduced Mickey
Mouse in Swm,bo,tt Willie
( 1928) and put full spec-
trum 3·strip Technicolor on
the map with Flowers llnd
"frees (19~2.).
Slinging visual depth to
animation had been an
ambition since the 1930s
when Ub lwerks and Walt
Disney e:ich developed sepa-
rate multiplane systems, and
Max Fleischer's sn.,dio built
thrce•dimcnsional sets for
their cartoons. -11,e early
.1950s brought on a yD
craze in which several sn1,
dios hrought popular charac-
ters (including Bugs Bun'!}',
flop,;yc, Wooqy Woodpecker,
• Van Beurcn 'sAesop's Film Fables begin, with
Paul Terry and John Foster as directors.
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• Walt Disney's
. . -Alice comedies
begin.
AWALT IM!SIIT CONIC
A.J.WHlllLaA
•'-""•~··"'·
WMUILU! P .C-.V"H
 A /lr1,f /1,,101~ of /\n1111,111on
Donald Duck, and Casper) ro
the fore. ~,~th the help ini-
tating gbsscs.
Wide-screen Cinema-
Scope h::is been used for
many shorts (especially ones
fc::in.11ing UPA's Mr. iVlagoo
:ind MGM's '/om ,md Jerry)
and foarurc-lcngih films
(Lac!), ,md tbc Ii-amp and
Raggcc!J /\nn and /\ncfy,
among others). Cinema-
Scope hackgrounds arc
wider, and byouts arc
L• Advt11wrt$ of Princt Ac/,incd
is lirsc •nimaccd lcnturc, by
Lone Reiniger, produced in
• Max Fleischer rclca.~cs expcri•
mental sound Song Cartoons
and begins series of Bouncing
Bnll cartoons for Broy.
designed for hori::ont:il stag·
or ing in an efrott to fill our
peripheral vision: the tech-
nique was used to great
cfrect, particularly in the
Disney shons loot, Whistle,
Plunk <111d Boom ( 195 ~) and
Grimd Ccmyonscopc ( 195-+) .
CincmaScopc c:utoons look
best in hig chcarcrs on brgc
scn:ens- r:ire in these days
of tiny multiplex cinemas
and home-video screens-
making them hard to appre-
ciate wday.
The next major techno-
logical advance was the
development of xerography
in the btc 1950s. Xerox
duplication of pencil m onto
ccls- climinacing the inking
process- became the indus,
• Disney and Ub lwerh cnn tc firs~ dtrcc
Mickey Mouse cartoons: Plane Crazy.
TI1c Gallopin' ~aud,o, nnd Sw11uboai Willie.
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Gcm-:any.
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...,_, Disney's Oswald the
Lucky Rnbbic series debuts.
try norm during the 1960s.
1l1is speeded production
and was championed by
7v' animation producers.
though surprisingly it was
the Disney Studio that Grst
m:idc use of the procedure.
The scrntchy line of xerogra-
phy has many fons mourn,
ing {he lost art of hand
inking. In recent years, col-
ored inks have softened the:
harsh look of xcrogrnphed
animarion eds.
Today, computer generat-
ed ink-and-painr hns com-
4 Dislm nnd /Jnrnadc Bill.
• First Silly Symphonies cartoon,
·n,c Skeleton Dance. released.
... -:.._
- <
plctcly eliminated the use of
eels in many GJms and televi-
sion shows. Tightly cleaned-
up animation dr:iwings can
be scanned directly into the
computer and colored, 11~th
the Gnal '1nished frames out-
put directly to )5mm ncga-
• Leon Schlesinger produces lirst Looney
Tune, Hugb Harman and Rudolph lsing's
Sin kin' in c/Jc Barb1ub. s rnning Bosko.
• Fleischer's Betty Boop appears in Dizzy
• First Technicolor ca1toon sequence by
Walcc.r Ltncz: in /(jng ofJaz;z.
1931
l 0
~ Uh lwerks's Flip the Frog debuts.
ick Huc,nor crcntcs Scrnpe>• cartoons
for Columbia Picrurcs.
\ • Vnn Semen's Tom nnd )cny
l
cartoons bcgi n .
• First Merrie Melodies cortoon rdcnscd,
I.ady Pl'!)' Your Mundo/in, starring Foxy.
~.,.
 A Jl r1<{ I (wo,v of 1\n111t.111on

Lives. In addition, complex
computcr•gcncrntcd dimcn·
sional background settings,
surpassing the multipbne
sequences created by Disney
and Fleischer in the 1930s.
can easily be composited
into the scene.
But just as in the day of
Winsor McC:iy andj. R.
Br:iy, it still takes a human
artist to draw each character
movement by hand. Thar
hasn't changed and probably
never will. The technical
innovacions of the past cen•
tury have helped filmmakers
imprnvc their craft and sii,?,-
nificanrly contributed ro the
continuing popubrity of the
art form.
Tl-IE STUDIO SYSTEM
Winsor McCay worked
more than one year, person·
ally drnwing twenty-four
frames for each second of
screen Lime, to make just
one animated film like Gertie
1/,c Dinosaur. Ocher cartoon·
ists likcj. R. Bray and Raoul
Barre realized thac mass pro·
ducing a quantity of :minw
tion could he a prorirnhlc
business. Thus the Grst stu·
dios to create animated car•
t0ons were founded in 19 1~.
making possible the creation
of a volume of animation.
The studio system even•
tually produced a ''Golden
Age," the period r.·om 19~0
lO the late 1950s, during
which every major I lolly-
wood studio released new
cartoons to theaters, anima·
don studios like Disney,
\.Varner Rros., MGM, and
UPA- chrived and innov;1c•
cd, and the quality of the
rilms was at a peak.
In che bep;inning, the stu·
dios, the cartoonists, nnd the
movie industry itself were
located in New York Ciry.
The first cm-coon series were
adapted l"rom major newspa·
per comic strips- Mute and
1,ff. K[,1;:y ~ rt, /7ic /(\rrzcn·
Jmmncr Kids, ctc.- or arose
Ii-om the pens of I cw York-
hnscd print canoo,, ists like
Gregory LaCava, Pat
Sullivan, ,ind Paul Terry.

• First color Merrie Melodics

cartoon. lion91moon 11otd.
• Donnld Duck debuts in
TI,c Wise Uu/e Hrn.
• Fleischer u $C5 thrcc•dimi:nsionnl • Carl Stalling begins mus ic
sets in Color Classics cartoons. supervision nc Wnrn,::r Bros.
• Hannan nnd Is ing begin Hnppy • Van Bcuren studio closes.
Harmonies for MGM. • Pop91e rlu Sailor Mms Sindbad die
' Sailor is ru-sc cxm -lengrh s bort cn1'toon
released by Flcischf,··

1 933
1 934
1932
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• First 3·suip Technicolor
cnrtaon Flowm and Trees wins
Rrst O s cnr for· animation.
'
• Fleisch er begins
Popeye the Suitor cnrtoons.
• Dis ney's "11,m Urrlc Pigs
becomes o national sensation.
I
• Snow Wbitc and t/,c S(11(11 Dwarfs pmnicres.
• Porky Pig debuts in Merrie Melodies • Porkis Duck Hunr intl'oduccs DnfTy Duck.
cartoon I / l'"'w '1Go1" llaL • Bob Clnmpctt directs fil's t cnrroon,
• Tex Avery j oins W omer Brns. studio Porky's Badtitnt Sto!)',
nnd scnrrs T e11nice T cm1cc u nir. • Mc.I Bbnc begins c~rtoon voice career.
• Multipbnc comcrn first used in fl>c Old Mill.
 A Brnf I Jisrory of Anm11111on
One or the earliesr known phocogrnphs ofWnlL Disney.
Though sLill prized as the
forerunners or modem car-
rnons, these cartoons dis-
pbycd little of Lhc skill and
artistry of modem cartoons
or of Winsor McC:iy. McC:iy
berated his colleagues H a
Lcstimonial dinner, "Anim,1-
Lion should be an art ... buL
whar you fellows have done
is (make] iL inco a Lrade."
Quality rerumed when Otto
Messmer breathed life and
person.1lity into Felix the
Cat, whose adventures in
• Elmer Fudd (voiced by Arthur
Q. B,y~n) is ina-oduced.
• Fenrure Rlms b)' Fleischer
(Gulli11cr's Trtrvcls) and Disney
{Pinocc/Jio) arc released.
I9J9
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• Porky'! liarc I Iuni inu'O·
duccs eorly Bugs B\mny.
• First ChuckJones
cnrroon, The Nig/,r • Bugs Bunny in T ex Avery's A Wild Iiarc
W11tdJmm1. nsks "Whac's up, Doc?" for the llrs1 time.
• Lana:'s Woody Woodpecker and
Hnnnn-Bnrbcrn's Tom nndJcny debut.
the 1920s were remarkably
well crafted as well as funny.
TI,e Fleischer sn1dio was
responsible for further
advances in both animation
technique and plot develop-
ment. But the cartoon as we
know it today was developed
by one man, and tha Lman
was Wall Disney.
A rebcivc youngsccr to
the field whm he entered it
in 1923, Disney w.1s deLer-
mined LO mttLch his rival ani-
mation studios in quality. By
r 9:q, his Hollywood scudio
was producing the most
sophisticated cartoons on
the screen. His desire to
• Tcrrytoons dcbucs the
Mouse o[Tomorrow (MighLy Mouse).
• Tweety and Beaky Buzznrd arc
introduced by Bob Clampett.
• Disney releases Bambi.
• Pnromounr Picnrres ouscs rbc Fleischer
brothers, and csrnblishcs Fnmuus Scudius.
I
• Fleischer begins Supcnnnn cnrcoons.
• Disnty releases Dum/10.
• fr:mk Tnshlin creates 17,c Fox and the
Crow for Columbia's Sc1·cen Gems snrdio.
16
compete with and better his
rivals led to his populari::ing
synchronized-sound car-
toons in 1928. Throughout
the 1930s, the Disney stu-
dio dominated the l'icld in
innovation and direction; it
was Wall Disney who
brought l'ine artistry LOthe
"trade'' of animation, provid-
ing training for hi5 artists
and appreciation and sup-
port for their work. As
ChuckJones said, "Because
or Disney, people sat up and
took notice of the cartoon . .. .
He prepared, fought, 3nd
bled for a ground where the
artist COllld nourish and
• Schlesinger sells his cnr·toon
studio to Warner Bros;
Looney Tunes nnd Mcnie
Mdodie~ produced in color
from this poin c on.
• At MGM,Jc.rry Mouse dances
wit h Gene Kelly in And,ors
Awdi?b nnd T ex Avery intro•
duccs Scr~y Squirrel.
1 944
1 943
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• Leon Schlesinger producCll Pvt. Sn11fu
cartoons for the U.S. Army.
•Te,. Avtl')' directs the nrsc Droopy carcoon
and Rtd /lot Riding l-lood for MGM.
 Opening crcdilll for o Color Rhapsody corroon.

where a new art form could
grow- not only at his stu·
dio, but throughout the
world."
Every other scudio began
imitntion series bnsed on
Disney's lead: W1,ere Disney
had Silly Symphonies,
Warner Bros. released
Looney Tunes and Merrie
Melodies; MGM began
1-bppy Harmonics; Columbia
had Color Rhapsodies;
Paramount presented Color
Classics; and RKO weighed
in 1-1rith Rainbow Parade car,
toons. Fairy cab and fables
were adapted in color car•
toons, and happy·go•lucky
Mickey Mouse iniitations
danced in the black-and•
white releases. By the time
Disney premiered Snow
Wl,ite in late 1937, the other
studios had gr.mted the
crown to Uncle Walt.
The Fleischer srudio was
Disney's biggest rival during
the r9sos, l-lrith Betry Boop
and Popeye eventually sur·
passing rhe Disney charac•
ters in popularity. The rough
but highly cartoony artwork
was Characceriscic or the
New York studio and provid·
ed the cartoons 1-1rith an indi•
vidual identity that other
studios lacked. Despite the
crudeness or the artwork,
the early Fleischer cartoons
contain a surreal atmosphere
that gives them n deplh and
sophistication; because they
can be enjoyed on many lev-
els, they have become cult
cbssics. But they too sue,
cumbed to the pressure of
keeping up with the
Oisncys, and as the thirties
wore on, the Fleischer cnr•
toons became cuter and zany Termite Te1Tncc crew
more standard. decided to ignore rhc beauty
The Warner Bros. car, and polish of the emerging
coons were the most influen- Disney style and concentrate
tial animated sh01ts of the on something W.1lt and his
J 940s. Tex Avery and the followers were leaving

• Fn.mous Srudios introduces

Casper the f riendly Ghost. _ .
• Fri.: F,·cleng introduces • 3·D Woody Woodpecker
Sylvester nnd Yosemite Sam. nnd. Donald Duck
ChuckJones inu·oduccs Pepe LcPew. • Worner Bros. wins ics
first AcAdemy Awn rd
t
• Road Run ncr and
cnn:oons released.
• Cinemascopc Toot, \1/1,IStlc.
for Twmit Pit. Wile E. Co)'Ote make fi~-st Plunk and Boom released
appearance in F,w and Ftirry•ous. by Oi5ncy.
• Cnm,dcr Rabbit is
first TV carmon produced.
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1 945

• Robert McKimson directs firs t cartoon , Daffy Doocilts.

• First appearance o f Foghorn Leghorn at Warner Bros. • U PA begins rdc~ing cartoon s through Columbin Pim,rcs. • UPA's Gm,lci McBoing Boing win5
and Heckle andJccklc at Tcnytoons. Academy Award, inaugurating
:i:7 UPA'~ new graphic style.
 A Brief /1111orv of Anim1111on
behind: comedy. Avery ~nd
his comrades in arms Frank
Tashlin, Bob Clampett,
Chuckjoncs, and fri::.
Frdcng dished out funnier
drawings, ouli-ageous gags,
and bigger laughs- and
introduced us to a mcn:1ge1ie
of cartoon superstars more
popular today than ever
before: Bugs Bunny, Dairy
Duck. Porky Pig. the Road
Runner, Twccty, Pepe
LePew, and many more.
More than one-third of the
fifty canoons in this volume
were produced by this stu•
dio- cvidencc of the cakm
involved and the popula1ity
of their work. Musician Carl
Smiling, voice actor Mel
Blanc, and do::cns ofgreat
• MGM close., cartoon unit.
I I
• y D Bugs Bunny an d • Paul Terry sells his stu·
Casper cartoon released. dio, Tmytoons, to CBS.
• Fil'$t appearance of
Tas111:1nian Devil.
• Disney closes cartoon
shorts unit.
animators (including Rod
Sc1ibncr, Virgil Ross, Ben
W.1sham, Abe levicow, and
Ken Champin) and story•
men (including Michael
Maltese, Tedd Pierce. and
Warren Foster) were among
the c1·cw working for the leg•
endary Warner di.rcctDrs.
Their work is known for its
comedy, but it never bcked
in quality.
MGM also went for the
laughs after disappointing
resulrs with I lugh Harman
and Rudolf lsing's Disney•
style shons in the 1930s.
The directing duo ofJoseph
Barbera and William Hanna
gave the scudio a slarring
cat-:ind·mousc team, Tom
andje11y, and earned seven
Academy Awards. MGM
also gave Tex Avery (who
moved co MGM from
Warner Bros. in 1942) a
• KJ,igh9' KniglJt Bug$ wins
Academy Award, Bugs
Bunny's only Oscar.
begins TV animation
with "Ruff and
Reddy."
chance to perfect the gag car·
toon with a sciics ofrilms
that begat Droopy, Screwy
Squirrel, and the eye-pop·
ping Red Hot Rid,ng Hood.
United Productions of
Ameiica began a series or
stylish short subjccrs. released
by Columbia Pictures, that
innuenced every Studio from
Hollywood to Z:1g,·cb. Yugo·
slavia, during the r95os.
Based on limited animation
and modern graphic an,
UPA's cartoons were popu·
lar with the critics and the
public, with characters such
as the near-sighted Mister
Magoo and Gerald McBoing
1 ◄1----- •
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Boing leading the way.
The Hollywood can oon
studios of the golden age
cumed cart:oons into an art
form. The pioneer animators
were a creative community
who inspired each other
rowa1·d greatness. nnd in
turn their best work contin•
ue to in.Oucnce the best work
in animation todny.
The personal styles or
cmtoon directors first
became prevalent in the
t94os. Clampett.Jones, and
Avery emerged and innu-
cnccd the W3)1 gag cartoons
were constructed. Bur UPA
in the fifties was the true
turning point. It proved that
individual animation design,
for from the lush Disney
styles. could be popul:tr.
Chuckjoncs and.John
Hubley began using stylized
characters and abstract back•
"The Bugs Blinny 1V Show" md
"Th.e Flintstones" debut on prime·time
tclcvi~ion (both ABC).
• first use of Xerox process in anima•
cion, in Disney's shorr, Goliaib //.
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• "Rocky and His Friends" debuts.
• UPA fcn tu re, 1001 Arabian Nigbt$, relc(ISed.

grounds in che early 1940s.
World War II forced anima·
tors to work faster on train•
ing films :ind lcam how co
communicate information
quicker wich limited anima,
tion nnd modern gr:iphics.
When UPA hcgan making
thcatl'ical shores after the
war, Stephen Busustow,
John Hubley, Bob Cannon,
and their crew used these
economic methods to create
sty lish films chat influenced
animation around the world.
The UPA studio opened
the door to dilTen:m tech-
niques and ideas. From the
simple line art of Gcrcild
McBoing Boing and Thurber's
A Unicom in 1./,e G,m/cn to
the abstract renderings of
TI,c Tc//,Talc I lwn, a new
messoge went out co anima,
tion nlrnrnakers. A hacklnsh
fo1mcd ag:1inst Disney real•
• Warner Bros. animation
• Ersarz. from Zagreb Srudio,
is first foreign nnimntion to • "Asn·o Boy," firsrJapancsc
win Acndemy Awnrd. nnimaccd TV se,ics, debuts.
• Bob Clampen 's "Beany nnd
Cecil" curnons debuc on TV.
ism as artists bmcd the
medium could be used for
personal artistic inventions.
Since then. the diverse
styles of animation have
proved to be unlimited. And
independent animation has
provided a cornucopia or dif-
ferent styles from artists
evc1ywhcre. Personal visions
have been realized in shon
films and full-length features,
from the Pannonia Studio in
Hungmy to the fomed Zagreb
Scudio ofYugosb via, with
works sponsored by such
institutions as the National
Film Board of Cmada and
London's Channel 4.
ANIMATION FOR
TELEVISION
l.n J 956, a new era in a1,ima-
tion began ,-vith the creation
of "The Boing Boing Show,"
the flrst network animalcd
studio doses.
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• DcPatic Frclcng begins Pink Pant her thcacricaJ cnrtoon
- - - - series; first cartoon . T11e Pink Pl,ink wins Oscnr.
/\ Brotf /11110,) of An1m"11on
se1ies. Aimed at adults, it
featured classic UPA car-
toons. clever hridging anima,
tion, and ollbcat new shorts.
(Actually, the fl.rst made,for•
television animation
appeared in commercials,
done by such master anima,
tors as OllO Messmer in
1941 and Shamlls Culhane
in r9.+7. Another early elTon
was Jay Ward :md Alex
Anderson's CruScJdcr Ra/ibit
cartoon series in r9-1-9.) Bue
starting in 1956. a steady
stream of animation- hath
new and classic- was intro-
duced co a new generation of
carroon f:ms through this
powerful new medium.
The pioneers of televi-
sion animation were com· ''TI,~ Flinrsconcs" (cop) and "ThcJcrson.s·•
pcdng with their theatrical (obove), crcolcd by Hanna•Barbcrn during chc
counterparts- just as other boom ye:1111 of rclcvision :animntion , udlizcd
early television program, limited :1nimntion techniques.
ming competed with mm~es
• Filmntion's first scric.s "Supc.nn.1n"
debms on Sunday morning.
• "A C harlie Brown • Walt Di$ncy dies, December l 5.
Chtistmns," prime· . _ . ChuckJoncs creates "How the
I
time s pecial dcb~ts. Grin~h Stole Chrucmas."
I
I
• T crrytoons nnd
Pnr:1mounr do~e mim.,rion
• '1onny Quesr" premieres. studios.
 A Brief /l1uory of An1mJ11011
and radio programs- and
needed to maintain aniscic
quality. llu: c:arly TV toon,
ists relied on dialogue and
narradon, so cheir produces
were closer to contemporary
radio shows chan to theaui-
col cartoons. The artists had
to demonstrate great visual
skill, since, for budgetary
reasons, each of their drnw,
ings was seen for much
longer than the onc·twc!Crh
of a second chat is standard
for Lhcatrical animation.
Much of the arr in the early
years was highly srylizcd, a
result of UPA influence and
the ingcnui91 of cartoonists
who needed to compensate
for lack of movement with
creative anwork.
like "ll1e Boing Boing
Show,'' many early TV
shows were aimed at adults.
Jay Ward's "Rocky and
Bullwinkle" (1959),
Frii.: 1/u Car released,__..
• Wnlter Lintz censes production
of chenmcal cartoon shores.
• Ytllow Submarine released.
• Warner Bros. cease~
di$aibm.:ion of theatrical
cartoon shorts.
Hanna- Barhcrn's "llie
Flintstones" (1960), and
Bob Clampm's "Bc:my and
Cecil" (1962.) rank with the
r~1nniest television, live or
animated, ever produced.
Ocher shows were geared for
youngsters, including
··colonel Bicep," Jack
Schlch's highly stylized
space adventures, animated
segments on "Bozo the
Clown" (1959), and "Tom
Temric ·• ( 1957), created by
Gene Dietch for "ll1e
Captain Kangaroo Show."
In t957, W illiam Hanna
andJoseph Ba1·hera, fresh
from seventeen years of Tom
and Jerry rhcaaids for
MGM, began amazingly sue·
ccssful (and still-vibrant)
careers in cclevision anima-
tion with the Ruff and
Reddy series. Using sLrong
character designers like Ed
Benedict and veteran story·
• R:ilph Bakshi's
• Richard Willinms Raggedy Ann and Andy.
• Ralph Bnkshi's Wizards.
•John f--Jublcy's llnal fllm,/\ Doonesbury Special.
men like Michael Maltese
nnd Wa1Ten Foster, I fanna·
Ba1·hcra's television cartoons
became a national sensation
with a succession of stars
like Hucklcbcn-y Hound
(1958), Quick Draw
McGraw (1959). and Yogi
Bear (1961). "ll1e
Flintstones" 1960 premiere
in an 8:30 P.M. time slot
spawned a slew of prime•
time canoons- "Thc Alvin
Show," "Top Cat," ''Calvin
and ·n-ic Colonel" (nil
1960); "77,cJetsons"
( t96i.), and ''.Jonny O!,icsc"
( 1964) were joined by
evening showings of "The
Bugs BLmny Show." "ll1e
Bullwinkle Show,'' "Benny
and Cecil,'' and "The
Famous Adventures of Mr.
Magoo" in an escalating car·
t0on hoom. Soon, ultTa-low,
budget producers orTercd
quirky and sometimes hilari·
• Tiu Bugs Bun')Y/Road
Runner M01Jic plR)'S ar
New York Film Fesrivnl.
ous productions, such as
Sam Singer's ''The
Adventures of Pow-Wow"
(1957), "Bucky and Pepito"
( 1958), :md "Courageous
Cat and Minute Mouse"
(l96o); Kcn Snyder and
Fred Crippcn's "Roger
Ramjet" (I965); and
CambLia Studio's "Clutch
Cargo" ( 1959) and "Space
Angel" (1962), which used
the Syncro-Vox techniguc of
matching live-action mouths
to static drawings. Even the-
atrical producers cook the
plunge. 1vith UPA produc-
ing ''Dick Tracy'' (J 961)
and "Mr. Magoo" (1960),
Terrytoons creating
"Dcpury Dawg" (1960),
Paramount beginning "The
New Casper Cartoon Show"
(1963), and Walter Lantz
hosting "The Woody
Woodpecker Show." lmports
fromJap:m ("Astroboy,"
• First Don Bluth feature,
The Secret oJNim/,, released.
I
I
I
I
I
• Friz Frelmg rejoins Wai-ner Bros.
and begins a sc,ies of cornpilntion
features ond 1V specials.
 A Brief H111ory of Amm•llon

T963; "Gigancor," r966),
England (Habs and
Batchclor's "Do·Do the Kid
from Outer Space") and
France ("Tin-Tin") rounded
OLll the Golden Age of te!evi•
sion anima.tion of the lace
fifties a1,d sixties.
The nexc years saw a
decUne in evening series,
replaced by highly acclaimed
and popubr specials, cncour·
aged by the success of "A
Charlie Brown Christmas"
(1965) and Dr. Sucss's
"How the Grinch Stoic
Christmas" ( r966). Among
the best of these were Orn ck
Joncs's "Horton I !cars a
Who" (1970), Richard
Williams's "A Christmas
Carol,'' and Bill Mclcndc::'s
''The lion, the W itch, and
the Wardrobe" ( r979). l11e
later 1960s also brought
forth a barrage of comic•strip
characters on Smll"day
morning, including Super·
man, the lone Ranger,
Archie, and Spidcrmm. By
the mid-eighties, these were
replaced by merchandise•
driven action cartoon char·
accc1-s such as CJ .Joe and
the Smurfs.
In t987, Ralph Baksh.i's
Sncurday•moming CBS
series "Mighty Mouse:
The cw Adventures'' sLir·
prised everyone 1-1~ch humor.
something animation had
forgocccn. Disney continued
chis change for the better
with "Duck Talcs," (J987),
a fully animated series
staning their fomous charac·
tcrs. Warner Bros. and Am•
blin Emcrtainmcnc's "Tiny
Toon Adventures" (1989)
re,~vcd "wacky" cartoons
for afternoon ,~ewing. and
·•·n,c Simpsons" (r990)
broughl animated sarirc
back to prime time and ton
primarily adult audience. Channel. USA. MTV, and
The future of made-for• The Family Channel arc
television animation- and actively producing new car•
for the animation industry as coon series. Television is
::i wholc- h:is never looked now the primary market for
brighter. In addition to pop· animation. It is on television
ulnr foaturc·lcngth Glms, chat the next generation of
new and diverse bigh-qualicy great animators will ply their
programming is being pro· cr:ifc, make us bugh, and
duced for network television dazzle our senses.
("Bacman: The Animated
Series," Fox, 1992; "Family
Dog," CBS. 1993); for cable
nerworks ("The Ren and
Stimpy Show,'' Nickelodeon,
199 r) and directly for the
·home video market ("Tiny
Toons Adventures: How I
SpentMyVacation," 1992).
Ted Turner hunched llf'l
international Cartoon
Network in October 1992,
and the Public Broadcasting
System produced its first
madc-for·tclevision animated
fearure in 1993. Cable nee-
works sL1ch as The Disney

t
• 'The Ren nnd Srimpy Show" premieres on N ickelodeon.
• Bugs Bunny gees scar on • Bcaug, and the Bean nominntcd for nn
Hollywood vynlk of Fume. • Wbo Framed Roger Rabbit? opens. Oscn.r in t he Best Picture category.

I
I

• 1V nnimntion producer DIC • Steven Spielberg presencs I

enters the U.S. m:a,:kct with An America" Talc.
Inspector Gndget. • Ralph Bnkshi's "Mighty
Mouse: The New Adventures."
• 1l1c T umcr Cnrtoon
I
• "The Simpsons" b~gins weekly ~irings. Network scares. • Steven Spidberg
• The Rescum Down Under, the 6.rst • " Batman: The Animated presents Animaniacs.
Disney film completed with Series" debuts.
computerized ink and paint.
Animation Hall of Fame
Winsor McCay
(186r 1g3-+)
ropular Ameiican cartoonisl
nnd illustrntor who intro,
duced the possibilities of ani•
marion wirh his milestone
Hlms Llltlc Ncmo, Gertie tbc
Dinosaur, .ind ·nJc Sinking, of
tlic l.t15itt1nit1.
Max Fleischer
( 1884 1972)
lnventor of the roLOscopc
and rhc head of the most
innovative animation studio
of the 1920s and 1930s.
Fleischer pioneered sound
cartoons, the comhinntion of
live action with animation,
lhree-dimcnsional sets. and
cxn-a-length cartoons. His
studio also brought KoKo
the Clown, Berry Boop, and
Popeye to the scn:en.
Orm Messmer
( I 892 I 98 ~)
Creator and animator of
Fcli,\ the Cat, the first ani,
mated cnn.oon personality to
become a star. Messmer also
made the 11rst animaced relc,
vision commcrcinl in 194 1
and pioneered the animated
billboa1·d for the Douglas
L.:igh Corporation.
Walter Lantz
( I 900- 1994)
Creator of Woody
Woodpecker :ind Chilly
Willy and vetemn cartoon
maker whose studio
launched the careers ofTex
Avery, Virgil Ross, Clyde
Gcromini, Shamus Culhane,
and many others. Lantz pro-
duced theatrical c:irloon
shorts longer lhan any other
studio, more than flfcy yeat'S,
.md he won :in Oscar for
Special Achievement in
1 979·
Walt Disney
( I 900- I 966)
Pcrl,aps the mosl important
figure in twenriech-ccniury
animation. Crc:itor of
Oswald Rabbit and Mickey
Mouse in the 192.0s, he bter
made signiflc:int contribu,
tions to the development of
sound cartoons, personality
animation, color, the multi-
pbnc camcm, and fcntu1·c·
length animation.
22
Friz Freleng
(1906- )
Anim:tlOI' and dircctol' or
classic \,Varner Bros. car-
toons. Frclcng crc:itcd many
characters, incll1ding rorky
Pig, Sylvester, Yosemite Sam,
:ind the Pink Panther, and
was instn1mcntal in develop·
ing Bugs Runny, Twccty,
Speedy Gonzales, and the
Goofy Gophers. He won
many Oscars, including
ones for Twmic Pie ( 1947),
Knig,l,91/(night Bugs ( 1958),
and 'Dlc Pink Pbink ( 1964).
Te,x Avery
( I 908- 1980)
Animator :ind director
responsible for the wacky
Hollywood cartoon style of
the r 940s. Directed the first
cartoons of Daffy Duck and
Bugs Bunny for Warner
Bros. and created Droopy,
Screwy S9uirrcl, and Red
Hot Riding H·ood for MGM.
WilJiam Hanna (1911- )
andJoseph Barber:i ( r gos- )
Codirccting duo 101· seven-
teen years at MGM. where
they produced the multi·
Academy Award-winning
Tom andJcny series.
Beginning in 1957. they rev·
olutionized animation for
television, forming their own
compa ny and crcnting
Huckleberry Hound, Yogi
Bear, the Flintstones, the
.Jecsons, lonny O,i.1est,
Scooby Doo, and many,
many others.
Chuck Jones
(1912- )
Director and creator respon-
sible fur many classic car•
toons and characters: The
Road Runner, Wile E.
Coyote, Pepe Lerew,
Michiga nj. Frog, Marvin
Martian, and Charlie Dog
arc but a fewo( his creations.
Jones conaibutcd signir.-
cantly to the personality
dcvclopmem of Dany Duck,
Elmer Fudd, and Bugs
Bunny, and won Oscars for
For Sccnurncn1,,/ Rcasom
( 19-1-9). So Mucb for So Liule
( 1949). and TIJc Dot and cbc
Line ( 1965).
.Bob Cl.nmpett
(191 3- 198-1-)
fnspired director of classic
\Varner Bros. Looney
Tunes. Instrumental in the
or
devclopmcnc rorky Pig,
Da1:Ty Duck, and Bugs
Bunny. Crcalcd Twcety,
Bcaky Bl1;;;;::nrd, nnd Bcany
and Cecil.
A Gallery of Cartoon Stars
Felix the Cat
(Otro Messmer/Pal
Sullivan/ 19J 9)
Unlike hi~ comic strip con•
temporaries. Fdi.x was the
first srnr of animated car•
toons who was crcaccd and
developed for the screen.
Ono Messmer's personality
animation gave the character
a charm that endeared him
lOsilcm r.lm audiences. and
he was the rirsl cartoon star
to be mass-merchandised.
Mickey Mouse
(Vvalt Disney, Ub lwcrks/
Disney Studio/ 192.8)
The always upbeat Mickey
Mouse, lhc first talking car•
mon star. became a national
symbol of happy days ahead
during the darkest moments
of rhc Depression. Mickey
established the Disney stu·
dio as a leader in animation,
and he is best known today
as rhc Sorcerer's Apprentice
in fo ntasia (19+0) and
as the origi n;il hose
oflV's ''Mickey
Mouse Club" (\
( 1 955- 59).
~\
Betty Boop
(Crim Natwick/Fleischer
Studios/ r9~0)
The sexy star ofMax Fkis•
chcr's 1910s cartoons was a
take•olfof ''Boop-oop-a-doop..
singer Helen K.1ne. Many
ofBctty's cartoons arc cult
classics today due to their
outrageous humor, sexual
innuendoes, and jazzy scores
by talents such as Cab Callo-
way and Louis Armstrong.
The Motion Picture.
Production Code of 1934
rorced the animat0rs to
lengthen her skfrt and end
her risquc adventures 1vith
KoKo the Oown and Bimbo
in fovor of much safer antics
with Grampy and Pudgy.
Her voice was provided by
Mac Qi.1csrel.
1/
' matcly became the symbol
,•
J<~--~
lltr \V11h 0 11"tv (11wr•n,
KEY: (Principal crcaror/srudio/ycar of dchul)
Popeye
(E. C. Segar/Fleischer
Srudios/ 1933)
Created a.s a supporting
player for the comic suip
''Thimble Theater" in 192.9.
the. grurr•t:ilking sailor
bcc::imc a star in the comics
and gained even more fomc
in the Paramount cartoon
shorts. Fleischer's cartoons
1,vcrc m1lrageous and i1wcn·
rive to begin \\~th. and their
take on Popeye made him
the most popular cartoon
character of the 1930s.
Donald Duck
(Clarence Nash (voice)/
Disney Studio/ 1934)
Clarence Nash's unique
voice was the basis of
Donald Duck, first animated
by Art Babbit and Dick
Huemor in TIJC Wisc Lin/c
Hen. directed by Wilfred
Jackson. His hovlcmpcrcd
personality was developed in
subsequent cartoons :tnd his
popul:11ity soon eclipsed
Mickey Mouse as the biggest
star or Disney's shon car•
t0ons.
Porky Pig
(Fr~ Frcleng/Wamcr Bros./
1935)
Created as part of a cast or
animal characters- in chc
mode of"Our Gang," which
included Porky and Beans,
Ham and Ex, Ollie Owl,
etc.- for the Mcnic
Melodics carcoon / / /cro~n't
Got a Hat, Porky became the
unlikely star or a series or
black•and•white Looney
Tunes and was developed by
Tex Avery, Bob Clampett,
and Frank TashJin. He uhi·
or Warner Bros. cartoons
\vith his dosing signature
line, "That's all. folks."

Daffy Duck
(Tex Avery/Warner Bros./
1 937)
Darry srnrtcd OU[ as a com-
plete screwbaU in his earliest
cartoons with costar Porky
Pig. I le mellowed ouc by the
1950s into a selfish cgorisci-
cnl foil for Bugs Bunny and
Elmer FL1dd. According to
Ch Lick Jones, Mel Blanc
based che voice characteriza,
tion on producer Leon
Schlesinger's unique speech
p:mern.
Tom nndJerry
('v\/illinm Hanna,Joscph
Barbera/MGM/ 19-fO)
This cat nnd mouse duo
rarely spoke, hut we alw:iys
knew what was on their
minds. Hanna and Barbera
spent seventeen years com•
ing up with the funnicsr
ways to make mayhem with
the pair, and won seven
Oscars doing it.
Bugs Bunny
(Tex Avery/Warner Bros./
1940)
Avery directed A Wild /--Jar,,
the first cartoon in which
Mel Bbnc asks "What's up,
Doc?'' in his now-fomous
Brooklyn/ Bronx accent, but
the bunny was a collabora-
tion among Avery, Chuck
Jones, Bob Clampm, Ben
Hardaway, Cal Dalton, and
the rest of the Leon
Schlesinger srudio. Bugs
became the cartoon scar of
chc WWll era, a streetwise
smart alcck who cakes on
any opponent and always
comes out on top.
Woody Woodpecker
('v\/nlter L,nc:/Walter Lmtz
Productions/1940)
Legend has it chat a wood-
pecker disrnpting the honey•
moon of bntz and his wifo,
Gracie, inspired this batty
hird. Mel Blanc originated
the voice and distinctive
laugh, writer Ben ''Bugs"
Hardaway and Grnce Lantz
succeeded Blanc in voicing
the character. His theme,
..-n,e Woody Woodpecker
Song," became a number-
one hiLrecord in 1948.
Tweecy
(Bob Clampett/Warner
Bros./"1942)
"I Tawt I Taw a Puddy Tar"
is Twcccy's famous phrase,
usually heralding another
assault on Sylvester's senses.
The innocent little canaiy
was responsible for two
Academy Awards in the
Warner Bros. camp. As
usual, Mel Blanc originally
provided che voice.
Mr. Magoo
Qohn I lublcy/ UPA/ 1949)
Based on Director J lublcy's
bull,he::ided f:l'thcr, the near•
sighted Mr. Magoo was the
most popular of UPA's car-
toon ch:u·acters. Jim Backus
provided the hilarious word-
play, mumbles, and cackles.
Pete Rumcss directed the
runniest episodes, including
Academy Awal'd-winners
\Mie,1 Magoo Flew ( r954)
and Me1goo's Puddle Jumper
(1956).
The Road Runner and
Wile E. Coyote
(ChuckJoncs/'vVamer
Bros./ 19-+9)
Chuckjones hased the
Coyote's problems with
Acme roadrunner traps on
his own inahilit-y co use
hammers, screwdrivers, and
most household tools. The
Road Runner, object of his
aim. whizzes by with a
"Beep-Beep," occasionally
stopping to hold up a pickeL
sign with his imcncions
spelled our for us to read.
A speaking Wile E. Coyme
also appears with Bugs
Bunny in a hnndful of hilari-
ous cartoons.

Yogi Bear
(H:mna· Barbcra/ 1959)
-rv star Yogi began his
can:er as lhe middle cartoon
on "The Huckleberry
Hound Show," hul hccame
so populnr th:n he was srun
off into his own series in
196 r. A fi-ccloading inhahi•
tant of Jdlystonc ational
Park, and "smarter than rhe
average hear," Yo~ is assist-
ed in his picnic-basket
snatching by cub Roo-Roo
and thwaned at evc1y turn
hy Ran~cr Smith. lie suim:d
in a feature-length movie,
//91TI,m, It's )'ogi Brnr, in
1964-
Rocky and Bullwinkle
Oay Ward and Alex
A ndcrson/Ward
Product.ions/ J 959)
Cr.i=y cluracrers, limited
animaLion, md hilarious dia·
loguc have sustained the
popubrily of lhe nying, squir•
rel and the dimwitted moose
from Frostbite Falls,
Minnesota, for more than
thirty years. Pursued by
Russian spies Boris and
N:nasho, Rocky ~nd
Bullwinkle were voiced by
June Foray and Bill Scott,
respectively.
Fred flincstone
(H:mna-Barbcra/ 1960)
"Yabba-Dahba·Doo!" Fred
is the head of network
television'sorsc prime-rime
animated sitcom, "The
Flintstones.'' Originally
voiced by Afon Recd, Fred
was featured along lvith his
wife, Wilma; neighbors
Barney nnd Bctty Rubble;
daughter Pebbles; md pct, <i'1 /
Dino, in h~mdrcds of
episodes, ns well as their first
animated feature, Tlx Man
Ci11/cd Flintswnc in r966.
Pink Pnnther
(F1i::. Frclcng/DcParh:
Frdcng/ 1964)
Tus cool cat was created for
Lhc ani,mted openinir, titles
in nc Pink Panilm, Bbkc
Edwards's J 963 lcaturc Him
starting Peter Sellers. The
character wns so appealing
that United Artists commis·
sioncd a sc1ics of pantomime
theatrical shorts, the first of
which, Tii. Pink P/Jink, won
nn Academy Award. Henry
Mancini composed the pop·
ulnr theme music.
Y Log, and Powdered Toast
(,
The Simpsons
(Marr Crocning/Cmie
Films/ 1990)
This populnr dysfunctional
fomily hcgan its Emmy-
winnin.!', weekly series in
1990, hlll ilrst :ippcnrcd in
short segments on "17,c
Tracey Ullman Show"
( 1987). The stories revolve
around nuclear power plant
worker and dom1r alTiciona-
do I lamer Simpson; his
house1vife. Marge; and their
three kids. Bart, Lisa (whose
fovorite TV shows arc
"Krusty the Clown'' and
Itchy and Scratchy car-
toons). and baby MaAAic,
Ren and Stimpy
Qohn Kricfolusi/
ickdodcon/ L991)
"Happ)' Happy.Joy Joy!" An
asthmatic Chihuahua and a
hairball-hurling cat mnkc nn
unusual series of cartoons.
Yak-Shaving Day. chc
History-Eraser Button, the
I lnppy Helmet, a toy called
Man arc but a bv of the
nutty conccpcs that made
this show an instant success
among children and adults.
What Makes a Cartoon Great?
T h, r&y short mm,
presented in chis
volume share a
unique bond. Each has
moved us with its humor or
drama, co~1chcd us with its
beauty or its chmms, or
enthralled us with its dispby
of skiU :ind art. Most of them
were produced within an
assembly-line system, under
strict budget and rime con,
scraincs, and with a single
mandate: to entertain. But
these c.,~traordinary 111ms arc
the ones that reached
beyond those bounds; they
were loved when they were
first seen and have stood the
test or time. They arcn't just
fi(ry great cartoons, but Gfry
great rilms, period. on par
with any live-action counter-
parts. And they prove that
great animation can affec t us
the same way any great ftlm,
making can.
So what makes cartoons
great? Usually they :.ire
marked hy a combination of
factors, including concept,
artwork, music. innovation.
qualicy of animation, humor,
and dialogue. ft is as dimcult
ro compm·e the primitive hut
charming Gertie chc Dinosaur
with the wacky =2.l,wsi ar rhc
Qjwck<1dcro as it is to com-
pare the r.lms of Charlie
Chaplin with those of
Howard Hawks. but the
genre is wide enough to
encompass them both. Both
accomplish what their artists
set out to do with the skill
and talent thar set them
apart. In the case of Genie, it
is the creation of a new type
of animation no one had
ever :.ittempted before, along
wirh the distinct personality
of the character. In =2.l,wsi, it
is a brilliant graphic style
combined with onbcat and
memorable humor.
ORIGINALITY
ln some films, OJiginaliry is
the main cbim co greatness.
Without ignoring its imrin,
sic value, we can recognize
that Gc11ic r/Jc Dinosaur
would nor be as admired and
prized today had it come in
the middle o( a long line o(
similar cartoons; it was star-
ding because it broke new
ground. Similarly. Gerald
McBoing Boing redefined an
art fonn in seven minutes-
because of its instant s~1c-
ccss, ciitical and popular, its
style was copied by every
srudio. Srwmbom Willie
mighr nor be the best o(
Disney's shorts, but it was
the first to use sound. And
ChuckJoncs's ·n,c OrJ'!Jcr
Bqys earned a place hccausc
its graphic sryle paved the
way for clever use orlimited
animation.
ARTISTRY
In many more cartoons,
skillful artistry is more
import:mt than origin:.ility. It
was W:.ilt Disney who
brought r.ne art to the world
of animation, who moved it
away lrom cartoonists and
comic strip prodL1cers and
brought European artistry co
the field. TIJc Old Mill is an
example of this approach;
when the Mama bird pbccs
her wing over her chicks,
you can feel her emotion in
the finely drnwn scene;
when the rope on the mill
bre:.iks, you !eel its tension.
The bird looks like n real
bird, but more so- the
essence of the bird is cap•
tured in the dr:iwings in a
way that could never be
achieved with photographs
of a single bird. In Clock
Clcan,rs, Disney's artists cap·
tured perspective and depth
offidd. creating incricacc
cities that heightened the
comic effect of the almost·
foiling feeling.
Expert drawing ability
was used ro very different
effect in Con/ Black, where
wild, exaggerated drawings
convC)' everything from
manic energy to total
exh:.iusrion. In TIJc Td/-Ta/,
I lam. limited movement
and styli::ed paintings take
the audience into the mind
of a madman- the cartoon's
color scheme and gothic
heaviness pc&ctly mi1Tor
the tone of rhc story and the
madman's thoughts.
St1pc1man pr'"5ents a totally
differcnr cypc of drnwing:
more literal and less car-
toony, with characters that
seem almost real.
ANIMATION
Animation drawing;s arc
more than just ink or paint
on paper; rhey a1·c created co
produce motion. and their
excellence is judged in rda,
rion co their conveyance of
motion. Winsor McCay's
success was seen in his abili-
ty to make us see Gertie
swallow and "feel" the
weight of her jaws on :.i tree
trunk. The :mimarors o(TI)c
Band Concert managed ro
make a tornado spin in time
ro music, with musicians
and vnrious inanimate objects,
such as trees and laundry,
joining in the frcn::y. In
Brcrvc LiulcTnilor, two dis•
tinct types of animation
excellence arc shown: the
dramatic action of Mickey
sewing up the giant's sleeve
and the simple dialogue of
Mickey rclacing the talc arc
both riveting. -n1c Man \,\,'/Jo
Planted 7rm is a tour de
force ofnuid animarion, with
one sccnc fiowing inco
another: although the design
is n::stticted, there arc no
cuts in this ebbornte story.
MUSIC
Music is often an important
component of cartoons,
rnnging from classical (Corny
Concerto. TIJc Skeleton Dance,
and \,\/hat's Opm1, Doc?) 1:0
ja::z (M 111nic r.he !vlooclm,
Roo!)' Toot Toot): carroons are
successful when animators
::m: able co create the pcrfc:ct
visual images to match the
music. the exact story that
brings the music into foc us.
HUMOR
Even if we recognize and
admire the arcistty behind
cmoons, it is usually their
hl1mor chat we truly love.
Often it is the humor of the
unexpected: the gruff hull,
dog of Feed t/Je /(Jt!}' foiling in
love with the ulu-a-cute kit•
ten, Elmer Fudd in Wbm's
Opcrci. Doc? appearing on
stage in Vil<lng garb. In Der
Fuclmr's Face. it is the con·
stam repel it-ion of the swasti•
ka theme. which appears in
clollds, telephone poles, and
weathervanes. Several direc-
tors perfected the humor of
excess. In Bad Luck Blackie,
Tex Avery took a nonml
idea- a black car crossing a
dog's path- and expanded it
until it achieved the hibii-
ous: Each time the cat pops
out, a larger and more iidicu-
lous object foils on the dog's
head.
Often a single image cap•
rurcs an entire scene. When
Dafry Duck turns into nn
eyeball in Book R1."tluc, it is
nol a random image:
Clampett has found the one
image chat captures the char-
acter's stntc of mind. The
scene is funny because the
image is so wondcrf11lly apt.
Dialogue sometimes pro-
vidcs chc fun, as in Jack
Mercer's mumblings in
Pop':)'e or ChuckJones's
immom l "Pronoun
Trouble" sequence in Ral,bil
Seasoning.
Humor ofccn revolves
around adult themes. Tex
Avery. of course. is famous
for bringing sex into car-
coons, basing a seiies of car·
toons (two of which, Red
I lot Riding I food and Rur,i/
Red l~iding Hood. m among
the top rifty) on a wolrs pur·
suit of~ beal1tiful woman. In
lruth, these cal'toons, made
in the r94os. were preceded
by several Fleischer cartoons
filled with sexual innuendo:
Bimbo's Initiauon is regarded
by many as purely a t.1le of
sexual pursuit, and Betty
Roop hcrsclr was sufficiently
blarnnr that the Hays
Commission decided she
needed to be censored.
UPA's A Unicorn in tbc
Garden, based on aj amcs
TI1urbcr story abollt n mar-
ricd couple, makes another
kind of adulc scncemenc.
PERSONA Un'
Some cartoons convey the
personality of their animated
stars with astonishing force.
Perhaps none is as success·
f1.11 as ChuckJoncs's Duck
Amuck, which c..~plores the
slightly schizophrenic per·
sonalicy of Daffy Duck as he
m cmpts to cope with che
cra::.y world Bugs Bunny ere-
ates for him; the canoon is
almost stream-of-conscious·
ncss. 'TTJc Big Snit brings us
another manicd couple
whose foibles and bickering,
so obviously a pan of their
pc1.,;onalitics, make us rccog-
ni=c their humanity.
CONCEPT
ln some cases, ir is ~he con-
ccpr behind the cal'toon that
attr:iccs us- reminding us
that there arc often idcns
behind cartoons, that they
arc nm simply random gags.
!'(ace 011 Earth uses the medi-
um co present a strong anti•
war message. One Froggy
Evening is a profound state-
mcnr about man's inability
to communicate and con•
nect with ocher humans.
And Bambi Mccr.s Godz illa is
all concept; it's genius lies in
ils ability to surprise us with
its very simple idea in less
than two minutes.
Many of the cartoons in
this book arc really not so
vcty difrcrcnc from others
made at about the same
time; they use the same
techniques, styles, and even
characters. But someth ing
about cl,em manages to do
that same Lhing much bee-
ccr. putting the clements
together with a kind of anis-
tic intcg1ity, or adding some
extra ingredient- or so
much more of the same
ingredients- that they
achieve thal rare essence, the
wholeness that makes chem
truly great.
The Fifty Greatest Cartoons
What's
Opera,
Doc?
WARNER BROS.. 1957

CRED I TS

A Mt.me ,\ModltJ Carroon

Plrcm:d by Chuck Jonu

Story Mkh,d M1hc,c

Animarlon Ktn 111;1 ;,-It,

Rlch11d Thomptcm, Ab, Levhou•

Efftc11 111.im1uon, 11,my lovr.

Ll!lyou11. M11uriu Noble

8.ckground1: PhJ1p IJc.Cuard

Him ed11or 1 Ng Urou n

Voicn. Md Blanc

Mu1kal dh,ctlon Milt l•r11nklrn

30
n \,\/bar's Opera, Doc?,
Chuckjones compresses the
entire fou1t een hours or
Richard Wagner's four-
opera Der Ring dfs
Nibdungcn cycle into a six-
minute cartoon. He man-
ages to skewer classic opcr:i
tr:1dirions :md Disney's
Fantasia at the same time,
with Bl1gs and Elmer singing
most oC their lines- with
accents nnd speech impedi-
mcms- in a s.yli:ed
Valhalla. As the cartoon
begins, Elmer Fudd, hunting
rabbits in cosrumc as a
Teutonic knight, sings ''KiU
the Wabbit" to the
V:ilkyrics' chcmc and
explains his mission to Bugs.
Bugs transforms himself
into a pigtailed Rhincmaiden
on a white pony, and Elmer
falls in love ~,~th him/her.
They dance, and Bugs runs
----
to the top of a call, dizzying
rower. There Elmer sere-
nades the sexy blond Bugs
with the melancholy
" Return My Love,'' and they
resume Lheir dance until
Bugs's wig slips and Elmer
reali=es he's been duped.
Fudd unleashes his wrath,
conjuring up the no1th wind
and a lethal smog, :md kills
the rabbit. As Fudd mourns
this tragic death, Bu)?.S rums
to the audience Jnd asks.
"What did you expect in :m
opera? A happy ending?"
r RETURN
7
Joncs's vision caused this M Y LOVE
c31toon co minscend che EI.Mf:R; 0 BrunM/d11,
ordinary. It contains 106 you're ,o lo-vc/y.
shoes, a record. Animators Bl/GS: Yes I know f1,
pored over footage of the I can't l,dp le.
BaUcts Russes de Monte f.1.,11,R: 0 Brunhilda, be "!Y
Carlo to keep the ballet I01Jc. [TT,cy don cc}
scene accurate as well as fl.MER: Return "!Y l011c.
looney Mautice Noble con- our /wing burns d«p
nived a unique color scheme ln,ldt me.
for the c:irtoon, dousing BUGS: Rcwrn n!Y l01Jc,
Elmer in b1ight shades. Ken I wantyou alway,
Moore developed a tech- beside me,
nique to highlighL the meet- l:1.MER: Lovt I/kc ours
ing on the top of the tower
by cutting holc.s in specialty 81.JG~: Madefor yo"
sec-design macerials. Tl,e and for me , , ,
entire stalT doctored their /:1.,11~R ANO Bucs: R<1urn,
rime c:irds, stding time tuon'1 )'OU rewrn n!Y l0t1c
from a less complicated For I'!)' IO'llc !,your,.
Road Runner cattoon. [11,g danct &omc more]
Obviously, they all knew L LlnJCJ" MICIIA>I 1,/,<IJ:Jj
they were working on a
31
masterpiece.
or s heer production qualicy, m3gnoflccnt m1Uic, and

F
1, ondcrful •nimation,

and satisrying production

this is probably our mos1 elaborate
rCHUCI( JONES 7
hnrlcs Mnrtinjoncs, direcrnr or nine or the llfry gt-enc cnrtoons in Lltls volume, was born in Spokane,
Wns nington , in 19n. nnd grew 11p in Southern Cnlifornin, working ns nn cxcrn in silent films ns n child.J ones
trained nc the C houinard Art ln stitute (now t he Califom in lnstitulc of the Arts) and with Disney :U't ins u·uccor
Don Graham and enlcred lhc animation licld in the cnrly 193Os as n eel wnshcr for die Ub lwcrks studio. He
joined Warner Bros. in 1933 and climbed through t he ranks as inker, pnintcr, in-hctwecncr, animator, nnd
finnlly dirccror in r938. His cnrlicsr lllms were slow· pnced Dis neyesque advenrurcs fent uring s uch clrnrnclc1-s ns
Snullcs the Mouse an d Two Curious Dogs. He also directed some of the firSt Bugs Bunny cnrtOOM nnd wns inscrumenrnl in crcncing
Privncc Snafu for tl1c nrmed services during World War II.Jones, the most inccUcccunl or the Wnrncr crowd- he quoted G. K.
C hesterton and George Srnt.~ynnn nnd bnscd n enrcoon on the writings or Eisensrein-was one of th e first cnrtoon din:ctm-s to c.lpcri·
mcnc with stylized backgrounds nnd nnimacion techniques, and his cartoons nre noted for t heir highly artistic look and comic cimi11g.
He created Pepe l.epew, Marvin Marcinn, t he Road Runner, nnd Coyote, and many memorable Bugs and Daffy cartoons, d elving inlo
lus characters' personalities by drnwing hundreds of poses for eacb, "I'm principally concerned with chnrncter,"Jones says, "Not with
L vhnt Bugs Bunny is, bur with who he is, I want to get inside him, to reel llim from my viewpoint."
__J

34
T
he greatest cartoon or
oll Lime? The point
remains debt1tnblc.
Nevertheless, ChuckJones's
splendiferous Wl,ui 's Opera,
Doc? has emerged as the clcnr,
scncimcnrnl fuvorite of the
lnrgest :tSsemblngc of animation
fons, pmctitioncrs, critics, and
general carcoonincs ever polled.
The f.icc thn t rhis foblcd Sim is n
work of srunning bc21.1ty. great
humor, nnd masterly execution
only serves to make the choice
seem eminently rcnsonnblc.
Yet pcrh ops the reason that
Wl,at's Optrn, Doc? has con·
signed nil ocl, cr cnrcoons to the
status of also•rn ns is that it mir•
rors, in signifiennt wnys, scvcrnl
ofche nrcitudcs central co mnny
animation lovers' c.xpericncc of
wntching cnr1:oons. And it
accomplishes this by bringing
together a roster of seeming
opposites. 17,c film both exalts
its characters and remains joy-
ously nwnre of their lowdown
T oonLown roots. It illustrntes
our sense or the quosi·myth.ic
nature of these characters, but it
also provides n singLalnr example
of why these characters nre loved
in the rlrsl pince-because Lhdr
actions nnd personalities,
whecher sassy or simplemfadccl,
pull us into intimate louch with
them, and lhcreby provide the
pleasure of breaking down our
srnse of the cold remoteness of
mythic rlgures. Lncleed, the film
almost invites us 1.0 serve ns
coconspirntors with its cl,amc•
tCL'S against the bombast nncl
intimidnrion of the Wngne,inn
universe. With artful odroitne,ss,
WbaL 's Opera, Doc? blu,-s some
of the boundmies between spec·
tade 1rnd spectator. High and
low nrc here deliciously inccr•
mixed.
Also, as we clo, the nln,, with
its cmphnsis on spectacle, revels
in the richness nvailnble to uni•
mntecl filmmnking, yet rnkcs
cqunl delectation in cartoon's
traclicion of rnzzing everything in
sight- r.rst nnd foremosl, in this
cnsc, the casting of Bugs Bunny
and Elmer Fudd as bedizened
Wngnerinns. From its rlrst
images, thnl of chc would-be
awesome Fanta.sia•like figures
devolving into the shndow of
puny lisping Elmer Fucld, 1.he
nlm piles up pretensions. only in
order to mow them clown.
Gloriously ovcrb1tkccl, the r.lm
reveals thnt ultimately, it w as
only cooking up fodder for satire.
By reducing Wngner's Ring into
n sublc.xt for nn nrchccypal Bugs
and Elmer chase, \,\/hut's Opera,
Doc? pulls ofT 1 dnzzling min•
gling of reverence Qnd ddiculc.
- Str11c Schneider
 Daffy

I
t is one of a handful ofAmerican animation masterpieces, and likely the most cerebral of chem.
makes the most of his oppominity for: n definitive solo cour de force. lt is at once n laugh riot and an essay
by demonsa:ation on the nan1rc and condition of the animated film and the mechanics of film in general.
- Richard Thompso,i, Film Comment, 1975
 lmud(
tand back, musketeers! They
shall sample my bbde,''
e,xcbims Daffy, dressed as a
dashing swordsman and sur•
rounded by suitable scenery.
BL1t after a few thrusts, he
notices he's out of back•
ground scenery. \Mien he
asks, ''vVherc's the
scenery?" a paintbrush
appears and fills in a
fo11nyard setting, ending
the suitability of the muskc•
teer costume. I le chmgcs
into overalls and gets a hoc,
bm now the
scenery
presents che
Norrh Pole.
"Would it be too
much to ask if we cOL1ld
make up our minds?
Hmmm?"
In Duck Amuck, some·
thing has gone terribly
wrong, and Daffy finds him·
self in a su1Teal send-up of all
cartoon conventions- and
his own worse nightmare.
The scenery, colors, and
sound effects arc dearly in
the hands of a fiend, nnd
although Daffy docs his best
to adapc to the swry suggest·
ed by each background, his
woes only increase. The
bewildered duck talks back
37
co the animato1-, but his
rc9uest$ arc met with cruel
caprice.
Duck
A character breaking the
fourth wall was not a new
Amuck
idea- Felix the Car and
Koko lhc Clown did it fi·e-
WARNER RROS.• 19,3
qucntly in the 192os- but
ChuckJones used it co
explore the limits of Daffy
Duck's schizophrenic mood
swings, crcnting a hilarious,
:mim::ircd, one-m:1n show of
despcr:1cion. The cartoon
wns cn::1ted in a frec,fonn.
stream-of-consciousness
srylc. Rcc::illsJoncs, "We C I\ I D I 1" S
started out, I sat down and A Mrmc: Mclodlu Cmoon
started drawing, and I came Ohtcttd by Chulo M lonu
up wich the opening, and it
was just the idea rhal he Ao111u1mn lh:n WHh11111, K.,n Ibnu,
runs out of bnckground.
From that point on it hap-
pened right on lhc board.
We didn't even have a star)' Voiut Mel Blan,
as such, we made one afccr• Mu,lo l d,rc, 1iun Cal'I W Snllln~
ward. hut there wasn't one
ar the time we were making
it. l11c Bugs Bunny ending
was nol hit upon until
the last week oflny·
ouL"
rDAFFY DUCK.
7
nfTy Duck has n split pet'sona.lity. In
th& 1930s .ind 1940s the duck wn.s n
torn! scrcwbnll.Jumpin11,, lnughing,
nnd insrigncing mischief. he was n
complete lunatic and public nui•
snnce. In the 1950s nnd 1960s.
Dnlfy mm11'cd into an egotistical foil for Bugs Bunny nnd
Elmc:r Fudd. As the foolhnrdy hero of n dozen movie spoofs,
Daffy got lnughs playing the self-centered, greedy slob most of
us arc hut arc nfrnid to reveal.
first appca1ing in Tc., Avery's r937 cnrtoon Porky's Duck "Stand back, Muskmcrs ... "
/ lun r, he became nn immediate star. The chnrnctcr nltcrnntcd
bet ween staning roles in the colol' Mc11ic Melodics sc1ics
(Daffy Duck and Eggbwd, DalJj• Duck In I lol!ywood) nnd lend
supporting roles in Porky Pig's black•nnd,whitc Looney
Tunes ca1toons (such ns The Daffy Doc and You Ougbta Be in
Picrum).
Mel Blanc, trying co dilfcrcncincc Daffy's voice from rhnr of
Disney's fomcd Dottald Duck, chose ro 1·011 his rs nnd lisp-
not unlike the ncrunl spenking voice of producer Leon
Schtesinger. 17,c voice was sped up lO mnkc it zanier. Syl•
vcstcr the enc has exnctly the same voice, but it is not sped up.
By the Lime Duck Amuck wns created, Dnffy hnd be&n
cransformcd by ChuckJones into his new pc_rsona ns the frus·
trotcd cgomnninc. The other directors had jus t as much fun
(Lcryout drawing~ Chuck Jones)
using chis chnmctcr in n vnricry or situations: Friz Frclcng's
Shuw Bi::: Bugs (r957) cast Dnffy ns n wanna-be cclcbriiy cry·
ing to outwit supcrsrnr Bugs Bunny, n11d Robert McKimson's
Fool C011cragr ( 1952) pm Dnffy in the most "dechpicnblc" role
L f his cnrccr: insurance snlcsmnn.
.JJ

"01,, brocl,cr, I'm a Buzz Boy."

 .... tlJcy slJall ... .. . sample my blade?"

"Not mc,you slop ardst!" "What arc)IQ_U doing down there?"

"Under cbe spreading c/,cstnut tree .. .'' ''.Ain't l a stinker?''

39
1
he B,md Concert is n perfectly rcnlizcd cartoon that manngcs co blend music, comedy, personnlity nnimnrion, drnmnric nccion, nnd
storytelling into n scmnlcss whole. I've nlways felt thnt it wus the nncurnl dramn of T1,c William Tell Overture thnt inspired WnlL
Disney nnd his sin ff ro such incredible heights. h's certainly one of d1cir fl nest nchicvcmcnts--a i;rcnt, great cartoon.
- 1.tMatd Maltih
 lie B,ind Concert was an ideal
vehicle ror rhe first color
Mickey Mouse cmtoon.
Designed to he something
special, the film fulnlled its
promise. As the film opens.
a crowd cheers bandmaster
Mickey Mouse and his five
park musicians on their per,
fom,ance or "Selections
fi·om Zampa." ext is ·111c
Willwm Tell Ovcrrurc. and the
b:1nd- responsive to cvc11,
move of Mickey's h:non-
mouth :ind is blown bock
onto Mickey. The move·
ment.s Mickey makes :is it
!slides down his hack ch:ingc
the tempo and tune of his
hand's music.
\Vhen Mickey turns to
1 he ne,~t page of mw~ic-
"Thc Stmm "- lcavcs begin
swirling around, and the sky
d:irkcns. Soon a tornado
enters rhe park, lircrally
sucking up the sccnc1y.
Mickey and his band mcm•
be.rs arc swept up in the
nvisccr. with Mickey waving
his hatun and the musicians
pbying as they spin, their
music stands remaining in
front of them. Mickey and
his band reach a musical cli-
max :i t the height of the
sco,m and then foll bad. to
land in a tree, each loyally
pcrfonning his pm ofthe
ilnole. Mickey tt1ms to rake
his bow, but the only
applause is from Oon3ld.

The pbys in fine lorm until

Mickey hears snack vendor
Donald Duck hnwkin~ his
Band hot dogs and lemonade.
Delighted by the music,

Concert Donald pulls out a fife and

WALT 111SNT'Y. 1915
C ll l 11 I TS
nmucd h) \Villt-<J J.11.k•1.1r\
Anlnm,nn ),ck Kinn,, , C1c» y o .. unhnl.
U~o D'uniL c,. Yuun~ Lou,.Schmiu
lli, L w,11 ....... 1... n, hr 11,T,im..d,...
''"'"' r,.,,,...h L.. t'l.. k. 11-.L llu,mc,
stnns playing 'Turkey in the
Straw.'· The musicians
change tunes nnd join him.
Mickey breaks Donald's fife,
hut the duck produces mo,·c
of chem through magic
uicks pcrlo1mcd for the
nudicncc,
Mickey chases the duck
:l\vay. :ind the trombone
player shakes a do=en nutcs
O ut or him, but Donald

Wolr~··~ Ro,thum,n. Ar.hi, n nhln always has another and

Ruy w1111,m, Jnlmn, (";nnon
resumes his melody. T he,, :l
hee dist1.1rbs chc perfor-
mance. Ir lands on Mickey's
head, Donald tosses o scoop
of ice cream at it, the ice
cream lands in the trumpet's

41
r/" lldnJ Conrnt
L hns comedy of detail, such
I ns t he $letvc ol' Mickey's
ovct't!ized unifonn continu·
nlly slipping down ro conccnl his
bn1on; it hos comedy of structure
based on the duck's persistent
nncmpcg co break up che conccrc
by ploying a competing ltl nc 011
the fl ut~ tune co which the
band, O));ainst its will. has to
rurn; it hns comedy of cha1·nccer
in the stern artistic devotion of
Mickey conlJ'llsced wiLh the
unmotivated villainy of Donnld:
it has comedy of action when the
cornndo twists the encire concert
into the nlr ond then reverses
itself nnd brings the players bock
to the p,r.indstand. In no other screen seems m be nnimnccd by
picrurc hnve I observed so many
Onshing dctnils---during the cor-
nndo itself there is chc gcncrnl
dozens of sepnmte episodes.
11, ey ore miraculous if you cacch
chem, and even if you do not,
line of comedy chat in the whirl• the totul effect is miraculous still.
wind, or caught on treetops, nil - Gilbcrr Sc/des.
the players continue to follow TTic St1wrd'!)' Rrw'rrv, 196 1
rhcir music, bur chcre nre
moments in this scene when the
 I 1,, /l<1nJ Cone<rr

rDISNEY ANIMATION 7
he rdense ofThc B,ind Concur wns n wntcrshcd in the hi11tory of Disney animation. The studio wns now squnrc·
ly on course for bigger nnd better things. The Mickey Mouse crtrtoons, beginn.ing with this one, were now in
full Technicolor, :md Lhe seiies would piny an imporlnnt pnrt in the gruwth and mm,ricy of Disney's nrt fom,.
Each new Silly Symphony, ns well, wns n subtle cxpciiment in story, design. technique, or nnimntion; cxpcri·
menu which culminntcd [n tbe release of the studio's fi1-s1 fcnn,rc•lcngtl, film, Snow \1/bitc 1111d rbr S,"l!m Dwarfs.
Walt Disney's gonl wns ro hnve the best cartoons on the nuirket, nnd, to thnt end, he established n piivacc
school of animntion. In r932, nighttime art clnsses taught by Don Graham, n top insm1c101· nt the Chouinard Art lnstit11tc, were csrnb-
lishcd for scudentS to study nccion, prnccicc life drawing, md analyze nnimation. Students like Tht /fond Conwr nnhnarnrs Les Clark
(whose inmitive cluu:acter animation of Mickey dates back to Suamboor Willie, 192.8) and Wolfgang Rcithermnn (a specinlist in n.erion
sequences nnd pcrsonnli1y) went on to become two of the Nine Old Men, the elite tcnm nf nrLists who set the srnndards !mown as
Disney classic animation.
From the omset, Disney strove for realistic personality onimntfon. "I dd,nircly feel time we cnnnot do the fontnstic things bnsed on
the 11:nl, unless we first know the real," W nlr snid. 'The closer the cnrtoon chnracter-s behaved like LIS, the more the humor and drama
could connect with the audience."
11,e Disney smdio not only conquered personohty nnimntion, but. in its quest for t"Cnlism nnd mtiximum cmcrtninmcnr, mndc pio-
neering use of music and sound, depth and color, ns well ns action and spccinl cll'ccts. Disney's sttidcs d11iing the r930s were followed
Cy mosr of his competitors, improving the quality through th e cncire industry nnd inOucncing nnim; rs~ round the world.

tI \

( 0.
4

T
he (cnrroon) in mnin outline wou ld be very little, ifit
wcrcn't for the way every incident, every foot of film, is
given a solid basis in observnt.ion, so thnt nacur~l ncrion is
caughL nnd fi..cd in a typical gcsrure rendered bughable through o:xng·
gerntion or tbro11gh transference into the unfomilin.r; nnd for rhe swift
wny nil the i11cidents pile up on one another. No one ever saw a bnnd
so busy, proud, nnd full of troubles IIS this, from the virtuoso swap-
ping of hands in the flute ducr to the hnrd•prcssed nir of the hrnss
sccrion.
-Ouo Ferguson,
11,c New Republic, L935

43
 DUCK DODGERS
.-,: r,':i
24) rn
(ENTURY
uck Rogers, Captain Video,
and the various other space
cadets crisscrossing d,c
intcrgabccic void during rhc
1950s were not alone: Also
aloft in a spaceship were
Duck Dodgers (Dall)' DL1ck)
and his "cager young space
cadet" (Porky Pig).
"Nu one knows his wa)'
around outer space like
Duck !lodgers in the 24¼'"
century!" announces Dnff)'.
l lis mission: Find Pbnct X,
source of "aludium fozdcx.
the shaving-cream amm."
With the aid of his loyal
cadet (who calls him "Your
I lcroship"). he lames the
pbner (it comes right after
Planet Wand before Planet
Y) and claims it for Eanh
until Marvin Martian lands
and claims ic as well, The
planet which only
Maurice Nohlc could have
envisioned isn'i bip,
enough for hod, of chem. so
they set about exchanging
ultimatums and other
unplcnsamrics, making use
of vmious L1p·t0•dnrc prod·
44
Acme Co. 77,c conflict
between Martian and earth•
ling cscal:ites until they nml-
ly blow the pbnct to a single
hit, barely big enough for
Dairy to stnnd on.
By 1953, Daffy Duck and
P01·ky Pig were stars with
thoroughly defined personal-
ities.Jones had taken Daffy
from his screwball 01igins
and developed him into an
cgodstical foil for Bugs
Bunny and Elmer Fudd.
And Porky, who now
enjoyed chc stacus or a rcgu·
lar supporting plnycr, had
become a smarter, more
aware char3Ctcr, with ton~u1:
planted h1mly in check. This
was the Martian's third
screen appearnnce (his first
rwo were opposicc Rugs
Bunny in 19,+S's Hcircdcuif
/-lore and L952's /-Im!)'
J Im<).
Film producer George
Lucas is pa11.icularly fond or
this cartoon. and many the•
atcrs booked it alongside his
movie Swr Wars.
 Duck
Dodgers
in the
24 I/2 tb
Century
WARN ~R BROS., ' 9S3

C R E D IT S

Olum:d hy Cl11.rlr1 M Jann

Srnry; Mld1■cl M11hut

Ben Wuh1m

l-yo\HI ' Mo1urk c Noble

EfTtc1• 1nim1t1ion I h ny ~<We

Mutttal dLrc.tt1un: Carl \V Stalling

45
 r,,OR[(Y PIG 7
popubr supporting player in mnny
Daffy Duck cartoons of rhc , 950s,
Porky Pig was in foct the biggest
Warner Bros. cartoon stor of the
1930s. Pork)' wns flt"l!t seen in a
smnll pat't in Friz Frcle.ng's 1 935
Merrie Melodic: I Haven 't Got a Hat. Tc~ Avery developed
Porky further in n series or Looney Tunes in 1936: Gold
Diggers of '49, TI,c Blow Our, nnd Plan< Dip/!,Y among others.
Mel Blnnc began doing Pork)r's voice witb Pork;y's Duck
Hun1 (Daffy Duck's debut film) in 1937. Blanc took the char-
acter's annoying stutter and made it cntct'lnining nnd comic,
wirhout being offensive. Po,·ky's populnr signnrurc line
"11,ar's nil folks!" hns sin-c become the trudcmnrk of Womer
ILros. c1u'toons.
..J

r's nlwnys nmnzed me rhnr

I the Wnrncr Bros. cartoons

could manage to be both
timeless nnd ropicnl. ff rhey' d
relied too hcnvily on cu1Tcnc
events and fods in tbe 1930s,
'40s, :ind '50s, the)' might nor
hove survived, parriculnrly as
cntcnninment for kids. Bur if
they hndn 't rcOcctcd the times ill
which they were mode, they
wouldn't be q11ic( so much fun
for the grownups. Duck Dodgers
w:1s W:1nw-'s pl'incipnl entry in
the scicncc-flctioll swccpstnkcs
of rhc r95os, and I dnresny ir's ns
grcnt ns nny of the higgcr, m ore
ambitious live-action 6lms of the
period.
 .,..

...
... ....
+ -'I'

I
T
t

I ,~ .,..

I
rTHE WARNER BROS. STUDIO 7
he Womer Bros. c~rcoon departmen t began as m independent studio owned by leon Schlesinger nnd led by
Disney renegades Hugh Harman and Rudolph Ising. Looney Tun es. st.1rring Bosko, bcgnn in ~930 and the
miscdloneous musical series Mc,,-ie Mdodics stnrtcd in 1931. When Hormnn and Ising left chc studio in 1'933,
Schlesinger promoted fr:iz Frclcng to director. Tex Avery joined t.hc studio in t 935, ond nlong wit h follow nni·
mntors l.ike Bob Clnmperr 011d Chuckjoncs, musicinn Corl Stnlling, nnd vuicc actor Mel Blanc, gnve tbe studio
its own identity ns the home of funny cortoons.
This ccom knew bow to develop funny characters and situations. Avery inrroduccd OnlTy Duck (i 937), Clampett created Twcccy
(1942), and ChuckJoncs debuted t he Rood Runner (r949}--just a few of th.c cartoon superstars who, along wirb the in compornble
Bugs Bunny, fonncd the Womer Bros. stnblc. By the t94os, Worner Bros. cartoons were the must popular in America .
During World War ll, Worner cartoonisLS conaibltled cnnoons nbour Privntc Snafu , the dumbest soldier in the onny, to the war
clforr. In 1944, Schlesinger sold his studio to Warner Bros. The cartoo,n depattmcnr won its lli-sr Oscar in r947 for Ttvwi< /Jr'<, ch e flrst
cnrroon to team Twccty nnd Sylvester, and the studio wen t on to win n totnl of si., Ac,dcmy awards under th e 1950s and r96os aiumvi·
r:1tc ofChuckJones, Friz Freleng. and Robel't McKimson.
Warn.er Bros. animution has cuntinucd to be nn nctivc division of the srudio, producing iV spccinls, feacu,·c r.lms, uccosional the•
naicol shorn, 1V commercials, public service spots, and merchandising artwork. T udny, the studio produces the highly successful
L'Tiny Toon Advenrnrcs" nnd '' Bnrmnn, the AniJnotcd Series," among many others.

47
 t -==~~
1~ - - ·- 1 ~

•==· nrr--.S_iN 6 IN 6 froG! . it

;act~
HuM~

l1JiNGf!

K~
~

,t!>t..
I

r ~s
~---[~-,-~~-------~-~~~-'--~~--
 rn: of the most famous
I follywood cartoons ever
made, One Froggy faming,
has the simplicit)' of a para·
blc, and its fame is all the
more rcmarbble because
the cartoon is silcnt- c,~ccpt
for a sing,ing, frog. l11c story
begins with the demolition
of an old building. Opening
the building's corne1·stone, a
conscrucdon worker finds
the dedicatory documents,
ter night. The frog sin~ for
him, a policcmJn hears, md
when the man explains it
was his frog, he finds himself
in a psychinn;c hospit;il
(entertained by the ft-og. of
course). Released, he secs ~
building about to be dcdicat·
cd and p~ns the frog in the
cornerstone. The next scene
takes place in A.D. 2056: A ., .
worker with the Acme
Building Disimcgration Co.

One dated Ap1il 16, 1892.Also

in the comerstone is o frog,
who greets the worker with
opens the corncrsrnnc, find!>
the h·og, the frog sings for
him, and ...
Froggy a rendition oi""Hdlo, My
R:igtime Gal." A singing
Much of the cartoon's
humor comes frnm Chuck

Evening frog! Imagining the wealth

C ll I• ll I I S
Oh CC.ltd t., Ch1rlu M Jonu
Richard Thomf'lon, D,11 n \Vuh11m
0111dc,JrirounJ.t Philir DcGuud
soon to be his, the man
Jones's decision to tell the
story without dialogue, and
takes the frog home. from the exprcs·
Far from riches. the man sive animation of
gets only fi·ustration nnd the frog (animators studied
financial ruin, for che frog New Yorker cartoons before
will perfom, only lor him; in they starred). "It w~s a diffi-
the company of others, it's cult film to do," he said.
simply a humd1·um Tibbiting ''buL I think of all my pic-
trog. This becomes painfully tures, I like ic best."
clear when he takes chc frog
co n thentric:il agency- a
scene viewed from outside
the agency's windows -and
uses his life savings to rent a
theater for a frog perlor·
mancc (he even oJTcrs free
beer to fill the house)-
Rendered ~ nniless I y his
dTorts. the man ends up on
a park bench ()11 a cold win·

49
 )
-

T
here •r~ (lnly n few
enduring silent·
screen comics who
still hnvc impnct today, nnd
among them I'd number
Chuplin, Keaton, l.nurcl ,,nd
,...:. I lardy, and Mid1iganj. Frog.
With simplicity nnd economy of
,,. ~", drawing, the frog foils the plans
_, \
of his would-be 1m1rketer with
' /
increasing sophL~ticnLion. The
expands cxponcnLiolly as his
owner's mcnr,1I he.11th deccrio·
races, the frog rcmnining cheer·
fully oblivious LO his owner's
plighL ll1c frog's cultured tcnur
voice nnd Uthe movements are
directly nnd uprnnriously juun•
posed with his public persona,
thnt of• lumpen, li.mp•limbed
frog whose only sound i~ an
impolite "ribbir,"
drcJmcr who, u ,rnblc to shnrc
the biillinncc of his dreams, is
gmdunlly dce.,o-oyed by them.
ll1c cartoon is enduring enough
co hnvc been imirntcd in
Sp,,ccbulls (imitnlingAlicn), in
which the alien pops out of a
stomach to perform "Ragtime
Gal" on u diner counter. Even
those in 1hc audience who had
never seen One Frow1C'llcning

j .,
I
'.)
l
hnt and cane give way to• high•
wire nc1 :ind 1hcn n vocally
demnnding atia; the frog's talent
The story is clnssicnl in
structure, a departure from the
peripatetic z11nincss of che cypicnl
laughed nL the sheer ludicrous·
ness ofit. Michignn J. frog is
limeless ond etcmnl.
Womer Bros. c,1rtoon, and - Jami Bernard
pai1\Cs a fnmiliar scenatio of the

(
g\
(

50
 /

... ns dose ns nny cartoon hns ever come to perfection.

- Timt =gn;z:inc, r973

rMlCH l GAN ]. FROG 7

huckjoncs discussed his decision to
eschew dialogue in One Frow Et1rnillg in
an incervicw wichjoc Adamson; "I
dc,idcd that t he pict ure would be fun·
njer if that discipline was imposed. For
one ching. ic hnd nn explosive quality.
You never knew when the son of n bitch frog wns going co
sing. but you always knew dlllt nobody was going 10 hcnr it
except che poor guy."
)
Thi~ is 1hc only cnrtoon featuring the singing frog Qntcr
dubbed Micb.iganJ. Frog), who warbles eight runes: "Hello,
My R.1gcimc G.il," "Come Back to Etin," 'TmJusc Wild
About Hany," ''McCluskey"s Fight,'' "Won't You Come Over
to My House," "Ple11.sc don't cnlk :ibout me when I'm gone,"
Lnd njoncs/ Maltcsc/Frnnklyn original, ""The Michigan Rng." J
/
-
51
insor McCoy is .1 major ni!.-
urc in the hislOr)' of /\mer•
icnn animated cartoons.
McCay. a popllbr newspaper
cartoonist du1in17- the l1rst
decade of I he twcncieth ccn•
tury..1lso appeared in vaudc·
ville doing "chalk talks."
Inspired by llip hooks.
McCay heg,an, in 1 909, to
c:-periment \vith Jnimming
his comic strip chnrnctcr
Little Ncmo. Two years later
he swtlcd his vn1devillbn
audiences, which were used
to seeing, c.moonists doing
stJtic "'lightning skccches.'"
with moving dm1vings of
his most fomous ere·
ation. McCay followed
up that nlm with :i
more ambitious
52
oI
subject. ·n1c Sw~v 11
Mosquito (1912.), but it was
Genre t/1c /)inosc1ur th,1t truly
astmmded his a~1dienccs.
~livo folschoods have
become machcd to Gatic c/,,
Di110s11ur over the years: that
it was the 111·s1 animated car•
roan and that it was Winsor
McCJy's orst animntcd car·
toon. And though both arc
wron11,. Gertie is still a mile·
scone in animation history, if
only because Genie is the
first cartoon character with n
true personality. Previous
film an imation, most notably
by pioneers I. Stunn
Bbckton and Emil Cohl.
were essentially "trick
films," presenting as novelry
the magic of moving draw·
mgs. For Gc111c,
McCay developed
"The McCay Split
System," an early vers ion
of the process or animating
extreme poses to be rilled in
hy "in hc1we1.:11$" bter- J
sysrem all Holl)'wood car·
won swdios :idoptcd by the
19 ,os. (Most m;1ss-pro
duccd cartoons L1ntil then
were :inim:ncd smi~ht
ahead one drawing at a
time, c:ich movement drawn
in sL1ccession.) 1l1is pnxcss
,1llowcd for the development
of character :inim:ition.
Gn1fr also thrilled audiences
by being the rirsr "'intcnic•
tivc'' cartoon. McCay ull..ed
to Gertie. and she respond•
cd obcyinp, his commands,
catching :i pL1mpkin thrown
by McCay, and even carr:,~ng
the .mist in her mouth!
John Cancmnker,
McCn/s biographer, wrote:
"Where McCay dincrcd
Ii-om his predecessors was in
his ability to animate his
dr:iwing with no sacrifice of
linear detail; the lluid
motion, n:uuralisric riming,
foclin~ of weight, md even·
wally. the attempts to injc-:t
individualistic pe1·sonaliry
traits into his characters, arc
qualities that McCay lirst
brought to the animat,d l'ilm
medium."
WJ[Nf30;}~@
I

WOND llY
. i
r Gertie
the
IU\
A ...... Nlorto Animal
U-.il Tfltf1Nn MIi•
Dinosaur
k.n YHn "80. Dt0utftt
n..1 ,. u,_ A Moet j
Man,ta.u. Welll e f A,.,
Mel'IM•MM""'o,

CREDITS

w..111,11 Jf1t'1.1eJ, • 111rn~1eJ. 1md

Released throu9h -
WIWAM l"OX, PRu,omr.
OFFICE ATIIAC1IIII CO.
VCCHANGeS IN ALL PRINCl~L Cm!S. •
53
/
-
 W
insor McCny's
endcn1ing
Gen:ie, the
perulnnc, childlike diplodocus
w ho cries when admonished, is
:1 masterpiece or personnlity nni-
mation created twenty years
before the Wnlc Disney m1dio
hit its s tride,
D1·nwn in McCny's elnborntc
closc•line, renliscic style, the ani•
mncion or Gertie imparts m illu•
s ion of weight through s ubtle
means: When Gertie d,inks an
entire lake, her belly docs not
bulge in n cnrtoonis h mnnner;
instead, part of the clilTon which
she srnnds gives way beneath her
feet. Anod1cr weighty example:
When s he nucmpts to toss a
bm1lder nt n misch ievous
mastodon, t he ro,k slips tw ice
from her jnw's grip.
Gertie is also n thinking
chnrnccer who tnkes time to con ·
sider her options . She is n
dimens ional personnlity: shy an d
also n s how ofT, headstrong and
defiant, yet sensitive enough to

0 be provoked to tears.
Gertie's te:1rs nrc, in foct. n
bnprism, consecrating n new
kind of nnimnrion chat led to a
now•fo milfar cartoon pan cheon
or pc-rsonnliry kids. including

0
Felix, Mickey, Bugs. Grumpy,
Dopey, H appy. ct al.
- Jobn Cancmaktr
;- -atb,-~H·or. ·:
RrbtNGHOOD
.\,1::.;/:, .,
>:•: .. ,, :··
/,,, /,, , .. ,,,/,/, ,I
 .
7~
..
'
I

nee t1pon a time, Linlc Red
Riding I lood was skipping
through the woods," So
hcgins the narrawr, bul Lhc
\,Volr imc1Turts. "Aw, stop
it!" he complains, 'Tm fed
up ,~~th thnt sissy stuff, h's
the snme old story, over nnd
over! If you can't do this a
new way, ht1d, I quit!" Red
joins the protest and makes
an import.nm point: "Evc1')'
canoon studio in Hollywood
has done it this wny!''
So the nan-nLOr rcintro,
es9ue signs like "Imagine
That, o Door!") or noth·
ing,. The Wolffinnlly dives
out the 11~ndow nnd lands
on the Street lamr of
Hollywood and Vine. Fed
up. he vows to kill him$clf
before he'll "look al another
babe." \M1cn Red appears
onsrnge, the Wolf blows
his hrains our, and his ghost
emerges to whistle and
stamp his reel lor the sexy
singer.
Preston Blair desig11cd
department employees even
heforc they were shot.
Red and rhe eye-popping
I lollywood Wolf (or some
variation of them) appeared
five more rimes during the
19+0s, in TI1c S/,ooring of
Dan McGoo ( 1945), Swing
Sl,ifi Cindcl'c/lct ( 1945). Wild
and Wool(y (1945). Uncle
Tom's Cahana (19+7), :md in
,1 super sc9ud, Uufr /?.urn/
Riding I food (r9+9).

Red Hot duces the charnctcrs. The

Wolf is now a girl-crn:.y
and animated Red. a chamc-
rer so immediately popular

Riding playhoy. Red is a nightclub

singer, and Grandma is ;1
man-hungry spinstc1· 11~th a
thal finished animation eds
were grnhhed hy cm1.0on

Hood neon sign on her downtown

skyscr:ipcr: "Grandma's
JoinL- Come up and sec me
sometime," -17,e Wolf
MGM, 1943 anives at the nightck16 to
catch Red's act. n lively num·
ber ("Hey, Daddy") that
drives him crazy. He drags
her to his tnhlc nnd invites
her our, bt1c she resists his
C ltrnlTS promises of diamonds,
An MGM Co11 1mm pearls, ermine, nnd a new set
of sidewall tires and hu1Ties
P1oducrr, f red (lutmhy off to Grandma's. The Wolf
Anltn•tlon Pru1on ~lair tnd mhtrl pursues her but is soon
trapped by the sex-starved
granny. I le cries to escape
lhrough doors, but finds
biick walls (with Avery·
r;.OR THE BOYS 7
ccunUy, we were thinking of t he nnny
when we mndc t he first in chc Rtd
liot Riding I load group .. . the
sergeant [stntioncd al MGM to plnn
trnining Ill.ms} spotted rhc thing and
roared.. . . \Vhcn the censor s.1w it ...
we hnd to Dim nnd j uggle nnd cut back. It got back co Wnsh•
ington, co some colonel or wh11rnor. thnc the censor hnd cut
our quite n bit from us. Finnlly, Louis a, Mayer goc a rclcgrnm
from the colonel saying cha1 he wamed an uncur version of n
Red /-/or Riding Hood cartoon for his personnel overseas. The
studio dug around, nnd I don't know how mnny princs they
guvc him, but, man, it wcm over grent m·crscas,
- 1cx A11t,y,
inicrvicwcd by Joe Adt1msoJ
L

57
 lr:uolENCE REACTION 7
n 1943, rhc mnnnger or nn lsclin, Ne" Jersey, the•
•t~r noticed Lh,11 one or his s hort subjcc:lS \\'RS get-
ting whis tles and wild nppbusc ..ind when the short
wns over. the nudien ,c sho111cd co sec it ngnin . The
manager wnntcd to oblige rhem, b ut olso foll obligat
ed to srick to his e.,isting schcdul~ o he cancelled
one or the other schcdultd shorts to clear time for n second
nmning of Red //01 Riding I food. Renccion was j us t as endmsi·
a$tic during rhc second running, and inslcad or being satis·
fled. t he audience demanded to sec it nizain. Though a full
even in!!, of features rnd other altracliuns wus booked. che
mana11,cr screened the carLoon yet ag:1in for anyon e who cored
tu Sta}': 1 50 fons swck nro11nd long enough ro wh isd e and
[L hccr i1 on fo, a third rime.

58
A
n n11im:1rion business posed Lo pounce on Red Riding rclntions with the opposite sc.~. nnnt coni:n,sr henvccn the nni•
thnt was working hnrd Hood, rcnets instead LO the T he shock once achieved by mated fontnsy world it keeps one
to cntc h 1.hc dncing gushy n:irrnror by turning to these cfTccts hos wom ofT n ll'llCC foot in and 1hc sophis1ientcd
crowd (only to be branded "kid him IVith char unexpected in the i,ue.rveningycars, and ~dult world it sln1ul1ancously
scull" during o posrwnr bnby "Whnt the hdl plnnet arc you anyone fomilinr with Ave1y's kicks its wny into with the ocher
boom) 1v.i.s being gcnrcd more from?" expression on his foce, he style will find lictlc 10 surpris e foot. We keep thinking "OK, we
nnd more townrd recnngcrs, sol• dfcctivcly becomes n critic of the him in the brnssy, insistent '40s get the joke already," nnd Red
d ie,-s, nnd in tl,is cnse, randy very fllm we had up to that way chis fllm has of rubbing your IJoe H/Ji11g / looJ keeps rein ind•
snllors, wirh kss nnd less concem moment presumed him to be o nose in its own hipness. Whnt ing us rhnt, as long ns we think
for whether the small fry wc1·c clinrncrcr in---n distancing dTcct snvcs this cartoon today is the sex is something wc'l'c able to be
going to get nil the jokes or not. achieved with a single shading of indomirnblc humor ofiui domi· ndoll nboo1, ir's g1)l nnothcr joke
Red Hoc Riding Ilood shores inflection. up its sleeve-and it's probnbly
many ofirs sty listic chnrnc1eris• In the snmc way, when the 01\ us.
1ics with Tc., Avc1y's other enrly Wolfinrcm1pts the no\\' of his - }oc Adamson
MGM cnrroons-Wbo Killed sunvc Chnrlcs Boyer lovcmnking
Who?, T1u Earb• Bird Dood h, with a backwoods "What's ycr
Dumh•/-lound,d, and 11,c BUr::: answer to that, babe?" the con•
Wolf dnborntc visuals: full, now· 1rnst i~ ndroidy consummnto:-
ing animation by In-en Spence, nbsurd in its abruptness nnd 01
Ed Love, nnd l?,·cston Blair in the snmc time deadly nccurnte in
the pseudo-Disney MGM "pro- capturing rhe unccrraimy of cone
duction v~lue" style esmblished inhcrenc in ncnrly everyone's
by I lnrman nnd Ising: nnd,
tucked in Avery's briefcase the
dny he lcfr Worner Bros., an
insistent, almost sdf-consdous
sense of humor that drew 011en•
rion to the foe, rhnt ir "'"s s hn1•
tcring cnrtoon shibboleths.
Although this dntcs Rtd I lot and
sets il apmt from th~ more
pnrcd•down. sryli::ed, nearly
cffonless effect.~ Avery nchievcd
at his pcnk in the late r94os, it
nUows for moments of subtlety
nnd charnctcr ilk,minntion less
possible in the Inter gag•fcsrs and
more striking in the ovcrnll pat·
tern of di1·cctorfol in1e1\sicy.
When the Wolf, who's sup-

59
 PORKY
WAC:ll'tiAMD
clcomc to Wnckybnd. It can
hnprcn here." Inspired by a
Los /\ngdcs Times midc
ahout an e.,pcdition to
Africa in sc:irch of the r,m
dodo bird, Rob Clampcu
dc.:1dcd 10 send Porky Pi~ 10
Ali,can Wackybnd (as
opposed to Alice's Wonder·
Lind). homi.: to some of rhc
=anicst dcni=cns ever
dcl'iscd, p:iying homage to
such divcrsc mllucnccs as
nttist S.1lv.1dor Dair and car·
Porky in wcmist Milt Gro:::s. A1 i.nor
Porky is hunting the rare
dodo, hclicvcd to he extinct,
Wackyland and worth so much that the
=eros in irs moncrn1y value
WARNER BROS., 1918
don't Gt in a ncwsp.1pcr
headline.
The hird is truly a r:1r.:
one. with :1 hird head.
hanan:1 feet, and ;irms that
appear and retract as
CRln t TS
J\mm11uon: Norman McCabe I Elh1
~)
~)
c{~ /,,
---
60
n.:cdcd. It uses wnckr lo~c
to ovoid capture: Ir can draw
:1 door LO exit chrou)?;h when-
ever it chooses and can lift
the backdrop .ind replace it
with :1 hrick wall for Porky
m crnsh inm. -n,c other
charnCLcn, of the Wacky
bndscapc in.:ludc a goon in
convk1srripcs ll'ho holds a
prison window in front oi'
his focc nnd demands co he
fi·ccd; a cruss·cvcd rabhit
that sw.1ys on ,1 swing sus•
pended hy its own cars; a
peacock with plnying·card
plumngc; Jnd ,1 thr~c-hcndcd
wci1·do (h,s mnma was
scnrcd by a pa11 nbrnkcrs
sign) . Using his own dis·
guises, Porky Gnnlly caLchcs
the dodo hlll wns it rcnll)'
r
I
the bsr 1lthem?
.,_
r
.. ~ ~
-
~
6r
 r STAFF REACTI ON
or/.. · \\,'. /..
I in
8
IIC yl,111J "JS sc,~cncd r. 1 •
or r ,e enure Leon Sehl .
7
1
93 , The stafl \\Js rour,nd 1 ·d . c.<irngcr Studio on August
y .,~..c ro "nre th . ,'
l'orkv m \,V.,cln•l11nJ got some of the b . err commcn15 on each nc\l p1cture--:.nd
est ructions Cl'Cr·

As for~• rm concerned. it
One ofClamJ'<'rr's bc,r Ir's
\l ,l!ISll'cll.. thc"n · . he ~rgn at the begin
" IOl,IUon IS Keep chis up Jnd 11 e'II ,111 be
JUST too bad such a ,.,
oood s ro,y
top•-bctur than from the cand,d.11,:s for Wac'"-) l,In d, nmg o( \Vac/..:_i•land,
11
Jsn 't done in color.
other un its. SlJting, ..It can h,t[>-
M1cl,11cl M11lrcSt
- Lee L,irson pcn here:· proved to he
IL - I run/.. Tushlm
Clampcu's mrnt.ro ,or r l he rest (
0
his carcc:r. Puha""
• ,-- Cl~mpcu
was n °lJu•t · 11 ,ch
·' anr<t . J'<'ncil
i, hen Porly crossed. L. 1·
u 1.11 me

in111 W:rck,•lJnd • but h 1.s

' ~ouI

mate .is "ell. Ry st,~td11ng

ARCE
RESULTS
E><C I R ~ BOX and squushing the characcers
man c:.,J.,.,,. d
c,o-rJle II J)'. tO)-'•
THE ~ GLOBE SCORE mg wich space and time, and
Jltenng the audience·s rcla

PORKY HUNTS RARE 00·00 Bl RD tronsh;p to the ltlm,

Clampccc .ind his team ere•

WORTHl400~000,000,000ll P. S.000.000.000 ,
Jrcd J II acky nc11 style of
cartoon. Thc,r emhusiasm
II ~s unstoppable. dC8pite
some srudio resistance ro
MUSEUM/ "hat is no11 called t he
OFPICIAI/IN PORKYINSfARCHOf ..WJrner Style. By h

DEBATE VALUABLE DO·DO

1 938, with Avery.

....... " ,..... ,..............

~ ~ ..... .... - BELIF.VED EXTINCT.
Clampett, and others
headmg their o11 n
~

........ ,.,_.....,, •""'-'

..i..,"',............
._. W,-4 ft,,_,,_ .,.
units. the new w.11 c

.... __....,... ,.......... ·~ .,.- ......

......
•f ft\ ....,_ T!Mt l• • t.t• ••

--c- ....... ..,..... - ........

r u 111 , ,1, u , ,... 4-.. W,
••• l"h'" ' n••• , ,.,....;. u ,ll • •'44 ......
• ti.•• lh•t . ..... 1..d
,....,,. ,.,•••,. '" ,.,_,\ti•""' ••• , ........... ,......,••
"""'· · ,~. ,,., ..., w•.- .._, ~..,,a.,,,r,4 ,.,.,v
~
I~
";is building up 3 head

-. ......... .
N
ofsrcom Evcryrb.ing
... ,a..,,-...
.... ... .....
,.... ..... ..,,N · -. ,. __,"I. ~""' '" ,m

~
. . ....... '~
......,. • "" • ·• r ,_........, .... ,
~""" ._.. _,, ....,.
T'tw H
w t-,
. . . ..
~

, 1 , 11 •
" ' ,.,..,__,.. 4 t\f' bill .,_ " hw
f'\w, I W r.. ._, _, rn•••• , ,_J .,..,, • .....,.._..
··•"- 9'9• '-""" ... , . . _ ...... ,. N
from the speeded up
"Men y •go·round
..,...., ......tf..., ...I•-• ·""'• ' ,. .. . , fl , ... , ......... " . " ' ""'- irlwf' - · ~
,. . . . . . . . . . . . . . . . . . 11111"J, -. . ;.......,,.,.-... ""\. fl - ··'...,.. ..., ....,.._,, • ..,,.......,.,,.
1,Mila .. --- , .. . . . . . I~ ,. ....~ ,,,._,,, ,._,.. P ••v ~ • llf'\ ,._,,_. --..., 1
broke do11 n " theme

=..,·=:
.........

., -=:: ~-~
--- ·~:,:,
_ _ . , ." " ' ' .... 191
,..,,,..... ...,,
lf9" t ,.... .... . . ,
~ .,, . , 111-.. ........-1, _.... .,.
'"-•""'4"'-• , .. ,. ... .... ... ~
music 10 Porky Pig's
cmbarrnssing scuner
pro1 ed n othing "as sacred to
this hunch.

Bob Clumpm, },
~OB AND PORKY 7
y the time he made Porky in W 11ckyland, Bob Clompctt hnd been doing blnck,nnd,whicc Porky Pig conoons for more
chnt1 o yenr nnd had mode ten funny Glim, including Pork)''s / l,roAgcn9' ( 1937) nnd Porky's Pt1r9' (1938). His cr.1de·
mn,-k wns plncing the pig in outrageous s ituations with equally outrageous cosrni-s, such ns DnlJy Duck, Gabby Gant,
and even n drnn ken dog nnmed Black Fury. In chis, his eleventh cnrtoon, C bmpm indulged in outrngcous screwiness
for its own snkc, creating w hnt he knew would be n mnsrcrpiccc. 0 1iginnlly. Porky wns occomponicd on his hunt by
lnjunjoc, his adversary in n previous rJm, /njun Troublt, but when the storybonrds bccnmc top•hcovy with looney
L harncters nnd crazy gags.J oe's part 1110s climinaccd.

Gerald
McBoing
Boing
CRl:OITS
C1lumh1e Plcturn//11/y Froliu
Om:ctcd hy Ruben C,mnon
Producuon m11n11~cr Adriian Woolery
Suuy Or Seuu
M,11Lht\\a, Willi. Pylt. r,..n1'.Smhh
81ckg1nundt: Julo l·ngtl
C())Or Hyll! Ilc:rh Klynn, Juln Enid
Mu•lc G111l Kubik.
he scory or "Ger:ild McCloy
and the strange things that
happened LOchat licclc boy"
is n londmark in the history
of animated nlms, for it
proved that the Disney sLyle
was not the only path to fol,
low. W ith such canoons as
Gm1/d McBoing Boing. the
"UPA look'' became the
new srn ndard for cartoons in
the 1950s.
\A/hen the infant Gerald
opens his mouth, he doesn't
speak works, but "goes
'boing boing' instead." His
distressed parents call a doc-
tor who examines the boy
bur dccb rcs, "I've no cure
for this, r can't handle this
case." W ith time, Gerald's
sound repertoire increases,
including the noise of traffic
and trains. \A/hen he makes
the sound or an explosion,
his foLher decides it's time
for him co go to school, but
the reacher sends him home.
65
The neighborhood children
don't wanr Gerald around
and taunt him with the nick-
name ''Gernld McBoing
Boing, the noisemaking
boy.''
Downhearted, Gernld
runs away Crom home and is
about to board a freight train
when a radio•smcion owner
appears. He needs someone
to make the sounds for his
shows, and soon Gerald
becomes the star or the
''Silent Sam Stedhearc"
western show. Before his
admi1ing parents, he demon-
strates his u1lcnts by making
the sound cffects for a classic
western showdown. A
crowd of autograph seekers
awaits Gerald and his par,
cnts outside the studio, and
the narrator ends the story,
"Now Gerald is rich, has
friends, is well fed, 'cause he
doesn't speak words, he goes
'being boing' instead."
N
ot since the days of
Disney's T7mc UuJc
Pigs hns nny c:irtoon
occnsioncd such dancing in the
m:eecs. Based on n scory by Dr.
Seuss, its rcvolutionni:y distinc·
tion lies in. its nppeAI to tb.c adult
mcncnliry nnd imnginnrion. Its
drawing is spare and dean, its
backgrounds nre me.re rough
sketches and outlines. Color is
applied loosely nnd suggestively,
nor realistically. The music,
composed by Gnil Kubik, is dar-
ingly modern, complccely in
keeping, And this economy of
mcnns hns produced n picture for
richer in humor and spirit than
nil the fussily detailed conven·
tionnl cartoons. Noc d,c lease
ddighc of this little film is the
absence of cul animals. Even the
people. are. diffcrcn L. They look
like cartoon charncters, which,
after all, is whnc they arc.
- Artlwr K,,igh1,
11,c $Qwrdl!)!_.R("l)icw, t952
I •

(I
rDR. SEUSS 7
ernld's talc is told in cl,e disrincrivc 1·hyming lines of Theodor Geisel, bet·
lcr know11 ns Dr. Seuss. Geise.I "~·otc the ~tmy nnd showed i1 to Stephen
Bosustow, UPA's cofoundcr and producer, who sow it as the pcncct vchi·
cle for his innovative nnimacors. Or. Seuss. who hnd w1-i1lcn ~he story ns a
children's phonograph record, wns not convinced rhnt the rnlc, which
relied heavily on sound c.lTects, could wor k visunlly. BuL he wns more chnn
pleased with cl,e r.nished film. "IL srnrtcd a revolution in nni111nLion." he proudly declared Inter.
Supcivis ing director John Hubley told the Nrui York Time$ iD J 952., "We proved wicb Girald chnt
n short can cut across 1.he whole of the nudience nnd cnn be made nmnccivc and enccnnining ro
[Loth adults and youngsters." J
 rng-Si;:;;c Cmmy opens like a
srn ndm·d cartoon nhout n
hungry alley cat hut 91.,icklr
leaps inm [he impossihlc md
reveals itself as one of Tex
Avery's wildest creations.
The cn t is nhour to invcsti·
gat.: a rcfiigcrator when a
bulldo!?, charges. The cat
tosses sleeping pills down
th.: dog's throat, hut rinds
[he rcfiigcrator hnrc. 11,cre's
nothing in a sardine tin, but
a can of "Cat l'ood" contains
King-- a live mouse. The mouse
sidesteps doom l y offering
Size ad1 ice: ''l'vc seen this car•
toon before, and ... ifyou'r.;
Canary smart you won't cat me ...
'cause before this pictun:'s
over, I save your lire!" The
MCM, 19+7
CR I I) ITS
Producn rnd Quimb)
Srn1} I Itel. Alltn
An11n11ion Robrrt llrntlu
\V1lttr Clm1on R•) Ahunu
Mum Stull Rr.idlc:,-
68
mouse recommends rhc cat
cal the canary, hut the poor
bird is cmaciated, ll1en the
car spor;,. n honk of "jumbo-
Cro" plant food and gets an
idea.
With that bottle, the car·
toon departs the merely
wacky and hcgins nn cxplo•
ration ul' rn.mfacal anima·
tion. The hird. cat. bulldog,
.md mouse all drink the
potent mixture, gi·m~~ng
brgcr 11~th each sip. The cnt
chases the king-si=c canary
hut is stopped hy rhc hull•
dog- now a good thirty feel
tnll. The dog chases the cat
hut is soon scared off by the
now-giant mouse. (lne cnt
and mouse shake pall's: "I
told you I'd save your life.")
Still htrngry, the cat t,1kcs
another swig of ''.J~rmbo·
Gm'' nnd goes alter the
mouse. ·n,c mouse )?,Cl $ the
hot tlc and grows C\'en larger,
then the C:ll S\\~rcs it hack
and gets taller. The cm :ind
mouse k.:cp d1inking until
there's none left. "L,dies and
gentlemen," announces the
mouse, "we're gonnn have to
end this picLUrc. We just ran
Ollt o rthe stulT, Goodnight."
The pair embrace :ind 11':l\ c
goodbye as the camera pulls
hack to reveal the monsters
srnnding awp a tiny pbnet
Emh.
69
 '111 not here to prodai111
KJng·Si;::t' C,rnary ,1 cold•wal'
nllcgory, Frcudinn phnll1c
fo11tasy, or su1Tcnlis1simulacrum
- not because it isn't (numc1·•
ous critics. chcorists, :ind h cnch
hnvc bcnr me to it), bur mainly
becnu.sc i1deserves commc_ni 011
its own term~: n 1947 MGM cut•
and-mouse cartoon not starrin!),
Tom and.Jcny in which the
diameters hccomc rcnlly. rdly
hig (i.e., very, very funny) .
Numerous unimators mined
di.is premise as early ns Winsor
MeCny's 1921 Tht Per. but no
one ever did n tnlll'e thorough
job of it. No chnrnctcrs ever got
•1.~ big :1s Avery's, and T ex A,•cry
kne" 1h,11 if big is funny, then
biAAcst i1< fun niest. And Avery's
agenda was mnking the qunntirn•
uvdy funn iest '"nouns in the
indusCty.
In chn,·actcr animation, a
prime pleasure for the ,ll'tist nnd
audience alike seems to be in the
definition and subsequent dis·
tortion of 1he cnrtoun character
they've crcucd ond accepted,
from Disney's suhliminnl squnsh
and stretch Lo Clampctt's
gnarled hypcrchyi·oid himionics.
But only in K_mg·Sizl C,mm')' is
chnrnctcr disrort ion the drivtnF,
force of the ennoon's plot.
Avery's 1947 MGM standard
issue cnt, mouse, canniy, and
bulldog exist only to distort, dis-
tend, nnd F,loriously mutulc for
our entertainment and :1musc
mcnt. And the manner in which
A vc,y h11s dclincn1cd I hei,· plighc
is singularly demented: while
their snlnmi 1orsos e.\pand henv·
en\\ .,rd, their hands, legs, .ind
hcnds remain puny nnd disp,·o·
por1 iunarc. Not mcrcl)' scaled-up
cartoon desi,11;ns, they become
freakish victims of poisoned
mcti1bolisms sugg,cs1i11g very real
human ,11;bndular disrurh,mcc.•.
71,csc mean, funny drnwings ,ire
nt the core of what mnkes /(mg·
Size C rn,11y so perversely nppeal•
ing. 11,ey funcLion ns suhvcrsivc
F,rnffiti ~upcrimpo~cd upon vur
nonnal cxpcctntion of wh:,t n
cnnoon choraccer should look
like: the snmc d)'llnmic tl1n1
p11ckcd our grandparents into
freak 5hows and today racks up
r,11ings for Oprah, Sally, ,111d
Gcrnldo.
- Mmk N<>tugarda,
r TEX AVERY ON HlS HUMOR
7
lot of it comes from chose old slapstick comedies. You can sec some of ihc things they contrived with wires and
so fon:h to get impossible gngs- Mnck ScnnclL with his Ford Lhat goes between two trolleys nnd comes ouc
squnshcd. We found out cnrly that if you did something with n d,nrncccr, whether nnimnl or humnn. that couldn't
possibly be rigged up in live ncdon. then you'd hove n gunrnntccd laugh. If n hl1mnn can do it, it isn"r nlwnys fu nny
in nnimnl.ion; or if it's funny, n humnn could do itfunnicr.... We used nny kind of distortion rhnc ,011ldn'c possi·
bly hnppcn, like• chmcu:r gcningsrnck inn milk bottle. You couldn't get Chaplin inn milk bottle."
_J
 r/).. , ,,
\
.. l~
,0,'i
I.
J;,.L
-....! rr-
t
\ \ ( .. )
\
✓
"✓ "Tl ,,.. w..,1 n.""t ( -,_,.\
'
G
(

Three
Little WALT DISNEY
presents
Pigs
WALTDISNfY, '911

CRl·DITS

Anl0111ron· hc:d \1oon, f)fd. I undy,

 nc of the most popubr car•
coons ever made, Thee Little
Pigs is also hisrnrically signif-
icnnt ns a milestone in the
art of animation. Although
physically simibr, each oC
the little pigs has a distinct
personality, seen in their
movement.~ as well as their
ddoguc; rhe cartoon is a
breakthrough in "pcrsomli-
ty animotion." Disney had
hcgun to "case" his anima·
tors, and in this film , Fred
Moore was principal anima·
tor of the pigs. Nomi
Ferguson (best known for
his work on Plllto) did the
wolf. and Dick Lundy, who
specialized in dance anima-
tion. drew the opening.jig.
elensed during the Thm Liu/. Pigs was Disney's
Chul'chill, Ted Scars, and
Pinto Colvig, became a
national anthem, hailed in
Ti111, magazine as "the tune
by which 1933 will be
1-en1cmbcrcd."
A Ourc-playing little pig
builds a house of stl'aw and
hay; his violin•pb ying fiicnd
uses sticks. They sing and
dance to a third little pig,
hard at work huilding his
house of stone and biick.
½'hen the third pig warns,
''I'll be safe and you'll be
sony when the wolf comes
co your door," the llrst two
bugh, and with gleefully
squding voices, sing,
"Vvho's Afraid or the Big
Bad Wolf'?"
refuses to let him in- "Nm
by the hnir on my chinny
chin chin"- rhc wolf thl'cat•
ens, ''I'll huff :ind I'll puff and
T'II blow your house in."
That's just what he docs,
ond then repeats the process
ar the stick house. The two
pigs nee LO the brick house
of the third pig: The b1icks
hold. The wolf then goes
down the chimney, lands in
a boiling kettle, and is sent
howling into the sky, then
skulks down the road :is the
three little pigs reprise their
theme song.
~

R
hdghc of the depres·
sion, Three Utt/, Pigs
provided a pertinent wnming to
Americnns: Economic s11rvival
Tancred and scraAAly, the
most sincere effort to com· wolf is indeed nearby. At the : ~
bine a standard folk talc with straw house, when the pig ~
11
music, gags, and bright col• ___ } ~ ~ ~
ors. Its main song, "Vv'ho's ....,,.....- ..c-~~

depends on building~ strong Afraid ofthc BigBad ~~

house of bricks co wnrd ofT the Wolf?,'' w1ittcn by Frank 1 , / •?/'M ,1. 1',: .._
threat of foreign forces intent on
-.....
~~~ )
~ r I'" ""r 'J ,,,, h\ \"-~-~ ~~ ::,.-... ~

~ ~
~~-
undermining national self•
~ \ . ..1Tl-•1,-
!
~ -. ~ - - .Y
sufficien cy. le nlso gnvc Amen• ~.2:.~~~:(\i~~y--~
~
cans nn nffirmntivc theme song
with which to confront the wolf
of povercy and hunger scratching
= ~Ai O \J ~ '
ar rhe door: "Who's afraid of the
big bad wolf?" The film earned
$u5,ooo in chc first years of its
i:dcase.

- M. Thomas Ing, & l ,~ '

, s,, l '\\.'->"-.'-~"'..t' ~~\i..•
"L~~
73
 he directors at Wamcr Bros.
were given a ~-cat dd of
,1utonomy over their produc•
tions. As Chu.:!-. Jones s,1id,
"These canoons were never
made for children. or wen:
they made for adlilts. 11,c:y
\\'Cl'C made lor me," Since
Jones was rand ur music, .md
h.1d very S(lphistirncd taste.
it's not surp1ising that he
Elmer Fudd's endless
or
hum the r:ihhit Ru)!.S
takes them across the stage
or Lhc I lollywood Bowl just
as the orchcsn;1 LUncs up r01•
-/11c Biitbcr of' Sn,llc. The ri5-
ing cut1::1in reveals the rahh1t
as barhcr. with chc hunter as
his cusLOmcr. In tempo II ith
the ovcmwc, Bugs gives
Flmcr a clo5c shave. I le thrn
his focc, give~ him a cement
mud-pack. and uses 'Ti:,i:aru
1--crtili=cr" to i;row hair on
his head thJt hlossoms into
nowcrs, -17,;5 is cn(lugh for
rudd, who foccs off wirh the
rahh1t, and the llVU conrronl
cJch other with larger and
lnrgcr ,1,cs and guns until
Ru~ olTcrs ll(Jwcrs :md :1
ring. He m:n,;cs Fudd and

Rabbit made a sc1ies of Rugs Runn)'

music;il spoofs (mhcrs arc
Long,/ lair,d I for,, B,1to11 H1111-
massages Fudd's hald scalp
.md tosses a fniit salad on it,
shines the hunter\; pate,
dltmps him in to a cake.
Having finished with him,
he calls out, "Nc~t! "

of Seville n1. and W/1,n's Opcri1, Doc?).

Although rond of dossi-
grnws and mows :i heard on

cal music, Jones \\'JS Cullr

c R ,. n IT )
~ 1,...., ,,..... l·...,,.,.
11,nnrJ hr rluilu M '"""
Srn11· \H,h,.t M,lim
1\nm11111un : Pini \fom oc. ~rn \.V~~h ,m. llord
\ ,uihm ~.n llmu, I mml f,,.111..
1 ,,.,..... R..i,.,. r.r1hh..,,1
n"k~"'""J' rh1t,r n,c;,.,J
Vo;«" M.t Blm,
Mu,1..1J,,c.ilon C,ul i , ,llin~
or
nwarc nnimau:d -rilm
potential. "Some music has a
comedic 9ualitv ir you put
something, rumw in front of
it. In all the ml1sical 11lms I
did, including Rah/1it o[
Sl1.1//c the music is alw.1ys
pbycd 5trnight. It's whm the
cha1-:ictcn; do that makes it a
comedy" Thus the rl'lllSic in
/~c1/i/,I( o[Snr/k is the migi-
nal Ros.sini score !'or 17,,
Bi1rhcr of' 5L1,,l/c. lx 1t the car-
roon shows respect for
ahsolutcly nothing d sc.

rM TCHAEL MALTESE 7
Mme chnt nppca1'S ovcl' 11nd ovcl' nmoni cl'edits rol' grent cartoons is that of storyrnnn Michnel Maltese, of whom
Chuck !ones snid, ''The quirky b,i llinncc of his re11dy wit was never, never ncutrnl. I le disduined fo cc.~ •~ use·
less-only the odd, the unusunl, the hiln1iu11$ly pccull,u· inm·estcd him," Mnhese's Lowel' East Side-New York
origins fou nd their wny ,into the pe1·s011Qlitfos of 1mny V.lnrner d,nrncLcr.;, He wns responsible for writing the
11
Storie~ for Whu1'1 Opera, Doc?, Rllhhit Seasoning, Rabhii ofScville, Duck Dodgers in the i.11/, · Ccn111ry, One Froggy
F.vcnini:, ~or SccntimcnMI Reasons, nnd Fast and Furry-ous, n,nong innny ocher hits.
_Jj
74
 ~BBITOF 7
SEVLLLF; SONG
/-l111v do
Welcome to II!)' ,hop
L<1 111, cury our mop
/,.t i mt d>tn t; ow· t.rop

011/110!), •.. dalnci!J,.

Hey.you-
/Jon '1 look so /)<tpbcd.
\,\/l~y mrury ou h, vtX«I

Yu.you•,, nt.,1
You 're ,i;o nc.\t

I /mu 11ho111 a nic, close sh,nn

T,arl, your u,/,lJkm 10 /,,/,en.~

Lotso[r111/m
Lots of so11p
Plmc /,old 11111
0011 't Ix a dope
NuuJ we're rcndy for 1hc scmping

Thctt's 110 rm 10 r!:>' escaping

Ydl and scream and ront and
rave-

Thc,c's 110 me.you need a ~1,ovc.

There-you 're nice ,md darn
Altl,ousl• ~-our fare, looks like i1
mlglll /,(f'11c gone through a
machine.
L

75
 nc obviOU5 distinc·
0 rion bcLwccn Rabbit
of St1.1illc nnd other
previous Wamcr fornys into the
realm of c11rtoon slapstick
synchcd co clossicnl music is diDc
Joncs's film, from beginning co
end, is anything but a "one•
shoe"; it\sccnd ic is very much in
the ongoing tr.1dition of the oicd
and crue Bugs Bunny/Elmer
Fudd huncing cycle. As n per·
soiulity 5pccialist,Joncs made
ccrtnin thac the different rules
and "discfplines"-chc peculiar
nnrrntive :and structurnl cle·
mcnts- thnt he applied Lo nll his
Bug11 Bunn)' r.l,ns would still
hold sway here, even in n work
with as intricnce o musicnl ngcn•
dn of ics own ns Rabbit of St'Villc.
One rule of thumb that Jones
chose to use for his Bugs Bunny
pies is thnt the chnrncccr must
Grst be introduced in an envi•
ronmcnt indigenous to rnhbics,
:and nnod,cr, chat Bugs's cnor•
mous anarchic encrw must be
kept in check until the choroctcl'
is outtighdy provoked by nn
nntngonist.Joncs accomplishes
bmh in one fell swoop nL the
beginning of the film 11s the cnm•
Cl'\l picks Olll a(!Shes of gunfu:c in
the distant hills. nnd with effort•
ltss tcunomy, pnns from l,;.f1 rn
right as Bugs, pursued by Elmer,
rnces imo che foreground and
coward the ncnrcsc available
snnctua,y--chc backstage of an
outdoor amphithcatc,·. It i~n •c
long before we get a close-up
shot ofBugs's gloved hand oh·so
casually flicking n switch to raise
the ci,noin, tbus initiating the
rnbhit's revenge. Joncs's keen
dcliniation of chnrocrer atcicude
through focial c.,prcssion is
working OVCt'timc: Priceless IB
l!lmer's expression as the curtain
rises, the orchestra sttikcs its
first heavy chore!, und it dawns
on Fudd that hc'5 not in Kans:tS
11nymorc but caught on the fully
dressed set of an opet-a in
p.-ogrc..~s.
-Greg Ford
 H,1h/11c of Sn,//c

~ UGS BUNNY 7
ugs Bunny is one of t he mosc popular car-
toon ehnrncre:rs because he does and says
dungs we nil wish we could get awny with.
He's bras h, smnrr, fun ny, heroic, nnd
cleve:r---nn underdog we can iden tify wirh ,
incdligent enough to defy any oppon ents.
Bugs was developed over a series of cnn oons made in th e
the 1930s. Tex Avcry's success with a scrcwbnll duek•hundng
cnnoon (Porky's Duck Hunt) in 1937 promprcd nnimntors Ben
"Bugs'' H:irdnwny nnd Cal Dalton to follow up with an even
screwier rnbbit•huncing opus (Porry's Hare Hum) in r938. The
"Bugs" Bu nny character was brought back twice in 1939.
ChuckJon cs modified him a bit in Pmto·Cl,ango, while
Hardaway an d Dalton revised llim further in Hare-um Scarc•um.
Ii was T ex Avery's 1940 carroon , A Wild Narc, that solidiflcd
t he person ,1lity we know today ns Bugs Bunny. Mel Blanc's
Brooklyn •Bt0nx ~cccnt, Arthur Q Bi:yanc's Elmer Fudd, md
the catch p hrase ''What's up, Doc?" became the crndcmnrks
and the blueprint for the direction of rhe sctics.
Bugs became the symbol for chc Americnn spirit during
World War n, appearing in such cartoons as Hart Mms I-Im
and Bugs Bunny Nips tbe Nips, as well n$ in o bond-selling trailer
s inging l rving Berlin's "A ny Bonds Today?" A Bugs Bunny
s hort, Kni2,h9' Knight Bugs, directed by Friz Frclcng, won the
L scar for Best A njmated Shorr in r958.

77
 ALT 01s 11i;v·s

he self-reliant personality of Mickey Mouse, his smiling f.1ce, and juuncy figure made an imu));C of resourceful optin1ism d,uc is proh.1
bly rccogniz(d glohally more thnn any 01..hc1 imngc in history. According to Ub I\\ erks, he designed the migin:1I Mickey and nninl.11•
cd all of P/<111( Cr~v to ,1swry by Walt Disney ,md .1n11n,1ced Stwmbo111 \,Vi/Ii, with hdp from I o!S Clark, loh,~ny Cannon, and
Wilfred Jackson. DiMcy, influenced b)' fello" Missourian M,,rk T\\'nin, c:m Mickey as n gallant dvcrbont pilot who cranes Murnic nho:ird
,, hen she anivcs lote. Disney devised the carroon's great originality of hnvin1, Mickey perform ,m uno1·d1odo, rendition of "Turkey in the
Stni..," u~i11g cooking urensil drumbc.us, duck quack!<, nnd piis ~quenls. The consonance of cnrcoon pcrson•lity on the screen ll'ith music, din
logue, and sound dfocts is d,c key tu the g,·e.1t success of Disney animation from then unril tlOII'. Oh , yes. Walt ,1lso spoke for the p:irrol.
- Jdoncs Cu/lwnc
 13 ..

oday's viewers of Strnmboe1t music is eaten hy a goat.

Wi//fr delight ~l :;ccing
Mickey in his tender youth,
bm earlier audiences were
thrilled by Lhc Grst combina•
ticm of animation and sound.
Disney used chc new
"talkie'' cra::e that was
sweeping the nation to incro·
duce his new charai;;ter with
voice in the third short in a
series of Mickey Mouse car•
toons. "Ironically, in 192.8,
just when I had rm the fin-
ishinp. tOL1chcs on my hrst
Mickey cartoon (Pl,mc
Cra.::y} the talkies came in,"
said Disney. "My silent
Mickc)' was a dead dodo. I
Mickey opens its momh. Steamboat
Minnie cranks its tnil, and
out comes "Turkey in Ll,c
Stnw," including music:il
Willie
nmcs tlm spill from the ani•
mal's mouth. The bo:1t
WALT DISNEY •9l 8
olTcrs other orportun.itics for
canying on the tune, and
Mickey gleefully explores
chem all. lnc orgy of sound
is ended by Captain Pete,
who banishes Mickey to the
g:illey Lo pcd potatoes.
\,\/hen Pete's parrot tries to
gee rhe bst laugh on Mickey.
Lile mouse knocks rhc bird
out the port.hole with n
pOl:tto. CR t O I ·1 S

hunicd to I cw York . .. and

r s twml,ocH Willie
fl1-st shown on
w.:=il
November t 8, 19l8
(Mickey's officinl birthdny),
at New York's Colony
Thentcr. As Disney snld,
"We discovered we clidn 't
hnve jusLa cartoon coy co
amuse children, we hnd n
unique medium rhnc
delighted whole fomilies.
We hnd an nrt fo1m nnd an
Lprcssivc: ilJusion." .,Jj
recorded a soundo·ack for a
new Mickey Mouse car·
toon.·•The canoon is a
paean to synchronized
5ound, but, as noted by
Russell Mcnitt and.). B.
Kaufman in Wc,h in
Wo11dal1111d, "it was Disney's
visLml and storytelling skills
chat sustained Mickey's
extraordinary popularity."
Mickey firs t appears at the
steamboat's helm, whistling,
tapping his foot. and thor-
oughly enjoying himself; Lhc
boat moves to his rhythms.
Cmnky Cnptain Pct\! ends
these diversions. Minnie's
"Turkey in the Straw'' sheet

79

T
he s uspense in l1u
Old Mill is splendid,
even for lhc viewer
who knows Ll,e endangered
mom.tnn bird is dC$tined co ride
out a night or terror with n safely
hntchcd ncscful. The brnvurn
orchestral scaling, ns compcllir1g
as che multiplanc piccorinl
sweep. retains n mcnsure of sur·
prise by grnce or its very nppro,
ptinccncss. And n lcnvcning of
comcdy--:i swtled frog, blissful·
ly oblivious doves-punctuates
the prevailing cone of vnsl men·
nee. But beyond its power to
tl,aill nnd in.,rirc dread, ·n,e Old
Mill works ns a vivid example of
encropy, ofNnrure's reclaiming
her own from nn indusuinl
encroachment. Lr is n trcmcn-
do"" c.~nmple of its cncegmy.
- Mkbad 1-1. Price
'
..
1"1 ~
l1c Old /viii/ wns made for
rwo reasons: It was an expcr·
imcnL Lo sec if effects nnim:i·
Lion, music, and color design
alone could cng□!;C an audi•
cncc lor ten minutes, and it
was a test of Disney's new
multiplonc camc1-a. a device
that added three-dimension·
al depth to the Oat world of
canoons. The cartoon has
no stars; as storyimm Dick
Ribrd explaintd, "Our
story is the 11-i.nd and the
windmill.''
From a discancc. the cam,
era slowly moves in to11 ard
chc mill at sunset. Cows
return from pasture, clucks
80
I '-
" " •" ""'" r ..,...,
leave the pond, and a bh,c·
bird nics into the mill. The
camera follows the hluchird
as he joins his mate and
then explores the mill,
which is inhabited hy mice,
doves, baLS, and an owl rhat
seems aware of the imrudcr.
As evening.grows, the bats
11>' off. water lilies curl up,
and frogs come out to croak.
Crickets and BrcOks join in
d,c sound1mking.
Rlowing bvcs signal
wind; a swim anivcs, and
che ancient mill machinery
bc1?,ins tu move. The mother
bluebird panics when her
nest is endangered by the
cuming gears; the owl seeks
,1 dryer location. At tht
height of the storm. light·
ninµ; strikes the old mill,
making it totter.
-11,c next momin1', the
bats return, the pigeons con·
tinuc to coo, and the owl
turns away from the cam•
em's prying. The bluebird's
cg,gs ha1·c hatched: Lifo goes
on within the mill. The cam·
era moves h.ick .is the COll'S
go out LO pasture and the
ducks retum to the waler.
The film ends from the dis•
tnnce where it hc!;an,just as
a new day hcgins.
isney devised t:i
inuh.iplnnc com·
era. and Bill
Gnricy builr ir for use on
SnO"W Whiit. Disney nnim<1·
tors Frank 17,omas and
OllicJnhnsron recalled,
"Our eyes popped when we
s:iw nll of The Old Mill's
mognir.ccnt innovndons-
things we had nol even
dreamed of nnd did nor
understand." T he film won
nn Acndcmy Award for· Best
Anfo1atcd Short in 1937.
,md the studio won nn
Lcnr for the cnmcrn. J
 The
Old
Mill
WAl.1. DISNFY, 19l7

CRfOITS

A \V.ilt U/1n11 SIii~ S ,,opl,11111

Dlr<md ~r Wllfn,d l,ck,on

Anint11t1cm : U~o D'Ont, R.1lph Somen-ille

hick Ilrnn11h, I om P111n,er, l\.ohe11 S1oktt,

Gi:n~c Ru" 19 , JNh Meador,

llob \V1cker11hi1111 P.111 Mr:Manu11

Son Q!mL.rnhlllh, l\obci1l Maru1ch

81

1
ex Avery, d11ly ndored
for his plinble nnd
piLilcss nnnrchy, hiLS
his nighest note by accepting
for B,1d Luck 13"1chr n bedrock
premise whose formalist
symmetry would have pleased
the plny•by-plny s□·um,rnl ists
at Wnmcrs.
A man w ho would cheerfully
end n piece in n gnln.ty three dis·
tant from the one in which he
begn n lns hcd himself to n device
which returned him ngnin nnd
ngnin to The Ruic: A black cat
cros~es your pnth, something
bnd will hnppen to you. Only
nfrer he 11nn·ows the pnrnmctcr
still further-something "~II fnll
on you-docs Avery foci that his
imnginncion is sufficiently chnl,
lenj!,ed. Then he mnkcs the cus·
comnry Avcrinn □-nnsposition of
the s11•eeL into the perverse nnd
the villainous into the victim.
And he begins.
- Jeff i\Jfillcr
ikc ~II of Tex Avery's hest
MCM nlms. Bad Luck
Rlcrck,c c:1kcs n simple
premise- in this case, black
c:11.S ,ind had luck- and ~mi-
m:1tcs it beyond the rdm or
rhc possible. The story
hc~ins with :1 cute white kit-
ten (dcsig,ncd Jnd animntcd
by former Disney animator
Louis Schmidt) being LCtTor·
i::ed hy a sadistic, laughing
61,lldog. 771e kitten meets a
street1.1~sc bbck cat named
Bl.1ckic, who olTers ro help
by simply crossing the dog',;
path. ll1c Gm time Blackie
crosses the dog's pad, a now-
erpot foils rrom the sky nnd
k11ocks the dog out. Rbckie
gives rhc kimn a whisdc co
blow whenever he is needed.
\1/hcn the bulldog revives,
the kitten blows the whisLlc,
and Blackie instantly
appears, crosses rhe dog's
path. and another ITowcrpot
b;hes the dog.
No matter how impossi·
hie the situation- in a dead,
end alley, on high rclephonc
wires. or in a nnl'row drain•
pipe- when the kitten calls,
Rbckic appears and saves its
Bad
lire by crossing the dog's
path. And each time, the dog
Luck
gets hit with a larger nnd
hca1~cr ol:jcct: a trunk. a Blackie
cash register, ,1 Hn: hydr:mt,
a piano. ll1c dog carries a
horseshoe for good luck. hut
when he wsses it in the air,
four horseshoes hit him on
the head followed by the
entire horse.
Tex Aver)' n:called to ani•
mator Nancy Reiman: "We
h,ilt the ricturc so that it
ll'ent 6-om the bulldog get-
ting hit hy a Ooll'crpot to the
kitchen sink. lo a hattlcship
... Finally. 11 c couldn't think
of anything else to drop on
him. I low do you end it? CI\ Hl lTS
Well. you're obligcd to come
back to the hero at the end
of che cartoon. So you pull a l\ vJuccr f red Qu1mbr
switch the kittcn turns S1oq llld1 llo,t"'"
nasty and laughs like the t\nirm1lion Gnni Simmo,,,. \.\ .iltu C l1n11m .
bulldog did all through the l"ruum Hl~ir. I om, Srh1111dl
picture."
 lit on the fo,m. comic-book
moninc Dnn:v Duck is cbtcd
hy the nniv.il of the l.m st
issue of Dick ·1mi;y (" I Iovc
tha t man!"), but knocks
himself out in his cxdtemcm
and dreams he's '" Duck
Twacv."
I
Phone calls an·ive
ahom stolen piggy b nks
("It luuks like a riAA)' bank
crime wavc!")- cvcn his is
and twists him into an "Eat
AtJoe's'' sign . Dnn3, mows
them dO\, n "id, a machine
gun and flnds the pi)?,l?.)'
hanks. includmg his own.
I le kisses the hank only to
wake up back on the form
kissing .1 sow. ··1 love that
duck!'' says d,c pig.
Dalfy was the perfect star r DICK TRACY 7
T
lor this cartoon. His ncurm· he popular Dick

The missing. Magnifyin)?. gb ss in

hand, detwivc Dall)' takes a
Streetcar (with rorky Pii in
ic heh:1vior. from Jn,\iously
aw:iiting chi: aniv~I of his
comic books in the mail lO
Tnti;v comic
strip, cl'eatcd in
1931 by Chester Gould,

Great a walk-on role as cond uctor)

co the gangster's hidcotl\.
frantically gunnmAdown
two do;;cn Jn:hc1iminals,
was a pcrfccl inspirntion
for Clampecc. Characm-s

Piggy -17,crc he encounters sud,

characters as Mouse Man,
Snake l~ycs, 88 Teeth,
perfectly fits his ::any chamc•
t.:r. Dick ·rr,,9'·s characters.
such as Pnmcface, the Brow,
such a~ Pn1ncfocc, d1c
Brow, and Flnrtop were

Bank Hommer I lead, Pussycat

russ, Rat Man, Double
and Flattop. were ideal inspi·
rations for Clampcu. An ear-
perfect for parody
(Flattop's 6.ead makes a
brief uppeamnce as m nir•

Robbery HcJdcr, Pickle Puss.

flumrki1, I lead. Neon
Noodle, Jukebox Jaw, Wolf
Man, and Rubber Head.
WARNl· R RROS., 19.1b
Ruhbcr Head uies tu "ruh''
DaO"y out. The duck then
tangles wirh Neon Noodle
C R I 11 1 •1 S
,\nlm-111(111 ltod Scnhncr, Manm· C.uuld
or
lier version the story fca,
wrcd such cvildo.:rs ns
DandruO' Dome, Snow Coat,
Sim Fm:. :ind rhc l'\oscril
("You muis stay here. I got
to hloH!").
L1rtoon.
crnf1 n mwny) . Sherlock
Holmes, the most fn mous
r.ccional dc1cc1ivc of nil
time. nlso ,1ppcacs in a
cameo gng t h nt was
originally plnnncd to be n
run ning gag in which
Sherlock keeps humping
into Dnfly thwughout the
..J
85
 ober1 Fro,1 s.,id thnt
the poct"s principal
mission is 10 come up
with "ords 1linc suck- co con•
jurc those visiolis n,;d consrnic·
1ions 1h,1t, somch01, , sto1y with
people, mnkinj'.\ of cphcrnc,·nl bn·
p,unp,c somechm)!. cndurinp, nnd
s trong, with I he )"1\1 e, to
chnnge lives. Applyinp, this p1in·
dpk flub Clnmpcu·~ fmcver
pticclcss TI,c Crcu1 Pi1?,&v Bank
RQ/1hc~1 is clearly n 11 ork of the
highest cinematic poetry, for
prompting the film's mnnic hilnr·
ii:y n1·c .1 sequence of imap,es tlwl
remain nmong 1hc n,osc indclihlc
in cartoon histoiy. Scene after
$<:enc rc;,on.ues 11 ith moments
that, courtesy ofClnmpc1t's
visionnry brillinncc, nrc well nigh
impossihlc lo forget: DnlTy doing
Due\.. 1"11 ,icy. 01 ,1gonizing over
his purloined h,ml, or smncki11g
into Shedod.. I lolmcs, or mock•
sidestepping the 1rnp door into
che gangsters' lnir, or stalking
86
nlong 1he ceiling,. And then
there ore the had g~1ys them·
sclvc$, inspired by Chester
Gould (crcncor of Dick rrci~v),
1'ut here crnnsfo1111cd imo
incompnrnblc cinc,sun·enli~m:
from Mouse Mnn,Jukcbo;1.Jnw,
and 88 T eed, 10 Pickle Puss,
Hommer I lend, nnd Pumpkin
Puss. In Lhc finnl minutes of chi.•
rnnstcrwork, nnimntion nd1icvcd
its finest mcbngc of unhinged
terror nnd inspired sillincS$.
Indeed, the ftlm rcp1·cscnts n rnre
S)~llhcsis of nn imn1ion's cnpncicy
for· hnllucinatory visu,1ls nnd the
vc1y npni;cc of clnssic chnrncter
comedy. Realized "ith immense
\\'ii , dash, nnd high spirilS, thi.s
cnn uon is one of tbc real d1cr·
ishnblc.s, n,;d the one thnt., of nil
.,nimnccd films, I hold dcnrcst.
Even after i,rnumcl'Oblc ,•ic\\ •
ing.•. il remains unbclieva----.ind
I don't sny this light11 blc.
-StC'Vc Sdmc,dcr
O
ne weekend they rnn n Bob Clnmpetl cn1:toon, and when his nnmc cnmc on, I thought , "Oh , he's the guy who docs t hose old ones."
And then I snw it, nnd 1 was floored. It was rhc The Gmtt Piggy B<111k Robbery. and it wn.s insrnncly my fnvorite. I thought ir was the
bes t cnrtoon chat mnn hnd ever produced. There wns DnITy Duck rending n Dick Trncy comic book, nnd he mnnngcs co knock him•
self out cold nnd hnvc n dream about being "Duck Twacy." A ll che Chester Gould villains nre there; it was cocnlly s urreal and bizarre. And DalTy
Duck was actually daffy.
- John l(.ricfalu$i
 .oo-;_~:,.1.etl/\t1-=11,u1 Slit
~W MEETS ~--ff•~
,l lflff.
r;.LEISCHER'S
BACK.GRO UNDS
he lush,
fcnturc-film
7
"' ~
l

' '" •~~ ~

PJ
~
qunlicy or
Sindbnd's cave nnd islnnd
1
resuIt from the Flcisc he,·
SI udi<J ' 5 use (Jr! hrcc•
dimens ional sets. The tech•
nique involves constructing
mini.,wrc sets on n 1wclvc•
foot circular lu1·11tablc
mounted in front or nn nni·
mntion cnmcm. Between
the c.11ncra nnd the turn·
tuble, eels arc hung vertical•
I)' on n glnss plnrc and s hor
one frame at• time. •n,c5Cl
is rotated incrcmcnrnlly.
frumc by frnmc, so that
foreground props move
nr differen t speeds thnn
bnckground elements,
giving n rcalisdc sense of

Lmcnsion ,

A Max Fleischer Cartoon

By arrangqmgn t w Ith King Featwn11 Syndl,all , Irie. and Sogor
A PARAMOUNT PICTURE

88

e's dnssk wish fulflllmrnt:
I Somehow cnling n cnn of
spinnch mirnculously gives
you the strength to bent yoi,r
burly oppon cnts, Let's focc it:
The funniest momcnUI in the
cnrly Popeye cnrtoons nrc the
hilariously clever ways Popeye
knocks the swffing out of of
Bluto. 1l1osc action scenes
(or '·funny bcntings," nsJohn
Kricfolusi coils them) nre key lO
Pop9•( Mms Sindbad. And rltis
film hns more chnn usunl:
'"Twister punches," electric
gcncrot0r unn muscles, ,~olem
mayhem cimed co pntiiolic
music, 3· D sers, nnd brilliant
Technicolor, nil copped. o!Tby
Mercer's witty ad•libs mnke this
che best Popeye ever.
- }my Hrck
s Popeye's popularity soared
du1ing rhe 19 ~os- hc was
Mickey Mouse's )?.reatest
1i val- d1e Fleischer broth•
crs decided the s:iilur
deserved to he showcased in
a special mm. Seventeen
minutes long- more than
twice the running time or an
avc1-a1;c ca11:oon- rhis was
also the first Popeye cartoon
in Technicolor, the first to
use Fleischer's unique 3-1)
backgmunds, and the llrst
Max Fleischer cnnoon nomi•
natcd for an Academy Award.
The cartoon answers the
question: "\Vho's chc most
remarkable, extraordinary
fellow?" Sindbd the Sailor
(Blc1w) asks this question
musically, singing his per•
sonal theme song to himself
as he strolls around the Isle
of Sindbad, which is home
to a menagerie of beascs,
dragons, apes, and snakes.
Also on h,ind nn: pii=cs
from past adventures: the
cwo•hcoded giant Boola and
Rokh, an airplane·si=e bird.
On a boat out at sea is
89
f"'opcye the sailor. singing his
own song. wiLh Olive 0),1
and Wimpy. Sindbad spots
Popeye
them and commands Rokh,
"Wrcck thar ship, hut lwing
the Sailor
the woman to me!" The bird
obeys, hut flopeye, saving
Meets
Wimpy along the way, soon
a11ives on the island in
search of Olive. I le oua·oars
Sindbad
a pnir orlions and smashes
through a stone wall to find
the Sailor
Olive sb vishly d.mcing co
Sindbad's tune. Popeye
makes short work or Rokh
l·LFISCHFR. , 936
and Boob. then goes for his
spinach and takes on
Sindhad. Hnally conguering
him with a "t\,~SLCr punch"
that spins him around like a
propeller. The island's ani•
mals declare him "the most
remarkahle, extraordinary
rellow'' and the new king of
the island.
· n,c canoon was so CREDITS
popular that the studio
produced cwo follow up
specfols. Pop9'c th~S<1ilor 1\ninwlnn \Vlll11rd Ruw,k),
Meets Ali Baba 's For9-1 -/71ir1 es
and Alc1ddi11 and 11,s Wonder· Mu.&ic i nd lyr11:1: Samm, T 1mhurii,
Jul Lc11np. Ruh Ro1hbt"1~. S1m1ny Lerner
 rup~n cl,, S,11/or ,\lcm Sintlbrid clic S,,ilor

r;,OPEYE'S ORIGINS 7
opcyc firsl became n stnr in comic strips.
Created in r929 as a supporting plnyer i,1
E. C. Scgnr's Thimble Theater, Popeye
quickly stoic the show, nnd by J 930 the
comic scrip was completely centered
nround d,c gru!r one-eyed sailor. Mn.~ Fleischer, n fon of the
comics, npproncbcd the .King Fe.1tures Syndicate about bring·
ing the chnraccer co che screen. Popeye was introduced in n
Bct1:y Boop cnr1oon (Pop9'< the Sailor, , 933) nnd wns nn
immediate hit; within a few months he was nppenring month-
ly in new cnrcoons.
Mn1ching n voice to the gnr!r comic-strip snilonunn w:i.s
difficult, but the ultimnce choice was inspired. 1.ronically, if it
were nut for Cli!T "Ukdde Ike" Edwards Qater the voice of
Jiminy Cricket) there would be no Popeye ~s we know him
codny. Throughout rhe r92os, Edwards { r895- r971) was a
mnjor s1nr of vnudevillc, Brondwny, nnd records; he spnwned a
number of imitators, among them Billy "Red Pepper Sam"
Costello {r898- 197.r), whose cnrliest recordings fea wred sent
singing ncnrly idencicnl 10 thnt ofEdwnrds (nt least rwo of his
records were miscredited co Ukclele lke). One ingredient that
scpnrnccd Costello from Edwa rds wns the slraoge, guttural
bass that occnsionnlly peppered his folscrto scot solos. This
voice (known ns '·lower rbronr vocalizntion" co speech pathol-
ogists) hnd been employed on stage for years by vaudevillian
Gene Green (1877-1930), Music hiscorinn Mike Kic!rcr
1·ecendy 1·ecovercd n Green ,·ccording which nppcn,·s to be the
end icst recorded example of che "proto·Popeye" voice, Traces
of che Popeye voice cnn be heard in Billy Cos1dlo's first record
"You're Nobody's Sweetheart Now," wbich was used in tbe
soundtr:tck of 8ct!Y Bbop. M.D. ( r93 2). Costello, who nlso
voiced Gus the Gorilla. rcmnincd Popeye's voice for only one
year, at whicb point studio nrcistJnck Mercer took over.
Mercer's zany srnsc of humor fie the ,1niquc powproductiun
recording of cnnoons; he added numerous 1n11mbles nnd
nsides, which nre cherished by fons codny.

L
 he Skeleton D.rncc was the
first of rhc Silly Symphonies,
a scdcs without leading
characters that Disney used
for cxpci-imcnt.S m expand
the h01i::ons of cartoons.
I lavinr. added music to
underscore the action in the
the first Mickey Mouse pic-
rurcs, C1rl Stalling (Disney's
first mL1sid composer) sug-
gested to Disney that the
reverse could he done:
adding animated action lCl :i
musical score. "l told him I
was thinking of inanim:nc
1\;ures, like skeletons, trees,
or !lowers coming to lilc and
dancing and doing other ,mi-
matcd actions fimd to music
in a more or b,s humorous
and rhythmic mood. He
bcc:imc very interested."
n 192.9, cnrtoons were us unlly jusLst:1ings of gngs hdd rogcthcr
by n vngucly dcJincd sLory: Skdc1on D<1nc( wos on cede musicol
fontnsy with few reol jokes. Tiu: image of four skeletons dnncing
in o gnvcyord sounds gl'utsome, but Uh lwerks's nnimotion hos on
ingen11ous nppcnl d,oL mnke~ the ,nose gri.~ly chnrncccrs seem benign
nnd pl,1yful. T hey dnnce jnuntily, wrig11,le like rubber Hnllowecn toys,
nnd pby t une~ on cnch oLher's hones. (The co,·rcsponding .~ylophonc
Ggurcs in the scor¢ hnv¢ led nm,y writers in misidentify Lhe m\1sic ns
Snint-Snens's Danse Mac11/ire; it's Grieg's M<1rcb of i/,c Dwarfs.) The
min is more sophisticm~d thnn most silenL•crn cnrtoons. T he skeleton
thnt dives nt the screen and almosL swallows the camcrn seems like nn
ordinnry visunl todoy, bm in 192.9, only Oreo Messmcr's Felix the Cat
cortoons oA"cred comparnbly imaginative touc hes.
- Cbarrcs Solomon
92
Disney !-OW rhi:- as an oppor·
runi91to push the combina·
lion of nnimation :rnd music
even further.
T1,c Skeleton 01111cc opens
on ~ spooky night in a grave•
yard, full of wind and llyinr.
bvcs: even an \JWl is fright-
ened hy a blowing hranch.
At the srroke of midnight,
bats lly OUL or a belfry. a spi-
der drops by, and a dog
) j
~ they smash into one
~ )JJ
- ..J
howls at rhc moon. Two
bb ck cats mop tombstones
stop their spat when a skele-
ton iiscs G·om its gr~vc. The
skeleton prowls around the
graveyard, is momentarily
fiightened by the owl, and is
then joined by three other
skeletons. The four dance,
ohviously enjoying them·
selves and exploiting their
articubtcd hones. They
make their own music: One
skeleton uses :mother's ver-
tebrae as a xylophone,
anorher skeleton uses a cm
:is a fiddle.
A rooster alerts the skele-
tons co the coming dawn. In
a panicky rush to gee
back to their colTins,
another,crcatingasin-
) glc four-skulled skelc-
1/ ton that dives into a
_, tomb.
 rs
The
Skeleton
Dance
WALT DISNEY. 1919

C I\ I; 0 I TS

/\ Sfl/r ~,niphonv

01nc1cd by \Vsh IJ11nty

93
 ho's the fairest in the bnd?"
nsk.~ the Wicked Q uc.:n ur
her m:igic mil1'C>r, nnd this
rime it's Reuv,just nnived :il
the cnstle to visit "stcpma-
ma." ~n,e Queen consults
the min·or again (as do
Rimho :ind KoKo): all .1gm::
rh Jt Bcuy 1s now d,e fairest.
71,c Queen orders the
thawin); Betty, Rimho. nnd
KoKo, :ind trnnslorming the
Q ueen into a drng011 Rimho
pull!' the drngon's tongue
.md t~1111s the crcarnrc inside
l llll, :md the nlm ends with
the three heroes dancing in a
circle.
OfC:1h Calloway's three
Beuy Roop cnnoons. Snow
ncnu \1/lmt is said lo have
been ,mi rnnlcd hy one
m.m, Rolnnd (Doc)
Crnndnll, over n six-month pc,·i·
od. Crand;1II had resisted the
urge lU hend west tO chc lond or
sunshine, pnlrn trees, nnd
Disney. n situ,n.ion which had
stripped the Fleischer Sludio or
many top people: pcrhnps I his

Snow kni)?.hls to behead Bcuy,

who hi:moans hi:r foti: in a
White song ("Al\\'nys in the W,iv")
and makes them junk their
a,xcs :ind r.,kc her grave.
Betty gets locked in nn kc
\M1it~ is prohably the best.
A quick run do11 n or the
story rcvcals ho11 mc.ming-
b!- conventional plot lines
:ire in the visunlly su1Tenl
I·lc1scher cartoons.
solo gig "ns his reword for smy·
ing. 77,c consis lcncy and henuty
of the c11noon, .,long " ith the
otlcntion lo dcrnil, ~uppoti chis
supposition. Crnndnll ll'ns ndroit
"ith fairy rnlc scLLinP,s, "h,ch

PARAMOUNT, '9ll
C l\ll11 1S
/\ f11m1mo11111 C11,r1Htn
J\nunm on· t\nland C. Crn11d11ll
comn dur slides into the
or
COtlJ)?.e the Seven Dwarfs.
who .1ccompJn)' the colnn LO
the Mystery Cnvc. -17,e
Queen shows up :is n witch
:ind changes KoKo :ind
Bimbo into fro=cn st,l\ues.
-11,e ma1;ic min·or explodes,
C:.1ll011ay said thnt the
c,1rtoo11s in which he
nppcnrcd played in each Cll)'
a week or tll'u prior to his
live c.n)!.n1;cmcnts. With
Rcuy ns his ''advance
woman" he found ticket
snb significantly increase.cl.
sh011 up in the dct,,ils uf the
Wicked Quec_n 's castle nnd the
mysterious pve of rhc Seven
O,rnrfs. T here. n long·leg11,ed
cnnoon Callo" oy sings the
mournful "St.Jomes lnrirmn,y
Blue~" -(lnoLher rnlc of sex,
drugs, ond rock ' n' roll. As he
s ings, Cnllowny's animated r.g-
ure Lr.msfurms itself LO describe
the lyl'ics. at one poinl into n
w:nch chain nnd n horde of boo·
oo·ooze. /\s if s uch dazzling
rocoscopcd animation 11 crcn' t
enough, n b.,ckg,·ound t.llcd ll'ith
mocoh1·e images slides slcndily
hy, f1gluing for mention 1dth
the action in the furcgrm,11d.
I lcre is a corcoon moking full
use of Lhc 111cdi11m of nnimnrion,
and n model of Lhc classic "ruh•
her hose" carloon style of the
early 1930s.
- L~s/ic Cabarg11
 19
.-

95
.'itio,, 1vr,,,1

96
 Snow \ Vl,lt<

rTHE FLElSCHERS 7
a.~ Fleischer, cnrtoonist nnd
inventor, pioneered animnted
films with hjs invention of the
Roto!cope in , 9 , 7. Using this
unique device LO trnce live•
action film for creating lifelike
animndon, Mnx nnd his brother Dnve wcn1 into business
making clever nnimnted nlms, eventually becoming Walt
Disn ey's greatest rival. In the t920s, the Fleischer studio hnd
grcnc success with KoKo the Clown , 1vho cavorted in the
"rcnl" world through clever nnimntion tricks. The Flcischcrs
lntroduced the ~ing•nlong cartoon, che fomous "bouncing
bnll." and were the fll's t to mnke sound cartoons (in 1924),
years nhend before Disney synchronized sound and nnimn•
tion . With the ndvcnt of sound, the srudio came up with
Betty Boop nnd licensed Popeye from .King features, embell•
i.shing his personality wilh n unique voice. Another in nova•
tion of the srudio wns threc•dimensiotul bnckgrounds thnt
gave t he enrly Flcischc,· cartoons n feeling of depth thm Dis·
ncy would ncrucve years larcr wirh his multiplnnc camera.
The Fleischers released Gvc c.urn•lcngth cnrtoons nnd
cwo feoc1,rc !Urns. Gul/i-vcr's Tra'llCls ( 1943) nnd Mr. Bugs Got'.S
to T uwn (1941), nnd were nominated for an O$car for
S11prm1an ( 194r), rhc first in a se,·ies of renlisticnlly drawn
odvenrurc cni:toons.
In n move still concroversial todny. Paramount Picwrcs
took concrol of the studio in 1942 nnd ousted the Fleischer
bro~hers. M :i.l continued his role in nnimntion with nn nsso-
cfotiou ,vith theJnm 1-landy indus trial film company; 0nve
weuc co I lollywood, producing nnimntion for Columbia
L icturcs, Republic Pictures, and Unjvcrsal Studios. .Jj

97
98
 his cartoon opens with a
live-action clip or sing.er Cab
Calloway and his orchestrn.
le then goes to flmy Boop
seated :11 d,e dinner table
being berntcd by her pa rems:
"Why won\ you cat your
hasscn-rcffer?" Betty leaves
the table in tcnt'S and decides
to run away, singing,
of ghosts nnd goblins chase
Betty and Bimbo from the
cave. Back home in her
Minnie
room, Betty finds her
forewcll note mysteriously
the
com up, lc:tving the words
" Home Sweet I lomc.'' Mooch er
"Minnie the Moocher"
was :1 hit recording in J 93 1
and made Calloway a sent·. PARAMOUNT, 1912

"TI1cy'll all be sorry that His "Hi-de-ho" lyrics

they picked on rne." She
packs her toothbrush, pens a
forcwcll note, and calls her
dog. Bimbo, who meets her
beneath the ll'indow. As it
gets dark. che pair hide in a
cave, where they meet the
I ccamc his trademark, and
his swayin~ and strutting
style of bnndlcading was so
unique that Fleischer roro-
scopcd his movements.
Minnie tbc Mooc/m was the
first of three Boop cnnoons C fl f: 0 I I S

Walrus (Cab Calloway) to b wrc Calloway (Snail

who recalls the sordid talc of V.//Jitc and TI,r Old Ma11 of
Minnie the Moocher. TI,c c/Jc Mountain, borh rdcascd Otncu:d by Ou~ F1eiachcr

Walrus dances in front or an in J933, were the others).

ever-changing cave wall of 77,c film enjoyed a revival as
biz.m e imJgcs. All mm,ncr .i "head film" in the t 960s.

or chc first 1ime, Bury is s hown in n pliius ible scning: She is

n young girl, probnbly seventeen or nineteen , involved in the
inevitable parenrnl connicL Mne Qucstnl, who provided the
voice for Berey, always chimed the mimntors based the charaCLds
mannerisms nn d personality on hers. 77iis film would seem to bear
her ouL. J ust seeing the young Calloway performing on Gtm nt. the
beginning of Minnie s hould be enough co have the film clnssifl cd n
n~tionnl treas ure. His nppen1·nnce $Ctms nt fl.-st inrnngruous until,
midcarcoon, his dancing is beautifully tt.1ccd over (rotoscoped) i.nco
animation . Use ofCallowny's theme song, "Minnie," is o ne of t he
g1:eat en igmas of cnrcoondom. W ns the son g's sordid subject matter
-drug addiction, moybc even prostitution -11cknowledged by the
Flcischers?
- Ltslic Caba,ga

99
,\Jinnoc "" .\l oo.I"'

rBETTY BOOP 7
he Fleischer studio's most fomnus originnl chnrncter, Bmy Boop, begm life as n singing dog. Designed by ani-
mnco1· Grim Notwick. she first nppenred in Dizzy Dislm ( t93 r) :ts n canine croonc1· performing a parody of
novelty singer Helen Kone.
O 1iginally, the studio, in need of a stoning chnrnccer LO comp<:te wirh Disney's Mickey Mouse, had begun
LO fe:tcurc n nondescript dog chm\1ctcr nnmcd Bimbo in a series of cartoons. When :1 cruoning " Boop-oop-11-
doop" chnrnctcr stole one of the rilms, the Flcischcrs increasingly featured her in the Talkartoon serics-
cvclllunlly, this charncrcr. Bcny Boop, was stnnin!!, in tl1c cartoons. an d Bimbo hod supporting roles.
Helen Kane, h erself a Paramount contract pbycr, decided in T9H co sue the srudio when the cnnoon version become more well
known than her. Unfortunately for he1·. Parnmoum and the Fleischcrs were nble to prove d,nt her style of singing had been around
longer than her career.
Berry Boop's most interesting cn1toons were produced during 1931 nn d 193 3, during I he hc)'dny of ins pired lunacy at the Fleischer
studio. This wns also before the I lnys Office Motion Pictu1'.e Produclion Code took effect in 1934, dTectivcly "denning up" I loll)"vood.
17,esc prc·Code cartoon s were pretty rncy; from Cab Cnllowny's soundc,·ncks, which mndc reference to drugs. alcohol, and sex, to lech•
c1·ous villnins ,, ho threaten co take Berty's "Boop·oop·n·doop" away.
A fter the Code took clTect, Betty's skire was lowered co hc.1· knees and she bc1?,an costarring in stories wich the likes of Grnmp)', nn
ccccnlric inventor, and Pudgy, her cute little dog. Beuy nlso starred in flcischcr's lll'!lt color cnrtoon, Poor Cindmlla ( 1934) .
T he Fleischer s tudio retired Berty in r939, bur her populn1ity lrns lasted without the nssistnncc of new cartoons for mo re thnn fifry
years. Only in t he Inst decode or so has any elTon hccn made to revive Bercy's ca reer. An appearance in \1/lio Fmmcd Roger R,1bbi1?
( 1988) nnd rwo rcm1t TV specials (produced by Bill Melendez and Colossal Pictures) h:ivc kept her name alive. en suring char Berry

Lvill boop well into the nc.~l century.

100
 M in,m 1/r, \100d•tr

rGRIM NATWICK. 7
ention mirst be mnde of Myron "Gtim" Natwick. the original designer or Betty Boop. Ac the rime he
nnjmnted D~zy Dis/m, Natwick wns already an nnimaLion veteran, hnving begun his cnrcer in 19J 6.

After Hudying at the Chicago Art lnslitucc, Nncwick became n prollfk iUustr.ttur ur sheel music.
l ooking for more work, be joined his fellow arr school graduate, Gregory la Cova, who was in chnrgc or
l-lcnrsr's nnimntion s hop (producing films like K.razy /(at nnd Bringing Up Faum) in New York.
After a brief stint in Vienna studying art, Natwick reti1rncd to New York nnd joined the Fleischer
srudio just 1is talkies were toking over the industry. He left in 1931 lOjoin Ub lwerks in Hollywood, where he designed nnd animated
many Flip the Frog and Willie W hopper cartoons. l·lc wns soon working for Wall Disney, primarily animaling Snow \Vhlu. Natwick
rejoined the Fleischers in cbe lnce 1930s, where he designed nnd orumnced Princess Glmy for the fearure Him Gu/liver's Tmvds.
Thereafter he wns the preeminent specinl.ist in animating the female form.
Mis skill led him to many diverse assignments: animating Woody Woodpecker for Walter L1ntz, creating art for the l'LrSt TV ca1•
coon, "Crusader Rnbbir," doing commercials nnd rhenaicnl shores for UPA (including Roo!)' Toot Toot), and teaching his cmfr ro n
younger gcnernuon while working for R.ichnrd Williams (Raggcqy Ann and Andy, The Thief and cln Cobbler), Grim Natwick died nt age
Lac hundred in 1990.

IO r
102.
c::;:====-~-=--=----_--~ his rhyming parody or
Disney's Snow \,\//1i1c- wiLh
wanimc rhcmes. sex, and
ja=. begins with n mother
telling her child the story or
So \M,icc. The W icked
Queen (a hoarder of
rationed goods) asks her
mag;ic mirror for a p1incc. To
Prince Chmvmin'. the queen
"sure is a fright/ hut her gal
work: Ruhy Dandridge (the
Queen). Vil~nn Dnndiidg.c
(So v\/h itc), and Zoot
Warson (Piince Chawmin').
Eddie Beale and his bond
augmented Carl $railing's
score, pnnicL1larly the
impressive trumpet acti ng
du1ing the kiss.

Coal So \M,itc is dynamite!''

Murder, Inc.. called hy
Qµecnic to "blackout So
B
ob Clnmpctt's Coal.Black and de Scblicn Dtvarfa is, of cour11c, u
twisL on the Grimms' stoi;-(lampen origin:illy plnnncd to
So Whi1t--but it pokes fun only tnngcmfally nr
cnll his nlm

Black \Miite.'' leaves the ?,irl in the

woods where she joins d,1:
Disney's Snow Wlilcc. And despite chc cnricatUl'cd blacks who mnkc
up its cnst, Coal Bltrck is nor rcnlly abour nice, cicher; il5 Ol)da1,dis h ns

and de Seven Dwa1{s ,ll cheir mmy

camp. 77,c Qµcen :i1Tives
most of the bbck chn,·ncrcrs nrc, t hey're no more grotesque than. say,
chc middlc•ngcd " 'hilt men Clampett lampooned in cartoons like

Sebben with a poisoned apple t hat

puts So \Miite to sleep. The
Prince can't awaken her \\~th
Drnflcc Dt1ffy :ind The Wisr Q.iwcking Duck. ·17,. charncLcr.> arc black
becnuse the idcn for chis cnri:oon was born when Oampett saw chc
Duke Ellington revue J11111p for Joy in 1941. Dul'ing work on Coal

Dwarfs his "Rose-bud" kiss, but a

dwarfsucceeds with his spe-
Brack, ns animator Virgil Ross rccnllcd, "we wcnr over to the cast side
of town, in the blnck district, to go through the nightclubs nnd the
cial hot kiss "that is n mili- dancing," Wbnt Clampett found in chose black performers nnd
tary secret!" dancers wns the renl subject of his film: cnc,-gy. He trnnslnced their
WARNER BROS, '9-41
Rbck caricatures and ref, cxubernncc into nnimnLion whose vitnlicy was unprccedcnccd then
crcnces to 'vV\Vll date th is and hns never been equaled since.
cartoon, but its animation, - Mic/1ac/ Barrier
musical score, and comic
timing make it a classic.
Clampett cook his animators
out LO I lollywood's black
s....,. w"'"' "''"" nightclubs for inspiratio11,
Animmun· Rod Scnbnu and perfrnmers loaned their
Mu, icJI d,muon c..1W $1,111"~ voices and authenticated the
Q \JEENIE
 Coul 8(11, k und J, S,hl,rn Dwur{s

rCONTROVERSIAL CARTOONS 7
veryone who knows and love.s cartoon s knows two things: that Coal Black is
certainly among the grenrest can:oons ever made, nnd that ic certainly is offcn•
sivc 10 mnny people. Bob Clnmpett's i94:1. masterpiece is pei·hops the ultimo re
example of a cartoon of its time, and like most cnnoons from Hollywood's gold,
en age of nnimntion , ic is rife with racist, sexis t, ond violent content, mnteriol
rhnc wo11ld be totoUy unncccptoblc in cgrtoorui produced todgy, Clompctt's film
is a prtrtic11lnrly obvious example of racial parody, ond it is difficult for most audiences co see pasc ics
stereotypes. Bur it is not nn isolated case: Among many ocher eJrnmples arc Berey Boop's Jewish
pnrc:nrs in Minnie cbc Moocher and Native Americans in T ex Avei:y's Big Hed-warba.
Cartoons are not th e only fom1 of entertainment involved either; it is difficult to find o black
person in o movie, play. or book before the T96os in m y buc a menial position. Tirns, today
1/ucklcbcny Finn is banned from some libraries for its rnciol concent, Sccpin' Fecch ic's supporting
roles are removed from movie prin ts, and rnclio's Amos ond Andy n_rc remembered as the epitome
of mcisr scereocyping. There is no quo:.$1:lOn ns to whether or not some vintngc cnrtoons are rac;ist
(they nrc) or rhnt they did do harm. The only question is if these cartoons should be removed from
view nnd excluded &om books suc h as this one.
Then i$ n growing inclinntion to do just ch.:it. Disney no longer s hows Song of chc Soucb: the
company would not gr.mt permission to use cerrnin illustrntions from Der Fucbrtr's Face bccnusc
Donald nppe.,rs in Nazi uniform. Similarly, Birr/, ofa Nation cnn no longer be viewed nr: the Librnry
of Congrc~s e,cccpt under speci11I conditions.
No one would s uggest that coti:oons depicting sex.isc or 1·acisc scereorypes should be shown
indiscriminately on Saturday moming children's shows. Bue it seems just ns foolish to snni~e our
hiscory nnd make believe t hese cnrtoons- nnd that em- never existed. One of t he values of the
trove of animated cartoons is the depiction of their rimes: every national event, trend, and fod is
reflected in chem, from the Depression co gns rationing, from censorship to the liber.ition move·
men rs. The canoons nrc racist because the country was racist. To remove any maceciol thnt is now
seen as objectionable would be co divorce the cartoons from thci,· very identity, nnd to remove one
[ L f the most important fcnu.rrcs of the genre as n whole.
Words and Music by
SOUTHERN MUSI C
OLIVER WALLACE PIJ8LISHING C0.111c.
1119 UOAOWAY, NIW YOl/1(

106
 nc orfou,· anti•Na=i ca,·toons
the Disney srudio released in
'9-1-~ (the others were
Chicken Liulc, Educc1tio11 for
Drnr/1. and Rwson rrnd
Emo1ion). lhis canoon was
w1irtcn by Dick I luemer
and Joe Grant lor a series of
shons commissioned hy lhe
U.S. govcmmcnt. which
Lurned il down Bul Disney
liked the idea and prod uced
lhc film ns :1 special Donald
Duck cartoon.
A Gennan marchin!?,
band, phyinr, ''Der Fueh.r·
er':, Face" as it parades
through ut-::ibnd, whisks
Donald off Lo a munitions
plant co his usual "+8·hOL1r"
day ol' labor. His job is clos·
ing shells- and "hciling"
the Fuehrcr's face whenever
it appears. For.:ed to work
foster and (.,stcr, Donald
his hcdroom, in rcd-whi1c•
and-blue pajamas. He hcgins
co sah1t.: a "heiling" shadow
Der
on the wall. but it turns out
to he his Statue of Lihmy.
Fuehrer's
Nightmare over, he hugs the
scaruc, graceful "to be a ciri• Face
=en of the United St,1tcs of
America." -n,e film ends
W/\I TDISNH. 1943
1-vith a caricarnre of I litlcr
struck by o tommo t.hruwn
from rhe audience.
Rdeased on New Year's
Doy 1943, Der Fuclircr·s F,icc
hccamc one ofthe most
famous canuons or the war
years and earned Disney his
tcmh Oscar.Jack Kinney
\WOLC or mm
the in his
memoirs, "Prints were scnr
all over the world, even LO
Russia. which used its pro·
pa~nda messa~c to encuur·
a~c the troops. I don't think
il was very porular with the CI\ I· DI TS

goes mad and haJlucinatcs Na=is. In fact, we heard tliat A \Vwh IJl,t1tv JJ1ou1IJ llot k Ca,1rn111

chat the shells arc :lltacking I litler burned every copy he l) irrtl t d by J,.c,I,. K111n9

him. He rinally awakens in could rind. We loved rhat."

W
nlt Disney's most signifknnt contribution to American propng.,ndn in the Second World
War--and to the art or grnphic satire-Du F11clwr's Face satirizes Adolph I litlcr, Hitler's
Nazi regime. and tocalitorionism in gcncrnl. O rigiMlly cnllcd D011<1/d Duck in Nur;ziland,
Disney changed chc ride when peppery, spirited Ollie W allace (composer of the "Pink Elephants" music
for th:it surrenlistk sequence in Dumbo) wrote words and music ror n song cnllcd "De,· Fuehrc,·'s Face."
1l1c song's b:isic structu1·e wns 11 ''rnspbcrry" or Bronx cheer. "I built thnt cnrtoon around the song," said
dirccrnrjack Kinney. In a mnsccrpiccc or saciricnl design, cvel)•thing in N11r.zi/1md. from chc trees and
hedges co d,e houses whose chimneys seem to give the Nazi snlutc, is shnpcd like the swnstikn, the symbol
of Nazism. A cnricnrnrt of Hider's focc ginres down oa Donald os he struggles co keep up with inhuman
quotas on making shells for I lidcr's wnr mnchine. Les Cl.trk nnim.11cd the su1Tc,1li~cic dcplc1ion of opp1·cs·
sion with pnnochc.
- Jo/m Cul/,une
 "LITTLE RURAL
~ GHOOD
" -~rii';;';.vE·Rv
hillbilly version of Red
Riding Hood is skipping
through Ihe forest lO
Grandmn's house. hringing
her some nourishment, a ju~
of whiskey. Meanwhile. nt
Grandma's, a cou ntry ver-
sion of lhe Wolf (voiced by
Pinto Cuhig) informs us
that "Of course, I'm sup-
posed 10 ent Red Riding
Hood all up. bur I ain't a-
gonnn do it. All I'm gonna
do is chase her and CJtch her
and kiss her and hug her m d
love her ..."
\Vhcn Red nnivcs. rhc
nmoruus Wolf chases her all
over the house, hut succeeds
in kissing only n cow. He
catches her at last, but is
interrupted hy the nniv:11 uf
:1 telegram from his city
cousin: "~1it wasting your
108
,,
time on the country g:1I.
Come to the hi)?, city and I'll
show you a real Red Riding
Little
I lotid!" 77,c enclosed photo
of :1 sexy Red has the Wolrs
Rural
eyes poppin).!. our of his head.
When Rural Red
demands, "Kiss me, my fool!"
Riding
rhe Wolf shoves chc cow :lt
her lips and t.1kes ofHor the
Hood
city. I le arrives, hoOLin' and
hollc1in' for the city Red
MGM. 1949
Riding Hood. His sophisri·
catcd city cousin sedates him
with a baseball bat.
Decked out in tails, the
country Wolf watches Red
perfo1111 her number ("Oh,
Wol11d" :1 repeal of the mu·
sical sequence fi·om Swing
S1,i(t Cindm//c1) :ind makes
such a rLISS ~,~cl, whistles,
cat-dis. and cye,pops, that
the city Wolf knocks him
our again with a malkt. "I'm
ali·aid this city liJc is a bit too
much for you." he tells his
rdativc. "l shall motor you
back to the country."
O nce there, howcvcr.
lhc city Wolf gets a look at CR I· nI I S
the hillbilly Red Riding
Hood and goes gaga, mim ic•
king many of his country
co-1sin's previous eye-pop·
ping takcs.11,c country A111m1t1t\.ln Gt.ull S'1ro11mn1, \V11lur Cll111un
Wolf happily rakes his
cousin back to town.
 23

109
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JlO

T
ex Avery's unerring
timing and cJTonlcss
effect were not
achieved without painsrnking
m,rL~mnnship. Veter.ms or his
unit hove claimed thnc Ave1y ,
dismayed ovci- the foct that the
perception of his riming was
altered as n scene moved from
the animators' pencil tests to chc
&n~I inkcd•and,painccd Tech·
nicolor photography, would
actually trim frames out or the
negative or a co1nplctcd scene.
l.iulc Rwal Riding Hood is
well constructed. irs d,rcc big
comedy scenes se1ving as ro(in•
dncion, and each one a tou,··de·
force or ingeniou$. hyperbolic,
explosive, but immnculotcly
Limed animation:
r) The Cou•~ur Wolf rncing
around a fonnhou.sc in genuinely
hot pursuit or a counery Red
Riding Hood,
2) 77,e councry Wolr re.net·
ing co hjs city cousin's notice
rhot die Red Riding Hoods n,·c
more plemir1,1l i,, the city, where
he repairs on the instant. not
having nny great success in keep·
ing his cnthusiosm in check.
3) The counay Wolf taken
by his co1,1sin to a nightclub to
witness the city's version of n
Red Riding 1-lood nnd proceed·
ing with •ppropriatc showman•
sb.ip to provide the t0ppcr for all
his previous reactions.
In the third of these scenes,
the country Wolf rushes pell•
mcll toward the stage, ~ccompa·
nicd by a collage or bells nnd
pc.1·cussion clTects, only to be
stopped before he can couch Red
(~nd incur the wrnth of the Hays
Office) by n mallet stru ng in his
III
s uspenders by the city Wolr. He
is wheeled away on his rotllting
bend like n hood tJ'Uck with
one wheel squc1tking. This i.s
rcpc,iting a gag str.iight out of
'"Fido the Dog Di.rector," n mid·
twenties Brny Studios cnrcoon by
Wnltcr Lmrz that Tex muse
have seen in his adolescence
nnd never forgoncn.
The mnssivc master shot
chn1 dimruccs the first of these
sequences, in which one poor
victimized door is slammed in
and around a single room, help,
lessly cre11Ling doorways whcrcv•
er it lnnds---on the 0oor, on the
ceiling, nc.xt to the originnl door•
way, nc.1·oss che room-is
retraced from Avecy' s 1945
Screwy Squirrel cartoon Tiu
Smwy Tri1<1nt. \1/hen the city's
version or Miss Riding Hood
appears in the the third
/ ,u/c ll urul R,J111~ / loud
sequence, she is perfrll'ming n
reprise of her hit, "Oh, Wolfie!"
from Swing Sl,iji Cindcrcllr1 , nnd
the :inimncion (gcncrnlly the
most expensive single elemen1 in
cnrcoon production) is again a
repeat. With the resom ces
remaining in the schedule and
budget or an ordinary 1940s the·
ntJ.ical shot, subject, Avery wag
able to create an cxtn1ordinary
fwn.
What nppears on rhe .screen
ns manic energy, spini~ing out
of cona·ol in all directions nt
once, 01T1he screen and in the
audience's lap. was in reality
corcruJly built up our of a 1n1,1lti•
tudc of smt,ll dfccts, each as per-
fectly renlized as n detail in a
Pi=rsinn rug.
- Joe Admnson
Il2
nsed on a short story by
Edgar Allan Poe and nn1TnL-
cd by actor lames Mason in
a voice on rhe verge of rre n-
::y, Tiic Tc/1-Tafr /-frm1 was
one of th e rirsr uses of the
animated cartoon to tell a
psychological ho1,-or cnlc.
71,e mm uses modem. Dalf-
csquc im,1~cs to creme a
ing of the man's hc,1rt grow-
in)!_ loudcr and louder. "So
s trong for such an old man."
The
He had to stop it. ''ll1cn it
was over. 11,c hean was
Tell~Tale
still, the eye was dead, I w.1s
free.'' I le th en cmfully Heart
buried the old man beneath
the llom·hoards in his room.
·n,c police arrive Ul'A "IH

dreamlike armosphcrc per· neighbors had heard a

fccdy suited to Poe's chillin~
wle of murder by a madman.
"li·uc. I'm nervous, very
dreadfully nervous, lrnt why
will you say chat I am mad?"
So hcgins the narrator, who
~ocs on to explain ho,1 he
was diswrhcd by the milky·
scream- and inspect the
premises. Fllll nil is quite in
order, nothing amiss. 771cy
:ire ahout to leave when the
madman insists thC)' stay ror
tea. Then he hears it, softly
Jl first, then louder and
louder. "It was the beating of CR I· 11 I ·1 S

white blind eye of his older his hidcou~ heard" lnc

housemnte. "Of course." he
expInins, "I had to get rid of
d,e eye."
I le waited seven days for
Lhc tight moment- "! could
foci the earth wrn "- and on
the fotcful night hid in the
madman breaks down and
confesses his crime, remov-
ing chc noorboards to reveal
tl,c C011_)SC .
"Trnc, I'm nervous, very
dreadfully ncnm1s, but why
will you say that I ~m mad?'' l'roducuon m1n11i,.c:r llc:rh ~ltnn

old man's room. In che dark• So ends the madm;in from

ncss, he could hear the heat· ,vithin his p1ison cell.

T
he UPA fellows hnvc gone nhead, brenkjng new ground
with their exa:nordinnry nn imnred drnwing bnsed Oll Edgar
Allan Poe's "The Tdl-Tnlc Henn." You note we do not
define ic ns rn nnimnted cartoon, since that suggests humorous cn:nt·
mcnt, which rhis piece of work docs nOl hnvc. h is~ biz.irrc nnd eerie
comprehension , in fitful imnges. of n inndmnn's view of n murder he
docs nnd then fotefully rues. The style nnd design resemble Dnli"s
with nil sorts of modem uvcrcon cs. 17,is is n highly commendable
expcrimcm in the field of nnimotion.
- New York Timu, 195 l

Tf3
rUN ITED PRODUCTIONS OF AMERICA 7
n 1944, n trio offormcr Disney animators- Steve
Bosustow, Dave 1-lilberman, :ind Zack
Schwn11z -formed a small film studio called
lnd11strinl Films nnd Poster Service. Their first
production, 1-/cl/•.Bmt for Election (a pro•Rooscvelt
cnmpaign film sponsored by the United Auto
W ol'kcl's), and subsequent nlms (pnrticulnrly U.A.Ws ·ni,
8rothcrl1ood of Me1n nnd the Navy's Flm Hmting) explored the
ocher end of the cartoon world n,s previous ly denned by Walt
Dis ney, using abstrnct modem nrt nnd stylized g111phics.
I lilbcnnan and Schwnrn: sold out to Bosuscow in 1946
(chc pair soon began Tempo Productions in New York, sue·
cceding in the new flcld of1Vcommercials), \\ hile United
Productions of America (as the company wns officfolly
renamed in 1945) continued to tum out innovative industri•
nl rums with prnd11"ion mnnnger Ad,inn Woolery nnd
supervising directorJohn Hubley.
UPA signed n concrnct with Columbia Pictures in 1948,
and for the next eleven years turned out unique short cat·•
coons chnr won three Oscars, were critically praised, and
influenced nnimntors from Hollywood LO Zngrcb. LJP/\ nlso
c,·e~ccd Mr. Mngoo, a cnricaturc of nnimacor/scoryman Leo
Salkfn ; Magoo's personnlicy wns based on that ofJohn Hub·
le)'° s businessman father. In UPA, Bosuscow hnd created n
studio Ihnt g.1vc his nn:isu t:nmcndous freedom. The r.111gc
of subjects they tncklcd, from children's book ndaprntions
(Mt1dd;11<) co jni::z updntes (Roo!)I Toot Tool) were given inno•
vativc spins by n cnlcntcd roster of directors: Rohen Cannon,
Lrt Babbie, William Hurtz, Ted Pnrmnlcc, nnd Pete Burness~

1. 14
n,, Tell T.ilc //,,1,1
ti-
........ ----=====::::... he rilm hegins in the home
- --------
of two ~musual d1Jr:1ctcrs, :i
man .ind ,vik II ho m : pla)''
ing; Scr:ihblc. The wire has a
hard time keeping th e pupils
of her C)'CS stra1~ht, so she
removes her cychalls and
sh.,kes them into the con·cct
position.
I lcr husband's mind is
occ~1picd 1-1~th the game as
he fumbles ~,ith Scrabble
tilcs- ,111 Es. 17,c wife g..:ts
ur tn vacuum II hik she
owoirs his nc.\t mol'c.
'v\/hilc his wife vacuums
the hachwh, rhe sound of
sa1,1~ng from the TV puts
the m:in to sleep. and both
miss a newscast inl'u1min~
the puhlic thm nuclear war
has just lwokcn out. 77,c
housecn t disconnects the
television b)' chewing on the
power cord.
Screams from the neigh•
bors and :1 sudden tram, j:im
wake the man, who won·
dcrs. "Is rhc1·e some kind of
parndc on?" When his wile
ensues, and the wife leaves
the t,1hlc in tears.
Picking, up a photo of
the couple token at Expo
1957, the h~tshand recalls
happict· da)'s. He tries to get
hack into his 1\ ilc's good
grnces h)' playing tl,c:: ;iccor·
dion. Their love n::ignitcs
and they embrace. B0th of
them have been so con·
sumi.:d hy the .1rgumcnt .ind
its resolution thac they don\
rcali::e rhc world has come
to an end.

The Big rruscrntcd. the man looks at

his watch and discovers it's
time for his fovoritc TV
rewrns to the tahlc, the man
is startled. "Wen: you look-
ing at my letters?" she asks.
Snit show: he pulls out his $aw
and ru nes into "S011~ng for
He denies it :md hegins saw-
ing the rnblc (and denies
Teens." doing that as wdl). A tt)!,ht
NATIONAL n LM BOARD
OF CANADA. 19Ss

CR I· n I I $

Rlch1td Cond,c

rruduct.n: R1chml Cund11 \lid1,nl 5(1u1

Mu,ic: r.urick GuJfrct

Vmcu I•) l\r.u:uu, Id• t )1lcr

116
 r,c Hi.it Snit's nppenl
comes from its rich•
ncss in humor· .ind
humanity, Ir i~ n simple scory
nbout a couple who do mundan c
things: 71,ey play Scrnbblt, clean
house, watch 1V. light, kiss,
and n,akc up. Married for many
years, 1hey nrc s1ill deeply in love
and also totally obBvious to what
is ahout to happen in tl,c outside
world. As the nlm :ind world
end, nil they ll'nnt to do is nnish
1heir game. It is
hard to
imnginc nnyonc not seeing a bit
or themselves and people they
know in this couple.
The lnughs come from
Richard Condie's nttcntion to
wonderful derail. 71,c fllm opens
11•ith rom:mtic violins :ind ,1 tuhn
pla)~ng n scrnnge bass line. The
silly music sets chc mood for the
laughs to come. Another unc., ·
peeled rrenr is the house's
dccor--ns the couple wanders
through d1cir home, there is
nhvnys something new rhnc
deserves n ch ucklc.
Condie is from Manitoba,
Can.,da. whcr·c winters must
seem Io Inst forever; pcrhnps
c.1bin fever is why Manitoba hns
produced some uf the runniest
nnimnrnrs working todny. In any
cn~c. Condie has found the 1ime
nnd discipline to write grcnt cnr·
toon scripts, Lo create exception•
nl soundtrncks, and co bcnutifully
c.~ecmc his visuals.

he film rcmnins
with you long ufcer
the laughter because
1he message is strong. Tl,( Big
Sn,·r is o hrillinnt, wonhy mm
about the frngiBty orlife rnd is
,·ecomrncnded for people of oil
,1gcs who may nt 011c time or
another hove wasted precious
time being in o snit.
- /o/Jn C rncn11rkcr
 n,. B,~ Sn,1

rRICHARD COND IE 7
ichard Condie was twenty-seven when he decided to tmkc films; he cunnot recall whoc o·iggcrcd this iden. Aided
by gn,ncs from che Canndn Council, Condie became n filmmaker nnd found work on lVs Sesame Scrm. Tn 1978
he completed his 6rst film for !he N ncioml Film Board ur Cnnadn, Jo/m l<1w and tlic Mis#ssippi Bobble. "We
could hnvc mnde it funnier, buc we were lacking in experience," recalls Condie. "le wns quiLc a jump from Lhirty·
second non sequitur clips for Sesame Street to a ten-minute story."
His b eer films, Gcrrin&Started (r980) nnd Pi&bird ( r98r), are well known for their humor and have won
many international awards. TI,c Big Snit cook three yeors co mnke nnd it received the rliroshimn Awnrd nc the Hiroshima Fesrivnl, the
lncemocionol Cricics Award nr Annccy 85 in Fm nee, a Silver Prize at t he Chicago Film Festival, Best Short Film at the Muntnnl
World Film Fcscivol, nnd an Academy A"1nrd nomination. "I ttitd co mnke it IIS funny ns I could," says Condie. "Yer there's o serious
Lndcrcurrenc Tcan' t explain."

rTHE NATIONAL FlLM BOARD OF CANADA 7

he NFBC wns founded in I939 by nn nee of Pnrliamcnr, ics official purpose being "to injtiate and promote t bc
production and distribution of films io the nntionnl inccrest nnd in pnrticular ... ro incct'J)rcr Cnnndn nnd
Cnnadinns ro other countries." Artis r Norman Mc Loren founded the NFBC's animation unj1 in 194,. From
t he beginning, artistic freedom l,os been. the trademark of the NFBC pr:oduccions. Independence ro c,·enre nnd
experiment bas led NFBC animators co produce n wide range of films that entertain, inspire, and pioneer w hile
using cvci:y form or nnima~-ion: from drawiJig on l'ilm, pixibrion, and compurcr grnphics co pin screen, clny,
L nnd, and eels. Four animated films ti-om NFBC hove won Academy Awards, nnd twenty others have been no minated.
1. 20

Brave
Little
Tailor
WJ\ I 1 DISN1'Y, 1938
Dlrcctc:J hy nm Rohttll
An111m10 11 Fnmlc: Tht1m1•. ll.U Ty1l11,
R llt)' 1hom4on, Oll1t lnhnuon,
frcd Muur<, Ruy W1lh,m,. I u a .,,i._,
MIit Sch.iffu, CDrncn \Vood, l·~nlr.. Fullmn,
A , ~hlt lluhln Rk lu1d Mc Oumnu
he talc hcgins in ::i mcdkvnl
town abu:::: with news that
"the Ci:im if. ::it large." Busy
at work in his shop, T::tilor
Mickey Mouse is pestered
by a swarrn of Oics, so he
kills all seven by using two
Oyswatt.;rs.
O utside his shop three
locals arc discussing the
Gi:tm. just :is one ;1sks. "Say,
did you ever kill a ~in nt?" the
tailor throws open his ~\~n·
dow nnd proudly exclaims.
" f killed seven with one
blow." 11,c misunderstand·
ing spreads through town,
and the king orders Mickey
co appear he.fore him. The
tailor, wearing his scissors
like a sword, drnmnricnlly
dcsc1ibcs his ordeal: He is
talking about flies. but rhe
king hem only giants and
,1ppoints Mickey Royal High
Killer of Giants, offering him
millions of "pa:::u:::as"
..,_-...:
and Princess Minnie's hand
in mnniag.;. Micke)' is
delighted until the town's
gms shut behind him.
As he wonies, the Giant
::ippe:irs, crushi1,g everything
in his path. When the Gfant
drinks from an uprooted
well, Mickey is thrown into
his stomach. He escapes, but
he catches the Cinnt's attcn,
tion and has co climb up his
focc. Mickey uses his tailor-
ing skill ro sew up the
Giant's sleeves, and in the
final scene, Mickey and
Minnie kiss on a carousel
powered by the Giant.
17,c Disney Srudio puhli,
ci=ed Brc-ru, Lrtt/c Tr,i/or as a
special cnrtoon, a virtual
mini-reatL11·e. with lavish pro•
motions and publicity. The
Mickey Mouse Sunday comic
strip featured an entire scory
continuity built around the
Illming of chis short.
26
T
his high poinc in
Mickey Mouse's long
cincmnLic cnrccr
stands out :is a triumph of
design nnd chnmcrer nnimntion.
0~1ring the 1nid-1hirties, nnimn·
tor Fred Moore redesigned
Mickey's physical nppcnroncc,
giving him his most nppenling
proportions. The interplny of cir-
cubr fonns within thnt design
give Mickey an almost irre-
sistible d,nnn: To look at him is
to like him, The fluid nnimntion,
largely done by Moore and
Frnnk Thomns, is pe&crly wed,
ded to the design . Strong poses
nnd vivid expressions cnprure
Mickey's thoughLS and cmo·
tions -thc cocky stnnce he
assumes bnbncing on his scis,
sors, or the way hjs face foils and
his shoulder sag when he rduc•
tnntly leaves to foee the ginnt.
Bill Tytln's animation of Willie
the Gi:1n1. conveys the ponder-
ous weight of n grcnt lumbc,ing
oaf: When Willie sets bis foot
dowo, the ~udicncc cnn feel his
ponderous bulk settlini into
pince.
-Clwrlcs Solomon
R,,,'l' /.1111< 7 ·"'"'

rMlCKEY MO USE 7
kkey Mouse is more thnn just
the corporate symbol for the
Wnlr Disney Company. I !is
n nme hns become a household
word nnd his imngc is nn
intcrnntionaUy rccogn izcd
icon of good will.
Wnlt Disney crcnrcd Mickey on n foblcd r928 trnin ride
back to California ~ftcr n disastrous meeting in New York.

''I killed seven,,, Control of h.is rhcn•ct111'cnr crcntion, Oswnld chc Lucky
Rnbbi1. nnd his entire nnimntiun s1..1lT wns being t11ken over by

with one blow.

his producer ond disaibmor. Wair needed n new chnmcter--
fosL. He decided on n mouse. Mrs. Disney cnme up with chc
name, and Ub lwcrks worked up t.he design. After unsuccess·
fully aying co sell Mickey in rwo completed carroons (Plan,
Crazy nnd Ga/lapin ' Gaucho). Wnlt decided co mnke one for
theaters that were wiring up for sound. Siwmbo,11 Willie puc
Disney nnd Mickey on the mop--11nd Wair never forgot it.
Some cho111"eJ'S ,:.~ist for n whUc nnd fodc from view.
This ensUy could have happened co Mickey throughout his
long cnrcer, especially as cha111cters like Donald Duck,
Goofy. the Seven Dwarfs, and mnny others in the Di$ncy
stable bccn1nc mo1·c populnr. But Walt nlwnys kept Mickey
nlwe, fresh, and in from of the audience.
Mickey srnn·ed in short subjects though 1952. One
Mickey Mouse sbort won nn Oscar (Lend a Paw. l 942) and
many were nominated. Occosionolly, Disney would cnst
him in specinl cartoons---ns the Sorcerer's
Apprentice in Famasitl (-1 940) and as Jack of the
Bennsrnlk in Mick9' and rh, Bwnstalk ( 1947). When
Wnlt entered television, "171c Mickey Mouse Club"
was created to reintroduce his srnr to n new genemrion of

r22
nscd on d,c Grimms' rnle "The Gallant Tailor,'' 8rlf'lle Uttlc /uilor was Dis n ey's hr.;t attempt LO cnst Mickey as n charnclcr in n dnssic
story. As always, Dis ney was thinking about the floturc, nnd the s uccess of thi5 cartoon paved the way for ·n,, Sorcmr's Apprentice,
Mick9' and t/1c Bwnswlk, md Mickey's Chrisr,1ws Carol.

Clock
Cleaners
W,11I' nJSNl·Y. 1917
Olrcctcd hr Den Sliuruccn
Anm\,H1111, Chuc!.. Co11d1 ~ill Rohen•
Al l:-ug•1tr, \Vnlrg.ing ltc,lthie, 111~11,
I I tndiy OrT rtm11udan
( ,1,uuu Ken ()'Connm
ickey. Donald. and Cool)' arc
cleaning a giant clock atop a
skysc r:iper. Mickey mops
the numbers by riding the
second hand. Inside the
clockworks, Goofy brushes
the teeth ofgears while
Donald hccomcs a prisoner
of the mainspiing. A stork is
sleeping on one of the gears.
Mickey tries lo rorcc it away.
hut the stork turns the
tables, and soon Mickey is
hanging out the window by
a rope.
Donald uics pounding
the mainspring hack into
place hut ends up oghting
with the spring's encl coil.
ll1e duck has a verhal
battle 1-1~th the stuhhorn
sp,ing, which pushes
him onto a halance
wheel, 111;1king his
head, legs, and hat do
a tick-tock wiggle.
1 24
Goofy goes to work on the
brgc chime on the ledge out·
side. Singing mvay, he dusts
the bell from the inside,
unable to sec the mechanical
Father l i me 11gurc who raps
cmcc, sounding the hour and
gi1~ng Goofy a headache.
Goofy continues dusting
inside I he hell, and then a
mechanical L:idy Uhcrcy
rings. adding to his conlu,
sion. I le spots her ahout to
ring ag,1in. hue gets hc,incd
on the head with her torch.
Da::ed. he walks :iroLJnd the
clock tower, unaware he is
incht:s from dropping LO his
doom.
Goo~, l:1lls Ii-om the led~e
and lands on :i rope which is
about to give out. Mickey
spots his pal and sends a
scaffold rr:ipe=c to his rescue.
Still dazed, Goofy conrinucs
111:ilki11g unconsciously onto
~ ladder which Mickey gets
under his feet. Goofy folls
through a hrokcn rung,
bounces on a Oagpolc, :md is
scm straight to Mickey.
Mickey and Gooly ny
through the clock's innards,
bouncing off Donald's just-
repaired mainspring. -Irie
trio land in the babncc
wheel, their heads and back-
sides 11ri~ ling in time to the
clock's ticking beat.

lock Clcanm crosscuts
C berwcen three clutty
Mr. fix-its at their
three different poses, chronicling
the scpnr:llc snits that cacb man•
ages co work hi,nsclfioco. What
better way co srress the flesh•
nod•blood pu·sonolitics of
Disney's by•now well-rounded
nnd identifiable charncm:s-
Mickcy, Goofy, nnd Donald
Duck--thnn to have the star trio
cope with the impenincnt
impersonality of a big machine?
Mickey dutifully polishes the
clock's colos~al digits, and Goofy
confronrs the mechanical stat·
uems that come cliekccy•clnck•
ing out 10 coll 1hc hour, while
the big mai1lspring gil'cs DonnId
Duck nn argument-getting
itself uncoiled, rearing up cobl'n·
like and insolently miking
bnck- boingingly mimicking
Donald's squawk in a
s martly animated scene by New
Yorker Al Eugster.
future Disney director
Woolie Rcithennnn impressively
n,nimntcd Goofy's m 1porous
tightrope walk at the climax of
Clock Cleaners,
credibly
adapting
bnsic physi•
cnl principlcs like
2:/
weight nnd gravity, inertia, ,,nd
momentum. 11,c sequence,
st11gcd over srunningly executed,
perspective bnckF,round nrt,
evokes past silent Hnrold Lloyd
m:islcrworks like Safety Lew and
ren1inds us chat when live•action
comediC$ o( che dccnde hnd
rcsortcd to the non·stop talk of
screwball force, Disney's car-
toons were there lo pick up ~he
slopstick slnck.
-Greg Ford
 - j,
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126

T
he p~rt I remember
best nbouc Norrhtum
Hounded Police is the
wolf's screaming. Tex would use
it ofren, but cnch time it got
more c:.~rcme, to chc point
where it becnme completely
nbstrnct nnd ultimately a new nrt
fonn. TI,is, I think, is essential
to grcnc humor. You take a
truch-fcnr, which mnnifescs
itself in a scr cnm----and cxnggcr·
ate it. And t hnt mnkes truth
fresh, difTcrcn1., and surprising.
And thnt mnkcs people laugh.
And Tex wns rhc master nt it.
- Bill P/ympron
ike :ti! the arts, cartoons
come in genres, and the
genre here is wild, eyc•pop•
ping double cakes. That
genre's maestro was Tex
Avery, and this is his mag·
num opus. At Alb -Fizz
Prison, the Wolf. a prisoner,
draws a door in his cell,
opens it, and cffcccs his
escape. He then heads north
into "Mounty County.''
Ac police hcadguarrcrs,
Lhe top sergeant assigns Sgt.
McPoodlc (Droopy) to
bring in the convict. The
Wolf soon finds himself
warned by a se1ics of road
signs: "Don't Look Now;
Use Your Noodle; You're
Being Followed; By Sgc.
McPoodlc." He rnns at
super speed to a cabin in the
mountains. slams a dozen
doors shut behind him, and
swallows the key- only to
be shocked to find
McPoodle in the easy chair,
reading the Sunday funnies.
Everywhere the Wolf
runs or hides he finds
McPoodle: in an eagle's egg;
swimming underwater;
inside a snowball; driving a
cab, co·piJoting an airplane;
on the screen of a movie the•
:mr; in a lion's stomach.
The Wolr goes to pbstic
surgeon Dr. Pucty Puss to
12.7
get a new focc and ends up
with McPoodlc's. (The doc· Northwest
Lor, too, cums out to be
Mc Poodle.)
finally cnptured, the
Hounded
Wolf wonders "if there
could hn ve been more than Police
one of those linlc guys." A
chorus of hundreds of
Droopys responds, "\1/hat
do you think. brother?"
Avcty made Droopy's
first cartoon, Dumh·
Hounded, in 1943; by the
time he made Nortlnvcst
I lounded Police. he had hit
his stride at MGM. North•
wcsr I lounded Poli" rakes its
premise from Dumb•
I fot1nded, bur the pace is
foster and the "takes'' arc
wilder. The humor is based
on funny dm1~.ng-the
loony, exag...gcr:itcd rakes that
have become 'Tex Avery CIU-P IT S
diches" in modern anima· An MGM C 111101m
tfon. But in 1946, Avery's f)lrcc1cd hr "I (l( AVC:l')
brand of visual humor wns
new and original and 9uite 510,r lltcl Allen
"cye•popping" to audiences. Anhn.ului;: W1h Clintori Ed IJo>\'t,
Rav Ahnm•, Pre.i on 81.ur
Muit,c: Stull Bndlcy
\/orrl,u 01 I lounJ,J ro/1,(

rDROOPY 7
ex Avery developed DaiTy Duck nnd Bugs Bunny while nc Wnmcr Bros., hul during his MGM yenos his pen·
chnnt for funny gngs rnd outra!!.eous situations outweighed his desire ro crc~te enduring chnracten-. Droopy
was his most successful nu cmpt. Droopy's personality and voice were based on W,111:icc Wimple, n character
portr~yed by l3ill T hompson on the r,1dio show "Fihber McGee ,111d Molly," nnd /\very hired Thompson LO

voice his stonc•f,1ced bnsse1 hound. Droopy debmed in Dumb•f-/ounclcd ( 194~) and went on to lcodin!'!, roles in
more thnn rwcnry•flve rhencricnl cartoons, but 1he chnn1crer never achieved srn,·dom durinj!; /\vcry's lifetime.
Television showings of Drnopy cartoons :ind his nppenmnce in \V/,o hamcd Roger Ral1bi1? nnd l:1tcr Roger R.1bbit shorts have i;ivcn
! Lim a newfound cd eb,;1y.
.JJ

12.8
 Nortbwm I /01111J1J Pol,«

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DEAD OR--
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rMGM ANI MATI ON 7

L I n Lhc 1940s, under producer Fred Q\,imby's leadership, n group of tnlcnted dittct01-s. including T ex
Avery, George Gordon, RobcnAllcn, and the team of l-lnnnn and Barbera, wrncd ou~ n solid supply
of quality cartoons. ~

rcsh and runny stylized
F graphics 1hnt depart
from Disney's usual nut·
uralistk designs offer nn i11·evcr•
cm " history or music" from CJl'C
to concc.n hall. Ward Kimball,
one or Disney's legendo1y Nine
Old Men and a past master or
rull "pcr8onnlity animation'' (in
Pinocc/,/o, Dumbo, Ft1nr11si<1, ete.), ly j umped off the screen.
championed rhe use of minimal
nnimution used c.xtct'l3ivcly in
WWII propagnndn fil ms by
I lollywood Animnrion studios,
i11d11dl11g Disney.
- )aim Cancmuktr
lo~t. Whistle.
p1unk Boom
y 195 3. Disney was facing
compc1 itior, from Uf'A. the
c3rtoon swdio i"OLindcd in
1 943 by former Disney ani·
mators. The liberated gmph·
ic style and whimsical,
sophisticated themes of
UPA's cartoons were attract•
ing attention and winning
Oscars with st:yli::cd 11lms
like Gmild McBoing Roin~.
Disney fought back by
changil1g the movie screen.
First came ~-n. In May
195 5 Disney released the
first Adventures in Music
shoit, Melody, in which
Professor Owl and his stu·
dents recite scories to music,
which arc visuali::cd in hold,
modern-art styles Ll1a1 li1cn1l·
3-D was only :1 p:1ssing
fad, however, and Disney
next turned to CincmaScopc,
a process Lhat projccls ,1 pic•
llln: over :1 wider area than
the normal motion·pic[Urc
screen. Six months alter
Melody, Disney released Lhc Toot,
first CincmaScopc c:inoon,
Toot. \t\/liisck, rlunk ,md Boom,
which has highly sty li:;::cd
Whistle,
graphics that dcpm from
Disney's usual naturalistic
Plunk
designs.
ll1c cartoon presents
and
11rofcssor Owl teaching, his
leathered students Lhc histo·
Boom
ry or musicnl instruments,
demonstrating how each
began wiLh a toor. whistle,
plunk or boom. The musi-
cal lcctut·c shows how each
WALT DISNEY. •'IH
of these sounds hcgan wirh
1hc cavemen md evolved
intu today's insn·umcms: A
caveman's whisding. through
J hbdc of grass eventually
bcc:1mc thi: modern jx::z sax·
ophone; tooting th,·uugh m
:inimal's horn led to today's
brass insm1mcncs: plunking
rhythmically on a primitive CRl•D 11S
how was the basis for
today's string instrumcnrs:
and booming on his big
belly was the earliest fmm of S101'} 011J, I h1cmcr
percussion sound. Anlm.,th.111 \V,ml t,,;.lmk.1ll Juliu.1 Suindn.n
The can:oon made a big Mun O.uu, l lc.ruy·I 1m uu,.At1 S1c,'tll~.
impression on moviegoers Xa\ 1c1· Alcncn,
and critics alike. and Disney
tuppcd U11A when the car·
coon won 1hc 195 ~ Academy 1\1 1 d1t~,.,i11n A J,,.,end1II O'Connor
Award for BcstAnim:1tcd
Short, the sLUdio's eleventh
Oscar for a shon can.om,. Scwg, Sonn, llu1kt", Clmlu 1'1111111
 29
,

1 31
132
here an: lettered signs in the
woods: "Ifyou're looking for
fun ; You don't need a reason;
All you need is a gun: Ir's
r:ibbit season." Those four
signs kad to hundreds of
others announcing "rabbit
season" and pointing to the
home of the rabbit Bugs. It
is the duck Daffy who's nail,
ing up the signs. "Awfully
unsporting of me, I know,"
he confides, "bur, hey, I've
got to have some fun. And
hesidcs. it's rdly duck sea·
son."
The congenial hunter
Elmer Fudd is soon bbsting
away down Bugs's hole, and
when Bugs himself appears,
the tiny cast- duck, rabbit,
hunter-engage in a sciies
of verbal duels. The invari•
able question is who'Uget
shot by rhc overeager Elmer.
and the inevitable answer is
1 33
Daffy. It's rabbit season, and
Rugs is indeed :i rabbit, but
Elmer is impatient, Daffy is
Rabbit
excitahle. and Bugs has a
way with words. So Daffy
Seasoning
gees blasted r1vice.
Then Elmer's basic urges
WARNER BROS, ,9,2
rake over. "I'm sony, lclbs,"
he says, "but I can'c wait any
longer." He shoots at both
of them. They hide in Bug.s's
hole. hut Rugs dec ides co
resolve the issue solo.
Dressed in a Lana Turner
sweater, high-heeled pumps,
and wig, he easily wins
Elmer's love, much to the C R[DI TS
duck's disgust. Daffy tears
off Bugs's v.rig, c"-posing the
rabbit. "Now's your chance,
I lnwkcyc," o~Oy d is to ,\nim.itlon. Btn \Muh11m,
Elmer. "Shoor him! Shoot
him!'' But DaHy gets the J..1,yuui. M1uMcc Nnhl~
fln3 I blast from Elmer's gun.
Vu,cca Mel Blanc
Mu, iul direction Cirl W . Sullln~
r PRONO UN TROUBLE
7
RuGS: It's rruc, Do,, r m a ,,,bl,ir ul,/g/,r. Wo11ldyo11 lrkc to shoo,"" nou. o"v"ir rr'llyou I!" home?
P 111 \ : Slrnor him no'll I Shoo( /um now!
BUGS: Yo11 k«p 0111111 1h11. lie doc1n 'r hll'l'C 10 ,hoo1 ,•01, 11our.
D111JY: lie dots so l11rvr ro shoo1 me nou [fo El,ncr} I dcn1<1nJ that vou sl,001 me now. llANG 1
DAii l': tcr '; rtin tlirougl, th11t a~11in
Bucs: Oh\Y· \-\/011/dy ,ou Uk, lo sl,oor me n<nu or u ort 1ill ~•11 ~" home?
I) •\/ I\ ; Sl,oot lu'm not1-. Sl,oor /inn note.•.
Bue.I: You k«p 011tr<1 tl,is. lie do<1n 't hoic IO ,hoot you now.
DAIi \ : 1/11! Th,rr ·., Ir! I/old Ir rifl,IH rl,m. ffn 1h, uudiena} Pronoun trouble. {fo Ruis} II 's not "be docsn '1 h1111c to shoot _1•011 nott .. It's "Ire docsn '1 hJ1,c 10

L , hoor 111, now." Well. I ••)' h, Jo,s 1,ow to sl,oot me n<no/ fro Elmer] So shoot "" "°'''' BANG!
.,J
~ -

r RABBIT SEASONING 7
n om stuff-even the talkiest things, like the Bugs Rl1nny-Onny Duck swlT-e11en if you wmed the sound off, i1 wos inter·
csring, nnd you could rruly cell whn1 wns happening. I never recorded a mm until I'd completely laid it out. I'd jusl make the
drawings., and then I'd time it. but I always wro1c the dinloguc ,;ghr on chc drnll'ings- 1didn't write ic ns n script. I worked
ouc che whole rhing visunlly. nnd then when I'd finished, l'd go back nnd I'd type the dialogue oW the drnwi11gs, so it nlwnys
related to the drawings. Rec.,usc if the w,-i1e,- wro1c chc dinloguc and chen you 1·eco1·ded it nnd then you tried co make the
drnwings fir rhe dialogue, it wns bound to suO'er.

L
134
 abbit ScaJoning is the
second in n series of
three cartoons in
which Bugs nnd Daffy, the
intended victims of Elmer Fudd's
hunting ambitions, srnll him
with nn extended Rlihusccring
debate over which one of them is
in scnson nt the moment, and
nummox him into doing nothing
but shooting Dnffy point·blnnk
in the head from time to time--
nnd, from rhe evidence, doing no
more dnmngc to the duck thnn
humiliating him by positioning
his beak on the wrong side of his
head. Noble's aurnmnal colors
arc virf\,aUy all that disting1Lish
chis from Rabbit Fire, the first in
the series: the sotnc bnsic siwn•
cion is !!Xplored, some of the
same gng.• rc.1ppcnr, nnd lird c
cronspi1·cs to indicate n twist or
development on the concept of
the previous cartoon. In foct,
there's no devclnpmcnc whacso,
ever-just the nck:nowlcdgrnent
by Jones nnd Maltese chnc chis is
too good to drop after seven
minutes, che,•e's more fun we
cnn hnvc with chis. (Duck!
Robbii, Duck! is the title of the
third cnrcoon, wich little to dis-
tinguis h t.l1nt one from the other
two, except rhnc it tnkcs pince in
n foot of snow.) All three pie•
rurcs arc nppnrcnt.ly inspired by a
single gag li:om Art Davis's
Wbat Makes Daffy Duck?, in
which OaA'y gets both Elmc.r und
n hungiy fox ofThis trnil by
dressing ns a ~ me warden nnd
posting n pair of noticcs- "Ouck
Season Over'' nnd "Fo.- Seuson
Opens."
This is the mosc fomou&
authentic trilogy in the bist01y
of Ame,icnn ~rudio nnimncion,
and, assembled together, would
constirure rhe only Bugs Bunny
1 35
rwo•rctl comedy (an nnomnly on
the order of the two matching
L1u1·cl nnd Hardy comedies,
Tbc111 TIJar Hills and Tit For Tat,
which were sometimes run
together as • fc.1rurc11e).
11,c dialogue in these cm•
coons, savored by connoisseurs
for ycat'S, was nn clement sin!?,led
out for prnisc by BoYnffect •~
soon as the first of the trilocy
appeared. Since Carl Srnlling
wrote the scores, there arc now
publi~hcd pieces of music end•
t.lcd " Rnbbit Sc:JSon," "Duck
Season," "Elmer Sen.son," and
"Pronoun Trouble."
The levels of irony, role·
playing, role•rcvcrsal, :ind slap•
stick rim rebound, high]jgbr,
ovcrlnp, intensify, nnd ricochet
off ench other in nil three of
these cartoons hnve been the
st,bject of endless nnalysis.
W hen Bugs bulldozes Elmer in
Rabbit Seasoning wirh n fe,nnlc
disgu isc distinguished by noth•
ing so much as its obviousness,
DnlTy cm take it no longer. He
rums ro rhc camcrn ns if m dcliv·
er a dcnchless line, bur cnn sum•
mon up nothing more than a
d uck of his cfrcd tongue, ,vhich
cmc,·ges. in rhc 50s understa1ed
comedy style of Jack Benny or
George Gobel, as n sputter of dis•
gust. It is o ne of the most finely
shaded hies of acting ever to
nppe,1r in :1 one•red carrooo.
W ith animators like Ken
Harris, Ben Wnshnm, nnd Lloyd
Vaughnn alrc.ady on bonrd, the
J ones crew wns nbour chc only
group in the shrinking s hort·
subject business cnpnble of rum-
ing out the flnc rc:ilizntion of the
clever conccp1 inherent ln o pie•
turc like Rabbit Seasoning.
- Joe /\dam.son
 ts mle is a takeolT on the
19 H costume dramn 771,
Scc1r/cr Pi111pcmd: It has been
called an ani1mtcd trihlllc to
Michael Cuni::, the famous
dir.:ccor of n series of swash•
hucklcrs stmin).l_ E1rnl
Flynn, .md its cnst of thou•
smds includes n host of
fomilinr Warner Bros. chnr·
acters. It's nn epic and it
stm; DnfTy Duck.
The -11,c can:oor, hcgins wirh
Dairy pleading ~,~th"). L."
(lack L. W.1mer), "You're
Scarlet killing me 1 I'm tdlingyou,
J L., you're rypccasring me
Pumpernickel to death. Comedy. :ilways
comedy." DaO) wanrs 10
prove himself inn scnous
role and has jusr che scory,
written hy DnO>, Dumas
Duck. -n,c hero is rhc
Scarlet Pumpernickel (f)afTy,
of course. in an Errol Flynn
role), n dashin).l_ masked
highwayman; his bd) love,
Milady Melissa; his enemy,
the Lord I ligh Ch.,mbcrbin
(Porky l1i1; as Claude Rains).
11,c Chambcrbin sets n trnp
for "that masked stin ker" by
nr,nouncing the hetrothnl of
Mdissn to the G1·nnd Duke
(Sylvester as Basil lhhhone).
Cleverly disgLrised, the
Pumpernickel stops m "King
I ostril's Inn" (run by Elmer
f udd) bclorc cmshing the
wedding md 1·cscL1in)l,
Melissa. Back at the inn, he
is sponcd hy the Duke. and
the cl.iring escnradc climaxes
in ,1 sword fighl that as the
studio boss pie.ids lor the lln•
ish is only rhc first of a
series of dramattc climaxes
(includin~ $kyrocketin!l,
p1ices of kosher food).
"71,crc were a lot of in-
house jokes in that cartoon,
mosd)' in c:isting," s;1,d
Chuck Jones. "We pur in
the Mocher Rear from lhc
early Three Bears c:irtoons,
and 'I lmcrr' I l.1wk
appeared as a messenger. Ir
was ::in epic, $0 all my char-
acters had to be in it.
Everybody appreciated it
exceptJack Warner, and I
don't rhink he cvu rdi=cd
we were talkmg; about him
in the .:.moon."
hile rodny the
iden of "genre
pnrudy" rJnks
high as n fonnnt of choice nmong
cnrroon story ixople, rhe gen,·c
porody ofTl,c Scarlet Pumper·
11ickd \VOS unusunl ro,· 1950,
something of nn nnomnly in its
cime. Still,Joncs's churoccer
pose~ have never been sh,1rpcr,
and Michael Mnlresc's dinlogue
ond Mel Blanc's line·rc,,ding
never more excrnor·dinory.
M.,ltcsc's keen car for man
gled gl"nndiloqucncc never lets
down, nor docs the writer's very
knowinj?;, ocute sensitivity to the
despcr.llc hyperbole of a frnzzlcd,
framic pitchman (e.g. Do/Ty
Duck) a~ he piled on one voiced•
over, cooked-up crescendo ofter
another (dams bursting. vol•
conos erupting, and cavalries
chnrging----so much Sllllm nnd
drnng) thnt nil boils do" 11 to the
inspired bnthos of overpriced
kreplnch.
Genre parody notwid,stnnd·
ing, whnt's funniest nbout Tlic
Sce1rlc1 Pwnpcrnickrl is precisely
DofTy's chnractcr 1111d the vasl
c:hnsm that c.~ist:JI between
Dnffy's inflated perception of
himself and hiP,hly nawed "little
black duck" thnt he really is
-Greg ford
 31

CR[nlTS

,o\l-"Mtl tu11,.1(11,iN11

f)m:c:icd hy Chnlu \i l1111u

Swr,· Ml.. h.u:1 M~luw

AnlmJ1i<1n Phll \fonrot

Ticn \V.,h..m Uovd Vau-.hm

L..iyb\1111 Roh,n Gi1hhrotk

R11cl1,rt.1111l~t Peter t\h111•du

Ve1,.u \.ltl nlimc

Mu.lul dirt llon C11I \\ St,llln11t

1 37

bsolutely everything
A in this classic mlc of
revenge works. Evc:ry
sort of cwu ted irony and bit of
slapstick humor one cnn th ink of Mr.Johnson ends up as vie•
is incorpornced into chc gngs.
The music and color styling nrc
perfect. T he ciming is so good
that you nrc completely in sync
with the enc as he shreds the
sofo piece by piece. And the t-ail• dynamhc and lights the fuse.
road scene is a classic. ·n,c Car
Came Hack srnnds up to repeated
viewings; llrst you need to sec it
n few Limes to catch all the gngs.
Then you wnm to sec it n few
more times because it's so
funny. After thnc you keep
watching it, just because.
- L.inda Simtnsky
n his house on a hill, Mr.
J ohnson is interrupted from
his tt1ba practice by a knock
at the door. md finds a kit-
ten left in a baby basket on
his front seep.Johnson
brings it inside and enter·
tains it with his cii hty•ycar•
old baby rattle- which the
kiucn promptly destroys.
Johnson puts the c:ic outside
md retrieves his '\vclcome"
mat- but in :t hibrious
so-cak of bad luck, the cat
comes back again and
ngain- andJohnson can\
get rid of it no matter what
he docs. The cat survives
Mr.Johnson's attempts to
drown him, drop him from a
hot air balloon, and tic him
to a tr;1in trn:k.
In tTue cmtoon trodiLion,
cim each time, and the cat
returns tO the house to
resume his dcso1.1ction of it.
Finally, the cra=c:d Mr.
Johnson fills bis house with
The explosion kills him, hue
32
his spirir returns to the
house to haunt and taunt
the cat. Unfortunately,
The Cat
Johnson's lifeless hody
crashes back co canh-
Came
crushing chc kitten and ere·
ating nine ghosdy cats who Back
chase the teriifiedJohnson
into the afrcrlili:.
NATIONAi. I-ILM BOA RD OF
\Vhcn Winnipeg ani-
CANADA, 1988
mator Cordell Rarkcr
approached the National
Film Board of Canada with
an idea for a film about an
old man and a car (which he
considered to be a pcrfcct
connict) , the NFBC asked
him to modify his pbn and
work with them on animat-
ing the century-old folk song
"ll,e Car Came Back."
Barker spent an asrronomi•
cal amount of time on the
C~fO I TS
Olr(c1ed by Cordtll 81rkcr
l1lm. working eight hours a E.ucmi"c rroduur Cho Yetman
day, plus weekends and l"r(xhu;c11 Rich11rd Condie, Carddl Rarlu
evenings for more than three
years. TIJ, Cat Came Back Cordell Rnli:tr
premiered at the 8th World Mut.ic unn ~t"1tllll, John McCulloch
Festival offilms in Z1grcb,
where it won three presti• Condie, Cordcll lh,-kcr
gious awards. Char.H:ln mice· Rlch rJ Condie
 he story has hccomc a p:itt
of American folklore: Pbnct
Krypton. the "man of steel"
who moves fosre1· than :t
spccdini!, bullet, Cbrk Kent,
Lois Lane. and the Dai[y
Pl,11m. ln the cartoon, Super·
m:in's birth :ind anival on
Earth .ire recounted in n
series of srill paintings. fol ,
lowed hy :1 thrilling ne11
episode, complete 1\~th :1
mad scientist Ll1reatcning
total destruction hy a deadly
ray. a hclpl css Lois tied to a
chair, nnd mild-mannered
Superman Kem stepping into J handy
closet to emerge in mask ::tnd
cape. Will the city be s,ived?
Will Superman resc ue Lois?
r>AMMOUNT, 1941
In 1940 Par:imount
secured the screen rights
to St1perman- 1.hc cr:i's
most popubr hero- and
approached the Fleischer
studio ahout producing
Superman .::irtoons. The
Flcischers were hesitant:
Animation had never been
C f\ I· 111 T 5 used for rcaliscic advcnwre
stories, and their staff was
01m,1<d by Oa, c flciachu
used co rhe ex:iAAcratcd pro·
portions of Popeye mid Betty
Boop. Paramount allotted
almost $100,000 for the firsr
lllm- four times the hudget
of nn average Popeye
short- n11d work bc)l;an in
the 11~ntcr of 19+0 JC chc
Flcischc1·s' Minmi studio.
Great care was given ro :ill
phases or prnduction, and
the ch:ir:icters and story
were modckd ,iii.er Sic11,d
and Shustcr's design.
Flcischcl's' arrisrg had pn:vi-
ously based their chm·acters rSUPER BIRTH 7
on simple cir.:ular dcsi~s,
hut for the Supenmn car·
upcrmon was
created by
toons the)' strove for ,1 renlis· Ltcnagcrs Jcrry
uc "ptrlp m:11?,arinc" look Siegel nndJoc Shus ter,
and devised many animation nnd first appenrcd in
effects techniques that later hinc t938 on the cover
became induscry standnrds. of Action Cami,$, S11per•
Rud Collyer, Supetm:in's mnn became n scnsn·
rndio voice. w:is the voice for Lion, spawning n rndio
this first cartoon, wh ich w:is sho"' nnd newspaper
nominated for nn Oscar, comic srrip. I le r.rsl
ll1c Supcm1,m sc1ics con• nppcnrcd in live action
tim1cd ~\~th sixteen more in 1948. George Reeves
adventures which srnnd out plnycd Supcrmnn in a
as unique for their period. 1950s TV series, nnd
Christopher Reeve por•
traycd him in big•bud•
get films in the t98os.
11,c comic book chnrnc·
rcr was "ufficiaUy killed"
in t992. Dean Coin
porcroys him in n
Lnincties TV version. J
33
.Sli/Urtrlilll

r 11-llS MUST BE A JOB FOR SUPERMAN 7

any of the now•fomous phrnses nssodaced with Supcmian- "Look
up in Lhe sky-it's n bird ... no, it's a plane , , . no, it's Supenmnl"
nnd "faster tbnn n speeding bulld'- wc,:e first brought 10 the screen
by che Flcischcrs. Other thnn those legendary dichcs, dialogue wns
kept to a minimum, With less than ten minutes of screen titne, each
of tbe cartoons in the Pnrnmounc Supcrmnn series pncks n fc~turc
film's worth of a action and fantastic ideas. 11,c Bullctcers, t he Mcd1nnicnl Monsters, the
Magnetic T elcscopc. and the Arctic Ginnt arc just some of the fanrnstic perils the Fleischer sludio
produced In 1hc Grst sel'ics of nine cartoons. The remaining eight, produced by famous Studios.
L re0ected more renliscic World War 11 themes, such ns in Secret Agcnc and Eleventh Hour, .Jj

142

~UPERMAN
Cl"Lil~, ..· "
J UN~
U \I .. IOi
1t •t
rom the very beginning
F offitlm, efforts were
made to tmnslate
comic•srrip c hnmcrers ro the s il·
vcr screen. More often rhnn 110c,
suc h efforts failed because th e
cwo•dimensional world of comic
art. allows for things not possible
in the three-dimensional world
of renlity. When nnimation
came along. it proved to be a
middle ground between the
comics nnd fllm and mndc for
c11Sier ndnpmtion.
The one ndnpcntion thnc
remained closest to the otiginnl
wns rhe series of Supermnn films
rclenscd by Fleischer studios
from 194r 10 1943. By paying
rANlMATING SUPERMAN 7
W When first nsked by Paramount ru produce
Superman cartoons, Dave Fleischer wonicd
nbout the cosr of onimnring renlistic humnn
action, and in order to dissuade Pnrnmount without s ummarily
rejecting the project, he requested a budget of almost
$Too,ooo - almost four times the going mtc. Bue Pnrnmount
npprovcd the budget, ond the Flcischers used the opportunity to
rum out some of che best nnimnrinn ever dmwn. Model s h eets
were devised by using square shapes and cubes as che bns is for
the figure drawings. The blocks aided the at1:isrs in achieving
the proper perspective for their rcnlistic nnimn(inn. The
Fleischers were striving for realism and to that effect employed
M:i., s original invcndon, the roroscope, for the simplest scenes,
while relying on their best draftsmen to animate more sophisci,
L1ccd movements.
more attention to design and
color than to nchieving the effect
of dimensionality, nnd hy crnft•
ing rightly-knit plots thnc could
be resolved sntisfocrorily in min·
utcs, cnch film came close to
reproducing the cxpelicnce of
reading n comic-hook story. The
An Deco settings, the Rat chnr-
nctcr des igns, and the use of col•
ors to create mood comb1ne IO
elevate the films ton le,•el of pure
artistry seldom found in anima·
rion outside Fantasia of the year
before. Nothing else d1e
flciscb.crs did quite mntchcd 1·hc
Supe1man cnrtooru for power,
charm, and enduring pleasure.
- 71,omas lngt
 ..YOU OUGHT
TO BE IN
1
PICTUREs··
• -~Wl•• l._
JJ,t Svm-.,,,.
IJRHE~V

144
 he Warner Bros. cartoon
scaffhad access to a 35mm
movie camera- they used it
LO shom live action for refer-
ence and to make a gag rilm
every Christmas. Fri;;;
Frclcng decided to use the
camera, staff, and studio lot
to make his r.rst Porky Pig
cartoon since the pig's 1935
debut in I 1-Jm,cn't Got '1 Hett.
The rcs~1lt-;i combination
orlivc action and anima·
cartoon snidio, pictures of
Daffy Duck and Porky Pig
come alive. Dafly convinces
Porky to quit canoons and
go into fcature films. In pm·
duccr Leon Schlesinger's
office Porky asks to have his
contr:ict cnncdcd, and
Schlcsinf!,er gives in, awaro:
that the pig will soon be
back. Porkv dtivcs to the fca,
cure lot (Dall),, Porky, ,md
Porky's car arc the only ani,
set but is thrown out by a
stage hand. A stampede on
the set of a western con,
vinces Porky to get his old
job back Meanwhile, Dall)'
is performing for
Schlcsin~er he wants
Porky's joh. Porky gives
DafTy a dl'Uhbing and goes
back to work- Schlesinger
has not tom up his com:racc.
Bandaged DarTy asks ror a
job "opposite Grm Garho"

You rion- is a unique cartoon

and one or the most populnr
creations orthe Tcnnicc
Ought Terrace.
During lunchtime at the
mated parts of the film), but
is thrown out by a guard
nnd gets hit \\~th a tomato.
In addition LO Schlesinger
(played by Michael Maltese). and Maltese, nnimntor Gcny
Disguised as Oliver I lardy,
Porky sneaks onto a stage
Chini9uy and ochers appear
in small pans (exccpr ror

to Be in Schlesinger's, :ill their voices

were done by Mel Riane),
:ind the r.lm uses stock
Pictures footage lrom Warner Rros.
films (JlJe Gmrl Zicgficld and
C.1/ifornicr Mai0 and sho1.s
WARNFR RROS., '9•1Q from Christmas gag nlms.
This Glm has been credit•
ed with inspiiing Steven
Spielberg's \M.10 I-mined
Roger Rabbit?
CRfn l TS

OuglH to Be in Picwm is n wonderful. novel film experience in which Porky, DalTy, and a cor

¥
0 11

l)ircc 1cd liy I I n:lcng arc onimnted, nnd the rest of lhc visunls nre either livc•nccion imngcs or scill phocogrnphs. Far
S1ory liack Mlllu more nmbitious chnn enrlicr works rhnc combine live nction and nnimation , the images used lokc
Amm111iun: f",.orm111 Cohen us on n bchind•t hc-sccnes tour ofborh Wnmcr Bros. •nd Leon Schlesinger studios, providing special
nppcnl to anyone fnscinntcd with the mngic of Hollywood; il includes Michael Maltese ns a st udio gunrd,
nnd n hnnds hnke berwcen DnlTy Duck nnd l, w 11 Schlesinger. TI~csc crcncs mah 1.hc film fu11, but whnt
mnkcs it grcnt is Porky's acting ability, Friz Frcleng's abaity to direct his s tor, nod Jack Miller's script.
Porky Is Mt ju.sr nnorhcr funny nnimnl, buc n ,·cnl nccor in chis 111m, displaying a wide mnge of emotions in
n convincing man n cr.
- Karl Cohen
Yo u Oui:ln 10 fl, in 1'1rn,rc1

rFRIZ FRELENG 7
sadore ' Friz' Frcleng entered the animation world
when he went co work fo,· Hugh linnnnn 01
K:insns City Film Ad in the 1920s. W , li and Roy
Disney hod already left rhe company co cominue
their Aljce comedies in Hollywood, nnd shortly
called llpon Harmon and his pan:ncr, Rudolf Ising,
to join chem; Frdcng followed in r927.
Freleng worked on Disney's Oswald the R.1bbit series,
and btcr rejoined I lnrmnn•lsing in r930 ns head nn im,1tor
for their new series of Looney Tunes for W orner Bros. nnd
producer Leon Schlesinger. l~rclcng became invnlunble rn
W amer Bros., particularly when Hannon and Ising lcrt the
scudio, rnking their stnr chnrJctcr, Bosko, with chem.
Promoted to direccor in I9H, Freleng concemrnred on
the color Mcn-ic McJodies. becoming n master of riming nnd
musical synchroniz ed animation. He directed Pork)' Pig's
'1 rst cnn:oon, I II IMJln't Got a /lat, 1935, nnd crenced both
Yosemite Sam and Sylvester.
You Oug/,110 8c in Pr'c n,m pnrnllels Friz Frcleng's per·
sonal life. In 1937, MGM lured him away from Warner
Bros. wich a narcering offer. When hill MGM cont1'flc1
expired, he realized that he missed the freedom co del'd op
new chnrocters and rerurned LO Worner Bros.- nnd scr
aboul creating his greatest works. Frclcng was a major force
nc Worner Bros. from ics '1rsc dnys in r930 until ic closed ics
doors in 1 962. He directed dozens of cnn:oons femni ng
Bugs Bunny. Daffy Duck, and Porky Pig, ns well ns che
entire Twccty and Sylvester series, including four Oscar•
winning cnrroons: T,vm it Pit ( t947), Spady Gonzulis
( 1955), Birds Ano'!Ymo11s ( 1957), nnd l(nig/11;)' /(nig/,t,
Bugs (t 958).
After Wnrncr Bros. nnimntion studio d osed, Frclcng
founded his own s rudio (Depatic•Freleng Enterprises), c1·en1·
Ing TY series nnd thcntricnl shorts, commcrcinls, nnd Lhc
Oscar-winning Pink Panther. He rerurned to Warner Bros.
lLn 1980 to direct TY specials and compilntion features. .Jj
mode You Outr,!JI 10 Be in Poctum because I thought it was novel and I had the rrecdom 10 do it, I thml.
Schlesinger Ice me because showing him as che boss ,1ppealcd co his ego.
- fn'zFrdmtr,
 BUG~ Bu
"'
'Ali Bo.
I\

,$

ugs and Da!Ty like Hope ogre of a guard named

and Crosbr or laurel and
Hardy arc a comedy team.
\.Vhcthcr they're rivol quar-
1ics displ1ting who'll get
hhstcd by 1:lmcr Fudd in
such ChuckJoncs cartoons
as Hal,/,ir Fir( and He1/i'1ir
Sc,,sonmg, or show-husincss
rivals in Fri:: Frclcng films
like /\ Swr is Rom:/ and S1,,m
81;:; Bu~s, they create humor
just hy being together. Their
Ali rivalry reaches new heights
in /\Ii 8,,/,a Bunny, in which
Hassahn to deal with. Bugs
docs his best to save his pal's
b d,crs, even pretending to
be a genie in a lamp and pcr-
forminp; rope tricks, hut then
DaITy ''desecrmcs the spirit"
or n bmp, :mgcnng a very
renl genie. The ne.\t scene
finds Rugs on the hcach,
musing abm1t "how that
cr:izy duck ever mndc Ollt
with the genie." One-inch-
tall Dnffy arrears and goes
after a pearl that Rugs linds.

Baba their different cha1·actcrs .ire

Bunny
WARN l·.R RROS, 1957
C RLl'l l lS
\ .\lt,,lt .\1rloJru C1111too"
I 111 ouu: MA111 ice Nohle
brought into hib1im1s sharp
fOCllS hy the glittc1· orgold.
The pair hclicvc they're
0 1, their way to Pismo Beach
("and all the dams we can
cat!"), but a wrong left tum
at Albuquerque lands them
in ancient Baghdad and a
c,wc full of Arahfan tre:isun:.
Bugs maintnins his ageless
cool, hut Dafi)' goes wild.
"It's mind Mine! Mine!" he
exults. 'Tm rich! I'm
wealthy!" But there's a giant
''It"s mine! Mine! Mi11c! I'm
a happ)' miser!''
Chuck )ones had his own
explanation for this cartoon's
popularity: "People love
Daffy in Ali Bc1h11 Bim19
because they rcali=c they're
as ~eedy as he is. I think
DaITy's one of the most
attractive char:ictcrs in all
the lexicon. He simpl)'
cxhihits his ~ced full face,
something we all feel hut
don't want to admit."
n addition co being perhaps
the dconcsl ddinention of
the r95os Daffy Duck per-
sunu, Ali 8q/w Bunny rlnds
Michael Maltese seemingly wrir-
ing for posterity. Never wos the
essence of greedy, self-doubting,
blnck•duckness bctte,· c~-prcsscd:
"Consequences, schmonsc-
qucnccs, ns long os I'm rich;"
'Tm socially secure, I'm socially
$Cturc;" "Red cap, call men cob,
boy, and be quick about ir-rm
a he,wy ripper!" When added w
the slow-brained hacchct·mun
Hassnhn's "Open, scprungcnari•
an .. . uhh, open, saddle soap,"
and the immo,1:nl "Mnssnhn
CHOP!" the result is a film
whose verbal richness forever
gives lie ro Lhc idea thnl cartoons
need be considered kid sn ,IT.
- Slcvc Sdintider
35
(
)
 36 (

n the Warner Rros. world of
cn,my- or :1 1 least zany -
r:ibbits and ducks. dogs don'r
always come off well. Chuck
Jones made no hones about
chis: "I fed a lot dilTcrem
:ibout dog,s than most people
do. I don't feel dogs arc par-
ricul:irly trustworthy. I think
most do!!,S arc profcssion:ils;
they piny the part you ask
them to play." Such senti-
ments only make fod tfac
Kit!:>' more remarkable. A
masterful use of pnntomimc,
posing, :ind focial e~:pressions,
settling down for a nap.
Vanquished hy all this
cuteness, Marc Anthony
decides to adopt the kitten.
He brin)!_s it home, where
the lady of tbe house (seen
only from the waist down)
w:ims him not to "bring one
more thing into chis house."
Marc Anthony's elTorts to
coned the kitten include
pretending it's a wind-up toy
and a powder purr: The lady
decides to make cookies, 1.hc
kimn foils into the flour, and
the bawling and heartbroken
dog w:itches her cut up the
bntter with cookie cumrs.
When the cookies are baked
she offers J,jn, one kitten
shaped! 1n a scene or true
nnimaced pachos, he places
the cooklc on his back.just
where the kirccn once rode.
But th e kitten escaped the
bmcr, and the cartoon ends
happily. "You can keep that
dear li~tlc kit,cn if you want
to,'' says the bdy the or
house- as long ns Marc
An thony agrees co cake care
of his per.

Feed the it's one of the studio's funni-

est cartoons-and also has
heart.
Kitry Confronted by a kitten,
bulldog Marc Anchony
assumes his profcssional
WARNER BROS.. 19s• stance ns a ferocious barking
guard dog. 11,c kitten, how-
ever, knows no fear and
steps through tbc dog's g:ip-
ingjaws co climb up onto
its back, where it purrs :ind
kneads the dog's fur before

CR~D I TS

II .\f,,,,, M,1,J,u '"''''"
Oimttd byChuckJonu
Sw,1 M1,h..1 t,1,1,,.,
1\nimnion: Robert Gribbrock
D"k~oound, PhQ1r IJcG...-d
Film ,dltur- T«~ Drown
Mu,1,,1 dlowlo,, Cul w. SullinA
nc of n group of rrc1ncndously nccomplished cartoons, Feed tl,c /(Jl!Y con tains a hilarious series
of grimaces, pouts, strains, s hudders, swcnLS, smirks, smiles, nn d nngcUc grins. It's n wonderful
illus u·ncion of.J oncs's n ocion that nn animaror i.s "an actor with n pencil," nnd n convincing diB·
pby of,lon es's use of the emotive power of drnwing. Presented with such sc1·cen charisma, it's difficult to
remember t hnt the cncirc spcccnclc reduces to a rippling of graphite on paper.
- s1~• Schmider
JlJat's All,_folks! The Art of Warner Bros. Animation
 hen sound films became
populnr in 1929, Ma~
Fleischer dropped KoKo the
Clo\\'n, stnr L>f his lnkwdl
Imps series, nnd began rro-
ducinp, T.111-.artoons, stamng
a talking dog named Bimbo.
Bimbo never .1chicvcd a
forc&il presence, and his
appcarancc chJngcd from
c:trtoon to cartoon at the
an11nator's wh im, Reny
Roop (.1lso uri!!,inallv a dog.)
was discovered in D1::;:;v
/'),sl,,s. ,1 1930 Bimbo car·
toon, and she cvcntuallv
t0ok over as l lc1schcr's lend
ing playc1·. 81111/,o's /n,ricnion
was one of the dog's bst bd
parts.
It's a strnngc cJrtrnm.
Rimho foil s down a man•
bole- smack into a surreal
or
f111tcmity characters with
melted cJndlcs on their
heads .md 11vo-hy·loL11-s
behind their hacks. '"W,mna
he a mi;mher?''thc\' ask again
for it. Bimbo fina lly meets
Betty Boop, who pe1forms Bimbo's
m, crouc d,mcc and asks
him the usual question. Nm
surprisingly. Bimho finally
Initiation
s~ys yes.
·111e cm'loon has bcc1, the
PAIVIMOUN"I. 1911
subject of much analysis,
partirnlarly for its sexual
ovcn oncs. "Bimbo's refusal
[to hecomc n member} is n
refusal to rccogni=c his
sexual identity" wrote nni,
mntion hiswri:111 Mark
Langer in Film Connnrnt.
"The li-:ncrnity members
tortlm: Bimbo, but he
escapes. Reny Roop calls
'Come in, Big Roy,' and
l~imho responds to thi.:
sexual invitation, folloll'ing
Betty down n long vngin:11
conidor, as hL1gc blades
slash down ... in expression
or his cnstrntion fom-s..,
Vv1mv! [\rhnps that's why
the Fleischcrs never devcl,
oped Rimbo l"urthcr. CR LI} I 'I S

and ag,ain, and c.1ch time

Rimho s.1ys nl> and suffers

i111/,0'$ /nirw1ion is n bad dream." ondc1{ully porLraycd in nn unusunl cnrLOon thnl holds Lhc cnrtoon fonnnl upside down nnd shnke.s it
heartily. Espccinlly well drawn nnd ncnLly pnin1cd for n Fleischer cartoon or this period, /nitiacion might ns wdl be n c:,rnlug of the occull
fo,· nil chc symhology ir employs. In this rare cartoon, mnny of the b.,ckgruund scenes nrc ns nnimnled ns I he cartoon chnrncce1·s. When
Bimbo runs nlong n moving floor or foils down n chute, n blending of layers t,1kcs places that den es the usual L11 o•dimcnsion.11cartoon environ•
menc. (, illcd " ith enough drenm imagc1y to keep nn onalyst working ovcrcimc. / ni1iation captu,·cs 1hc distinct pcrsonnliry of rhe Fleischer style
nnd nlso provides an emotional response rhnt is d,c mark ofgrcur nr~.
- 1.cslic Cabarga
 38 '

!though simply dr:iwn in
hbck nnd white and only
one and Mc-h.1lf minutes
long, this cartoon has Ind
nudicnces laughing for mol'C
than twemy-nvc yc:11·s. -17,e
olm opens on a line drnwing
of :i youn:;i, deer looking for
food. lJlllin!?, an extended
opening credits seq uence,
we are told the film was writ-
ten and choreographed hy
Adriana Casclotti, the voice
of Disney's Snow \.1/hite,
while attending the innov.1-
tive Art Centel' College of
Design in Los Angeles in
1969, studying nlm. \.1/hcn
he foiled to get a crucial shot
of sunrise for :i live action
short, he switched ic:irs :ind
m:idc B,m1br Mws God:::11/,i
in the hnal two weeks of
the semester, it was the first
.mimatcd 111m produced at
the An Ccmer. Newland
went on to found Inter•
national Rocketship Limited
in VancoL111cr, B.C., n lead·
ing producer or quality
:rnimacion.

Bambi Marv Newland, that Rambi's

wardrobe was produced by
Mnrv l cwland, and that
A
Ithough csscnti:llly n onc·notc joke, the joke hns mnny
repercussions for rhe cartoon lovei-wbich is why iL h olds
up wonderfully nfter repeated viewings. The gencle. rcas•

Meets Marv Newland himself was

produced by Mr. and Mrs.
suring music nnd pronounced lack of nction esrnblishcs Anmbi as nn
icon rnthcr than n cbnrnctcr, noL just a cute linJe deer in the forest ,

Godzilla Ncwbnd. At char point

God::illa's foot .1ppcars nnd
crushes the harmless fawn.
The End. 71,c film de.livers
AN IN'TU\,'IATIONAI wlut its title promises, nnd
I\OCKETSHIP CARTOON, 1969
the joke is on us- what
more were we cxpcc~ing?
but the nrchccypnJ Disney cre:irion "~th all the emotion bnggnge t.hac
comes with it- family vnlue.~. children's enteitainmeot. quality, good
tnsce, the ,niddle class world order. T hcn--scrcnicy inrerruprns. The
quick stomping on rhc deer by Godzilla- the pacing of the cartoon
up co nnd including t he end credits is mnstcrful- is funny on scvcrnl
levels. One is thnt the tide of the cartoon did not tip us off to rhe
nnrnre of its punchline, ns h s hould have if che viewer had been

C REDITS Marv Newland made chinking more cnr·efu lly. After growing up Or\ movies like Abbott and
Bambi Mats God::il/r1 in a Com/lo Mm Frankcnsr.cin, t he ride formation itself su~ests nothing
R.o,l..cuhtr ll11111cd house he was renting from more alanning drnn pratfalls or double cahs, certainly nor nny actual
carnage. The tide hns lulled us into n false sen se of security and

\iH11c: GiuKch111u Ruu,ol, removed us from any con ccpr of rcnlity--the rca!Jty being rh:.t when
a f.1wn nnd n monster meet, the monster wins. nnd quickly. A nother
level of tbc humor is chm Godzilla, representative of jerky, stop·
inorion nnimnrion nod low•dnss, sci-Ii B movies, has j ust run
roughshod over all thnt mstcful Disney stufT. O n a t hird level, Bambi
Mms Godzilla is a wnrning, borh funny nod profound, s howingjust
where irrcvc~n cc wns heading in t he nrcn of pop culrure and inde-
pendent cartooning. Killing ofl"Bnmhi carries the self-conscious, hnlf,
guilr.:y joy of uneringyour first curse word; now nU the rules 11re bro-
ken , nnd nnything is possible.
- Jmni Bernard

1 55

::iking (un of Mother Goose
and the Brothers Grimm
w:is standard fore at Warner
Bros. in the J 940s. Bugs
Bunny added to any fairy
rnle was a surerire hit, so
during the war ye::irs the
famous rabbil shared rhc
screen with the Three Bears,
Jack and his beansralk, even
I liawarha. In this, one of
Bugs's most memorable car•
toons, he takes on Linh: Red
Riding I lood and the Wolf.
Little These were the 1940s,
so Red Riding Hood is a
bobby· suxer and first
Red appears singing "17,c Five
O'Clock Vv'histlc'' (made
Riding popular by Glenn Miller in
the 1940s). The obnoxious
Rabbit
WARNER OROS., '9+'
C REDIT S
Dlncu:d by I hclctt~
Anlm11iun M1nu-cl Peru
MuJk.il dirccuon: C,il \V. Sulllng
teenage Red is rnking Bugs
to Grandma's house;
Granny herself is working
rhe swing shift at Lockheed.
The Wolf is in Granny's
bed, and when Red arrives
and screams "Hey,
Grandma! I brought a little
bunny rabbit for you- TA
HAVE," the Wolf goes for
Bugs. Red makes chc usual
comments about big nose
and cars, and Bugs rnkcs
care of the Wolf. He imitates
a stool pigwn. whistling and
pointing to various rabbit
hiding places (he's actually
in one o( them) :ind distract·
ing cl,c Wolf by making him
sing "Put on Your Old Grey
Bonnet." But it's Red who is
truly annoying, and in the
end Bu):!,S locates her to
where she'll be less bother•
some and shares a carrot
with the Wolf.
39 f
Ice/, Red Riding Rabbicis
L in some ways the quint·
csscncinl Wnmc( Bt'Os.
cnc1:oon, le' s got everything
we've come to expect in n Bugs
Bunny classic: n wolf. stair and
door gngs, foiry-rnle spoofs, a
song•and•dancc gag, and, of
course, all cbe Warner Bros. car•
toon sound effects. It'~ even got
n "Silly, Isn 't He?" sign. l tend to
tbfok about Worner Bros. car•
coons in terms of their quotobi·
llr, -how mnny lines you con
remember and repeal, and how
m,1ny people you know who con
quote from the cartoon, or rec•
ogni2:e what you are quoting
from ic. Little Red Riding Rabbir
hos n high degree of quotnbilicy.
All fons know the phrases " rn
hove" and ''I'll do it, b11t I'll
probably hate myself in the
morning." I've found I cnn go
anywhere nnd sing, "The five
o'clock whjstlc is on the blink"
and find someone will finish it
wirh Red's chorus of "dn-dn-dn·
da-dn·da,"
-l..inda Simmsky
 we, 011 l.c1n/, is um1sunl by
:my st.mdard: l1 sc1ious nnti•
war parahie told in canoon
fo1m throL1gh the eyes of .1
or
fomil)' cute, fu-y squir
rcls. It was hailed fur its
unique antill'nr message and
nomin;1tcd for an Ac.1dcmr
All'nrd and .1 Nohel rem:
rn::c. r ikc most ,lntiwar
l11c storv takes pi.lee Jt
Christm:is nc:ir a ruined
church 01crlooking an old
ur
hJttlcl1cld. A trio squirrels
sing "1-brk! TI,c I lcr:1ld
An1;ds Sing,." Gr:m'p,1 squir
rd's grandchildren ask him
the mean mg of "re.ice on
canh, good 11111 to men," li.w
they have nc1·er seen a mnn
fou~ht conrinuously until
only t110 men 11ere ldi.. and
they dcstrorcd c:ich tither.
-11,c forest creatures huild
f'\:accvilk rrom the disc .1rdcd
i mplcmcnts of war. -111c lllm
ends with the words "re.ice
on Linh'' supenmroscd on
a hn~ht sunrise.
Lc1rt/, \I ,15 rro·
/lc1/C( 011

messages, it seems sadly
dated and tinged 111th a cer·
tain futilitr, \,\1\,\/1 I \VllS into
its founh month when this
was released.
Peace on
Grn1p:1 cells them the storv
ol°huge monsters with 0Jsh-
ing eyes .md sm>uts (gJs
mnsks) ,atT)~ng guns tipped
with kni1cs who .1rgued ,111d
duccd bv Hugh I lanmn. J
fmmer Disnc\' colbhor:1cor
whu Stl'l)l'C ror :I c111cmat1c
.1pproach to J111matton. "We
shutildn't have made it ,1s ,1
onc-rcdcr. we shot1ld h.m:
made it :ihout I hrcc lO n,•c
11
reels. said Hannan 111 .1
1 9n intcrvic\\. "Tney

Earth tiicd LO stop me from mak

ing it it 11 as wo serious.
But I larman believed in ,m1
MGM, 1919
mwon's potcminl hc1·ond
comedv and wanted his
rilms w make audiences
cry and think.

he technique is on-eSLing for it combines rc,1lis111 and fon-

c I\ r n I I s rnsy in a w.,y which throws overboard all tradilions ofcar-
An \IGM c,...,.,, coon crafr. Scenes of mar·ching 9oldiers, 1·umbling rnnk.,.,
l',oJo«J hi I lu~I, "'""'" bombing nit1)lones, ruined cnthedmls. ""d no·mm's•lnnd give the soft
>•orr: J,.k C00j1;11~ 11.,gh I''""'" impression of n9untincs or phoroi;rnvures, 77,c outlines of lht cnrtoon
n ..,1., M,c;.,,1 chornccc1·s :tlso blend into the lovely bnekgn,uncls of the fontasy, nnd
i\n,mrnnn Cu l Ll,h,nu, \mold c;111..p1, ,here is an ~•sy now of moLion ll'hich cmph,isi:cs n:tntl'\llncss, Suund
J,m n... ., ,.. Sp,m , technique is bo1Towcd from the realism offenLurc film~, nnd "ilh the
Voim M, I Blm,. R" '"" I""""· cxquisirc musicnl scor~. crcntcs n definitely cn,otionnl mood.
 4q
r

c59
160

omcthing completely new:"
ln:it's what reviewers
thought or Roory Toot Toot
when it wns first n:bscd,
and the cause of their excite-
ment is cbr. Ul1A's cre-
ations caused sensations and
cxpandd the boundaries of
.mimation, in this case com·
hining haller, music, and :mi•
mation to tell the tragic
story of Frankie and lohnny.
Roo0J Bill Scott llrst sug_gested the
cartoon; director John
41
Frankie stands accused of
shooting her m:m, Johnny,
and is defended hy white·
suited HoncstJohn. The
bartender and singer Nellie
Rly (who admits she wns
with.Johnny, but only to
rd,cnrse) testify rhnt Frankie
"shot her man, rooty toot
toot, right in the snoot."
Honest John then addresses
the jury, cxpbining the "true
story'': that n wildly rico-
cheting hullct shot by the

Toot Hubley ra n with it, hiring

Toot
c n L I) 11 s
C~IHml1/,1 Pli.wm p,,w,u ,I
D1rcnc:d In· John I luhh~.,
ballerina Olga Lunick to
jilted Johnny at Frankie
killed the shooter instead.
choreogr.,ph, animncion Honesc.John is so con•
dance specialist Art Rabbit
for key sccnl!S, nnd Phil
,,jnced of Frankie's
innocence chat he
Moore (the rirst hlack musi• vows to many
cian ro compose for the her-but when
Hollywood studios) to Frankie secs Nellie
arrange rhe music. TI,e car• dancing with I lonestJohn,
loon is a musical in which all she grabs "Exhibit A' the
the lines arc sung, and its murder weapon-a nd
scene: is 3 COUrtTOOffi1 \>Vhcrc shoots him rooty
root coot.

Ly,;u, Al,n A,·d,
Mu•k Ph,! \t'"'"
v.,.1, Annm, W,urn
Ch,•rc~"r"•· rn~, 1_.,.,,.l
Wm«n hr, John Hubl,)'. B;II S,011
""'"'"'on ,1,, n,~h11, p., M•11h, .. ,.
Tom Md'>nn,ld Cnm r--.nwkl
C-,ll11r ~1,J Jt11gn P.1ul Jull1111
J'roduc1iun m■n!IJ;,U llc,b Khnn
I"""'"! '"l"'"l,lnn Shtrm er..
wenty•fivc or thirty ycnrs :1go we remembered seeing our
firsL Disney picwre. h wns s uch a depnrrun from the old
junk thnt had been unlonded on the screen for years chnc
his new ccchniquc become n scnsntion . We h.ad th.c same feeling t bc
01hcr night ..• ns a result of this Rao!)' Tool Toor, It's a gem, some•
dung completely new, wonderfully entutaining, with n beautiful
b:ickground hnndling that brought applause from the big thcnccr
audience.
-w. R. Wilk,rson.
TI1c Ho//ywood Reporter, 1952

r6 r
 GM searched for a ~,~nning
cartoon scar throughout the
1 930s. Disney had Donald
Duck, Fleischer had Popeye,
and Warner Bros. had Porky
Pig. but MGM scood empty·
handed. Hu)?,h Hanmn and
Rudolph Ising did their hcst
,.~th a series of beautiful
11:.tppy Harmonics. but their
lethargic Barney Bear went
nowhere. In 19F, MGM's
c:trtoon division uicd with
the Captain and rhc Kids
cartoons. but these were
poorly received.
Thus, when animator
William I lnnna .ind SCOI) ''
m:mjoseph Bari era were
teamed in t939 to direct a
cat-and-mouse cartoon, Puss
Gets tl.1c Boot, nothin,e, much
was e.,pecrcd. When the
film received c1itical and pop·
ubr acclaim- and an Acad-
~ Awa.-d nom;n,don
('.
the pair was asked lO conrin-
uc thci1· clTorts. They did so
for the next rifteen years, and
The
Tom and )en-y became
MGM's cartoon stars.
Cat
·17,c Cr11 Concerto, one of
the best of the Tom and Concerto
jerry sc1ics. hcg.ins with
Tom Cat walking onsrnge,
siccing ar a piano, and begin- MGM, '9'11
ning the Hung,arfon Rhapsody
No. 2. I lis playing .1wakcns
Jen-y Mouse, asleep "~thin
rhc insrrumenr.Jerry climhs
out of the piano, secs Tom at
chc keyhoard. and begins
"conducting" him, setting
olT a bardc of wit$ between
the pair. -n,cir chase and
struggle take pb ce both C RI n11'S
inside and outside the piano,
all the whileJerry continu·
ing his pc1fonmncc, at one
point forced LO do so with
his feet.
17Jc Cn Concerto is the
fo-st cartoon in which Tom B1, kg.iuu11J1: Buh Cicntlr
is treated as "human." l d11m~ hrd McAlrln
Dressed in a tuxedo, he per·
forms at the piano fo1~ the Mu.ti('., Scou Br.idlo
viewer assumes- a human
audience. Tom's piano play-
ing is remarkably realistic,
modeled on perfo1mances or
musician Scotr Bradley. 17x
Cm Concaw won an
Academy Award for Best
Animated Shon SuhjCCL.
17
/1 I
 //,c C.11 Conw to

r HANNA- BARBERA 7
om in Mdrose, New Mc.~ico, in rg , 1 , William H nnnn srudicd j ournalis m and engineering in college. He changed
course when he t illered the animation indusuy ;IS n eel wMhcr and office .1ssisrunt nt I lnrmnn nnd lsinis sw dio in
rg3 1. He worked his way up to director on MGM's The Captain and the Kith< cartoons in J 937.
Joseph R:irbern, born in Nell' York City in 1905, ~tudicd accounting and nfi cr gl'nduation wcnc to work for die
liv ing T rust Company. Barbc1·n, with his knack for drawing, contributed cattoons to various magazines until be
nnally decided to quit ban kin~ and bccon;e n cnn:ounlst f11II ~in;c, After beginning hi$ nnimadon career nr Nell'
York's Vnn Buren s rudio, md later joining T ertytoons, Barbera moved to the West coast in 1937 md joined MGM as a storyman.
"I smtted there the sn me day Joe did," recalls I lnnna. "I think we gravirnted together," Bnrbern nlso recalls rhe now-historic pairing.
..Within the first rwo years we finally ended up in cb c same room. I SU!l,gested 'Why don't we do a picture on our own?'; (producer
Fred] Quimby wris so despeme he didn \ s top us."
Quimby wns conienr to lee each MGM cartoon have its own story nnd characters, unlike evety other s tudio, where Stnr chnractt r-$
were being developed. Quimby unce said, "I don' t wnnt co put all our cggi; in one bnskct," in refe1·ence to the appealing enc nnd mouse
chnmccers Hnnna and Bnrbern came up wit h in tbei.r first film. But when th eater owners demanded more Tom nndJcny cartoons,
within n yenr Hnnna and Barbero were nssign cd to do nothing else for rhe ne..\'I s ixteen yca1·s. 77le series 1von seven Aendemy Awards
for M GM . n remarkable nchievement denoting the consistent level of high 9unlity.
T he MGM Tom nndJeny cnrcoons, however, nre only one part of on nmnzing cnrce1·. When MGM closed its ca1'Coon dcparcment
in T957, Hmnn and Barbera were suddenly thrus t into n world t hat no lon,11,er required t heir unique talents. They quickly created a
low•hudget pilot for television , "Ru!T and Reddy," nnd sold it to Columbia Picrnrcs (Screen Gems). They went from lnvish $45,000
budgets to $ ,3,000 for five minutes of animation; from pantomime comedy 10 dinlogue·henvy pictures; from comple., full nnimadon to
lirniccd movcn;cnt!I and sparse scccings.
Bur they tapped a medium hungry for their kind of entertainment. "Ru!T and Reddy" was followed by Hucklebmy Hound, Yogi
Bear. OJ,ick Drnw McGraw, the Flinrsconcs, rhejnsons, nndjonny Quest. Hnnn n•Bnrbern became the brand name for nnimation in
the TV gcnernrion . After mnny years of "putting nil their eggs in one bas ket," this tcnm unlenshcd more cnn oon st ar cl,ametcrs and
Lnnde more diverse animation than any other American s tudio.

J
/
 Tl,r C.11 Con,crlo

f nil 1he 1-Jollywood

O caitoon series, th e
Tom and Jerry cycle
got the most out of the least,
wringing over one hundred gen·
ernlly c.~ccllent episudes oul of
t he minuce, rhree· word plot
description: Cnt chases mouse.
While the fonnuln icself
remained the snmc, different
n.specrs of the eq unt:ion were
occnsion nlly nltcred co distin•
guish the indjvidunl onc·reclers
from enc h ocher, whic h usually
cnuiled rhc setting or the intro·
due Lion of n chnractcr. In ·n,,
Cai Concmo, the c.,trn clement is
rh e music (Liszt's llungorian
Rbapsoc!J No. 2.), which Fune·
tions as the domjnnting clement
of both t he background m ting
and the foreground nction. 17,e
cwo protagonis ts revel in the
new opportunities for comic vio-
lence found in rhc mcchanis,ns
of t he music•mnking proccss-
pnrodyi1~g not only chc hoity·
toity mnnncr of t he concert Yir·
rnoso but the hammers nnd
strings o f the pfano itsc.l f.
- Will Fritdwald
ne of the classic screwball
ca noons of lhc r 9-fOS, Tl"
Barhcr ofSn•illc was James
Culhanc's Grst Woody
Woodpecker canoon as new
director of che Walter L1nc:
studio. Culhane had read
Film lcc/miquc. a hook hy
Russian director V. I. Pu·
dovkin, and ,1pplicd lhe th co•
ries to this cm1oon, adding
scenes :ind speeding up the
pace with rapid cutting.
As the cartoon he!?,ins.
Woody Woodpecker
admires chc hairstyles dis•
played in the window of thc
Seville Barber Shop (Tony
Figaro, propiietor) and
decides to 1c pacriotic and
get a VictOI')' l laircut.
("I low can I lose with n
victory?") Finding a note
reading "Gone ro rake my
physical. Back soon,"
Woody realizes Tony is out
for the duration and fools
166
around in from of the mir·
ror. A Native American mis·
takes Woody for the harber;
Woody puts hot wwds over
his customer's headdress,
overhearing him so much
that bread toasts in his
mouth and the headdress
shrinks, then uses the
springlike harher chair to
catapult his customer oul of
che shop and onto the front
of a cigar store.
Next, a construction
worker asks for '\he whole
works." Woody removes his
hard hat with a blowtorch
and begins sin!!,ing "L,_rgo cl
Factorum •· Ii-om /11, Aarl,cr
ofScuillc ns he bthcrs all
exposed part s, i1,duding the
worker's shoes. Swinging
the ra::or while singing n
high-speed version or
"rigaro," Woody raises the
chnir and smashes his cus-
1omer's head :igainst 1hc ceil-
ing. He completes the hair·
raising haircut in record
time. The woodpecker heck•
lcs his client outside, and the
irate customer throws him
through the window back
into the shop. 'vVoody gets
hopped with a supply or
shnvin!!, mugs and
ends up stuck inside
1hc revolving hm·bcr
pole.
ash is what Woody
did, it 's what he had,
it's what he was-.i
hyphen bcLwi:cn rhc nudirncc
and the screen, nL firs1 n
T ech nicolor shock wave, here a
Technicolor syn:•pse bcL ween
s hadow nnd substance, bcrwccn
ourselves and our tnorc 0 11 t1'1•
gcous foncnsics. His impossible
a<:tions ~re still ~ cartoonist '5
convenience, bur in Culhnnc's
hnnds Woody destroys hi,nsclf
on one level only co rc·crcatc
himself on nnorhcr. We cnn still
nsk the lo~cal questions, but
rnd;cr than just cvldc them,
Woody in The Barber ofS,"liillc is
cn,nsccnding them, making him•
self nn undersrnndnblc personnli·
ty. if never quire .1n C,\plicnhlc
one, and one of the greates t
cn,·toon eh~racrc,-s uf I lollywood
a nimntion 's golden age, even
if he WJS all c:1rroon :1nd no
charncter.
- JoeAdamson
 43
The
Barber
of Seville
WAI.TIR LAN14, 194~

Cl\fO I TS

A Wulru I 1"U.I' \VHJJ \.Vo«lpulm Cu,om1

Dnc.ctcd by J•mu Culhane

Srory Ot:n I hrcf~w,y, Mlh Schatrc,

A1111Tttl1on LNnnc Jfud,nA, Lu Kime

Mudt : 0 An 1.ll c~lku

Anlm-itlun hyout: Art I lcmtm.A11

R1<k~round. Philip Oc.Cu,rd

 rederic B~ck, boin in SnnrbrOcken, Gertnnny. in 19i4. hns lived in MonLre~I, Cnnndn, since 1948, A 1nnn or mnny 7
rnl~nts, he "orked on sever.ii educational television series for Radio-Canada du1ing the t 950s nnd 1960s and crc,tt·
ed srnincd-glnss .,nwork for Lhc f>lncc-dcs-arts subwny srntion in Monrreal in 1967. In 1968 be joined the CBC
French Net\\ ork's animntion section. I lis first animated Glm, a collaboration with Graeme Russ,\\ .15 Alrn1c11d11/,r11
(r970), which uses cm•oll!s co tell che s 101y or n liccle p.irl nnd her rnends who I escue the sun rrom ~n evil mn!l;lcian.
I lis other rilms include Illusion? ( 1975}; All Notliing ( 1979). hi,; '1rst film using the technique or colored pencil on
frosted ncetatc; nnd Cruel (, 98 1). an Academy Awnrd•11 innini:, film about n century of chnni:,c Lold from the point of view of the family
L ocking chair. The M<1n Wl,o Pl,tnrrd Trm "on Bock his ~ccond J\cndcmy Awn,·d.
 hen ft.!mm,1kcr Frederic Back
first cncounccrcd ihc sco1y or
El:;card Rm1fficr in a ma~a-
=inc in Lhc early 1970s, he
knew he had much to learn
before undcnaking a film
ahout him. \Vhcn he rclc
prepared, he devoted l1ve
years to the project, and the
rcSLth,n, Man \1/1,o rtwn,d
Trees. is n restnment to the
indomitahle sp11its of borh
when the young man met
him he was 11fcy-11ve and had
hec n pluming acorns for
three years. "It was his opin-
ion d1::1t the bnd was dying
lor lnck of trees, and he had
resolved to remedy the stare
of alfoirs." He phnted and
nurtured a forest of thou·
or
sands oak trees as well as
beech.
Years b rer. arcer \1/\1/1,

The men. It is also a rare work,

for its srylc- a Oowing wash
of pencil sketches with
the man returns co the site.
The 111-st plantings are now
ten years old and impressive. /,c Man W/Jo Planted

Man "real" sounds and a nan·a•

w,~ secms eminently suit•
His foscination with the man
bds him to return Lime and
·rru.1 rep,·cscnts the
fusion of nrt nnd belief

Who ;1ble to its SL1bjcct.

17,e s101y begins with a
again, and he secs the 11~nd-
swcpt, rm-snkcn lnndscapc
inco a senmless masteipiecc. The
cartoon opens "~ch on i,nnge of

Planted young man hiking through

bar,en and \,\~ndy te1Tain
in the French Alps. I le
rranslonncd into green
fields, thriving villages, and
prosperous fom,land, the
a lonely cr.weler wandering in n
world of grnys and browns; t he
desolate earth can support oD ly

Trees encounters a shepherd who

offers him water, a meal, and
lodging for the night. llm
or
result RouOtcr's forest. He
observes thnt "Men could be
rudimentary fom'8 orlife. But as
Bouffier works his ~cologicnl
lS effective as God in tnsks 1nirncle, the animation, music .

SOCIITE RADIO CANA11A, 1987

night. he observes the shcp•
herd counting acorns. I le
stops when he has one hun•
C RUllTS dn::d. lnu·igued, the young
man follows the shepherd
the nc.xr day and watches as
he pbms the acorns. This
wns !:];::card Boufficr, and
other than destruction." In
r9 35 BoulHer's "natural for•
est" was placed under gov·
crnmem protection. Roufficr
died in 1947 ar che age or
cighty•ninc. As the narrator
states. "A mar,'s destiny can
be truly wondc1{ul."
nnd narration blossom with the
land. By the end of the ftlm, the
screen is filled ,vilh the vibrant
colors of nn impressionis t can•
vns. TI,1 M,m \1/1,o Plwacd Trees
represents th e culiniMcion of
Bnck's righteo us posturing thot
spoils rnnny " mcssngc" mms.
Understated nnd imbued with
profound dignity, ·n" Man Wbo
Planted Trm shines os nn cxnrn•
pie of the nrt of nnimnrion in the
LTucsl sens e of the tcm,.
-Cl,arlcs Solomon

r69
 ook and map::ine covers
ca me to life so often during
the t9~os that the device is
considered a cartoon
genre- which this m:mcr·
piece both mocks and thor·
oughly outdoes. Modern
audiences may not under·
stand ,111 Ll,c hook references
and celebrity caricatures, but
this cartoon remains a mar•
vcl of comic tirnin1?, and
runny animation.
In a bnokswrc at mid·
night, a Youn<1i M,.111 wit/1 "
0
Hom larry James) comes
Voice in tlie Wilderness (Frank
Sinatra) d1ives the Lw/c
Women cra::y; also foiling for
h irn :1rc Freckles, Tiic Giris'
Oonnito~,. L'1cfy in tbc Dark,
W/Jist/,;r's Mother, and Motlm
Goose. Brass (Tommy
Dorsey). Drums Along r/,c
i\lo/imt1k (Gene Krupa) , 171c
Pi.:•Ey,;d Piper (Benny
Goodman), and the l\.rk,111sc1s
Tr·11vdcr have a jnm session.
~17,eir music hod,ers Dafl),
Duck, who steps off the
cover orl7,.: Loonry Tunes
dlld Merrie Melodics Comics
then geu; into o lively replay
of Liu/c Red Ridinr, Hood, is
ch:iscd on pogo sticks in
/ /op11lo11!!, C.,ssidy to Unck
70111 's C.i/,in, and Gnally ·n,c
r,rrificd Forest 77,e Police
Ga.:zcuc calls ·nJC Long l\m, o(
t/,c L,1w lO brin~ th e wolf
before TI,c Judgc. Sentenced
to Life, the wolf manages ro
EscaJx, but he nips on
Jimmy Durante's So Big
nose and slides along Skid
Row right inro Dante's
/nfcrno. The hook characters
dance a celebratory jittcrbu/?.,

Book alive to perform a trumpet

solo; TIJC Wliistlcr and 17Jc
to complain. He gets a =oot
suit :md 11rig out of the
to which the wolr respond.~,
"Stop that dancing up there,

Revue Sc11 Wo(flccr at C/1crok,;c

Strip;TI,cComplm Works o(
S/.wkcspwr,; pops a sp1ing;
S,m1tog,1 Ti·unk, stands in
from of Dant!}' 8<?,Y, and imi•
you sillies."

t:ttes Danny Kaye singing

I lcmy t/1,· Eighth runs home "Sarato!;a in the Morning"
to TI,c Aldric/> Fe1mi!Y; ·n>c with a Russian accent. He

r 1WOTOPTALENTS
od Sc1ihner's onim3tcd reaction or
7
Daffy to the Big Bod Wolf-rurning
into n gium eyeball ror si.~ fr.1mes-----is
CR I· 111 T S one or the classic m omen LS in con oon
J\ Loono T1mu l.:1moon h.isrory. Mel Blnnc deserved nn nward
for his pcrfonnmcc or DalTy frantically
S1111y \V1t11 cn I u1tu warning Llrtlc Red Riding Hood or the Wal[ Wn1-ren Fostel'
An1m11don R.obcn McKtm:1an . ltud ~ d hntr wrott the Dnnny Kayc-csquc sknt song sung in thnt scene.
It is worth noting that Dann>' Kaye Inter recorded one of
I.A)'OUl.a ,md '11c k~1 nund• Foster's origi11nl songs, Lhe hir rune "I Tnwt I Tnw A P~1ddy·
Tnc" (cowrittcn by Alnn Foster nnd Billy Mny) for n
Vmcu. Mtl Rime L hildrcn's album,
Mu1lcal d,recrlon: C 11 I W . Sullln~
45
/l ook R,u,.
he apotheosis oft he
early Wamer Bros.
cart oon!i: W:1rncr's
quintessential J 930s story
line-book covers coming tu
lifc-t he technical hriUfoncc nnd
c.,plosivc exuberance chm
defined the sn,dio in th c 19-fOS,
suppl.meed by n pcrformnncc by
Daffy Duck thnt is, well , one for
the books. Director Bob
Clnmpcn b,·ings us astonish•
mcnt after nstonishmcm in chis
breathless compendium of '9•f0S
popular culture, appropriating
nnd transforming frng,ncn rs of
America's imaginative landscape
with a verve nnd defrncss 1hn1
remain breathtaking-,despitc
the foct thnt chis cnn,oon w:,s
completed nearly 50 years ngo
:rnd tlrnt itS cascading cross•cul·
tural references necessarily pack
less punch rhnn they did at the
time of the nlm's release, Filled
with spccrncubrly florid, even
h:troque, animation (although
the production seems t0 have
run out of money, or something,
for the concluding dunce), rhe
11lm nil but bursts nt the scums;
yet thanks to Cfomplett's remark•
nbly disciplined use of c.,c.:ss, the
cnrtoon's annrchic energy
feels anchored, cnmcd,
nnd utterly credible. from '\
chis comes its power to cngngc us
deeply.
0
And there is more: Clnmpcll s
great gift for conjuring phantns·
mngorins hns been widely
admired, but Book R," lll/C nlso
shows che director's virrnoso
nbility to evoke character.
When Dnlly Duck emerges
from his Loon9' Tune~ comic
book, the cartoon is immediately
1nkc11 LO nnothcr level: The duck
virtually seizes the sc1·een, nnd
instoni.ly hccomcs the nlm's cen·
lcr of gravity; we feel his pres·
cnce ns something for stronger
chnn even all the churning nctivi,
ty thnt sun·ounds him. In n
world of frenetically movin!?,
p,rnph ics, Daffy is the gn1phic
chnt moves us.
When nil this is melded to
the corcoon 's imme11se humor,
srunn ing sfll!?,ing, gloriously car·
roony manipulation of the film 's
medium, and nlmost savage reek•
lcssness, i.l1c t·esult is n summn•
cion of whnc the Golden Age of
Animadon has ro offer us, If nny
une nnimnlcd short can be con·
sidered n work of genius, Book
Rt1111c is it.
- Stcv< Sclmddcr
~
~~
~
111.-
, I
,,
~\~
- ~
~ .,.
 Book HC\ uc

r BOB CLAMPITT 7
ob Clnmpecc (1913- 1984) wns one of i:_he
pioneers in American nnimntion. While
still in rus teens, he helped design the 6n;t
Mickey Mou$e doll; s hortly the,·cnfcer, h e
joined the Hnrmnn- lsing studios nnd nni•
mnccd scenes for che very first Merrie
Melodics cartoon , La&, P/191 Your Mt1ndolin. ln 1935,
Clampecc wns assigned animncor nnd kt)' gagmnn to director
Tex Avery and his tcnm n1 ''Termite Terrace." Avery and
Oampecc led the srudio in a new direction, displaying a wild,
in·cvcrcnc humor thnc becn1'nc known ns che Wnrnet· style.
Onmpeu was promoted to director in 1937, nnd for the nexc
nine ycn,·s directed some of che funniest, wildest, nnd most
mcmocablc cartoons in nnimation hiscory (1,vc of chem
appear in this book: Porky in Waclryfond, The Grc~t Piggy
Bank Hobbtry, Coal /J/11ck and de Stbbm Dwarfs, Book Rrouc,
nnd Corny Concerto).
C lnrnpctt wns nlso ins trnmencal in the creation nnd
development of Porky Pig, Dnffy Duck, nnd Bugs Bunny. He
incroduced Tweety Bird, pamrned on h_is own nude baby
picture. He left Wnmcr in 1946, opened his own studio,
L n d created che popular Bcany and Cecil.
..J

1 73
1 74

nything can happen
A in Sally Cruikshank's
Quackadcro. like Bob
Clnmpctt's Porly in Waclryland,
her 6Lm is full of strange crea•
cures: A house talks, n clock
hns arms nn d legs that move,
objects bound back nnd fonh in
time-nnd all co a fine sound•
track. As j. Haberman put ir,
"Sally Cn1ikshnnk hns all but
singlc•hnndcdly resurrected t he
Deprcssion•ern 'funny animal'
carcoon- s a.uthcntic an
American idiom as j ug band
music or siniation comedy--
and made it totally her own."
- /(arl Co/Jen
love to look at pictures of
people working," remarks
Q1asi, lying in bed, eating
chocolate cake, and watch•
ing 1V. Anita anivcs with
her wheeled friend Rollo co
remind him of their trip to
the Quackadcro, a psyche•
dclic amusement park whose
m ractions include the "Hall
ofTimc Mirrors- Sec your·
self at every age," where
~ insi, Anita, and Rollo see
themselves as youngsters
and as skeletons; "Roll Back
lime." a crank machine that
rums skyscrapers into grassy
hills; "Think,O•Blink,"
which paints piccures of
your thoughts (Quasi's are
shocking}; and "Sec Last
Nighr's Dream Today,"
which reveals an animated
stream of consciousness.
After lunc:h nt Porky's Diner
they visit "9 lives 2. Live."
where Quasi is rooked into
seeing his former lives.
Finally they visit chc "Time
r75
46
Holes," which orrcr pecks at
the past. Here Anita and Q_uasi
Rollo rid chcmsdvcs or
Qunsi: She drops a chocobtc
cake over a railing, and with
at the
a hclprul push from rolling
Rollo, Q rnsi wmblcs back Q_uackadero
in time. Two guards btcr
notice a new addition to d,c
CRUIKSI IANK 1975
prehistoric Time I lolc:
Q.rnsi being chased by a
reptile.
Snlly Cruikshank began
making cartoons while in
college and joined San
Fr:incisco's Snazcllc Films in
197 2. She wrote, designed,
directed. and animated Q_ucisi
11t i/1e Q_uackadcro on her
own, without the he.Ip of a
large, cxpciicnced studio. lts
style is a mixture of runl-.1,
r9ws Van Bcurcn cartoons
and 1960s R. Crumb comics
with a dash of Sam Flax, and C R Fl}I T S
with its rolling. folding per· A Curtocm I?)• Swlr~ C,ulksb,1nk
spcctive and soundtrack of
sighs, it enthralls some view, Mu,1(: Oob Al'n1111,uog. AI DoJ,.,
crs and leaves others cold- lnlc. 111nd rmnr· K,u hcryn U:n1h11n
the n·aits of a n·ue ''cult
classic."
Rutc S Cruikth11nk, D11in11 T'cllcF,rini
r l NDEPENDENT ANIMATION 7
l,3ndf11I of the fifty cnrroons in
this volume, such ns ~,a~i 11t 1/,c
~111ckt1dcro nnd /.fornbi Mew
Godzilla, ore rcprcscntn1ivc of 1hc
" ark of independent nnimacors.
While the trnditionnl I lullywood
studios nre factories of popular nnimntion, independent rilm•
makers b.ave the unique oppor111ni1y co experiment nnd
enjoy n freedom in style, concepts. nnd techniques thnt often
i1,nucncc the n11fo,~n nnd expand its p01en1inl.
Solo artists h.ivc been making their ril,ns indcpendcndy
since animation beg.in (in fact, Winsor McCoy could be
considered the fothcr of independent nnimn1 ion}. Usually
worki11g nlonc, sometimes en king yen rs co produce a short
mm,the works ofi11dcpendcnc nnimntors arc celebrated in
touring :m imntion festiv~ls such ns
in Annccy. France, nnd O nnwn.
Cnnadn. Lone Reiniger, Osknr
Fischinger, Nonnan Md...ircn,
John nnd Fnith I lublcy, George
Griffin , Cn1·olyn Leaf, md Bill
Plympum nrc jus t a frn of the
mimators "hose independent
-
wo1·ks hove inOuenccd the
entire field.
177
 "CORNY CONCERTO"
'\t,
1,,
- 'if'il_,_
orn)'•Gc.c I !all," with Elmer
Fudd as master or cc.re·
monies, is the sccrin/?. lor an
affectionate but scJthing
scnd·ur or Disney's F11nc,1si11.
Elmer ru·st introduces a
"A Talc or the Vienna
Woods," praising the '\vhis•
perin~ whyrhym or the
woodwinds, as it 11olls
awound Jnd awound ... Jnd
it comes out here!" 17,c talc
in the wood concerns Porky
and his dog (a pointer) out
hunting rahhit. They
encounter Bugs, 1, ho
reminds the dog, "It :iin'r
polite to point." Porky chas·
cs Bugs, htit an angry squir•
rel gets his gun and shoots
them. The pig, dog, and rah•
hit all foll LO the ground,
Bu)?,S pretcndin~ co be shoe.
Bugs cvemuallv tics up
Porky nnd his dog and pirou·
mes inm the hmi=on.
17,e next piece is the
ther directors imitated or mnde fun of the Disney cnrtOol\S; unly Bob Clampett pnid t hem
O homngc, adm~wledging n debt even ns he ns~erted his ~wn ident'.ly. Corny Concirrn makes n
deep nnd g,:numcly respectful bow to Fan111sru- hut with n sly gn n on
...
&al
4:~
"Blue D:muhc." which
recounts the talc :in ugly
duckling who tries to join :,
or Corny
fomily of swans. A vuhurc
kidnaps the swans hut reject
Concerto
the duck :is 4-·F. hlack ~n,c
duck uses "cartoon licc.nsc" MERRIEMnnrnr,s, 19,n
to resc ue the fomily and docs
:11vay ~,~th the vulture.
Cor~ Con,aro is a classic
unto itself, but Roh
Chmpctt wasn't completely
satisfied with it. "It was :1
consider:ihlc departure, an
cxpc1imcnt, for me lO nni·
mate Rugs Runny. Porky
Pig, and our chancier,; in
synchronbtion ,.~ch such
cbssicol composilions.
Imagine mixing 'Eh, what's
up, Doc?' with Slrauss. Rut Cl\l·l'ITS
when I lirst sJw the rough
cut ,~th the music track I
knew I could hove made it Story I r,rnl T uhlln
beautiful, ~lmost perfect, hy
mnl..ing some minor adjust-
ments in the. timing ... "
11.S fnce.
- Mike Barrier
.179
rSo

o audiences accus·
corned to Donald
Duck or Bugs Bunny
as rhe sinrs of animated sborcs, it
must bave been stn11:ling co sec
che characters ofJnmcs Thurber
coming to life. Since chat time,
the idea of adapting illustrators'
work l1~s become a familiar one,
bur when UPA cried it, it was
revolutionary. ll1e srudio's sec•
and challenge was to rctnil1 the
spirit and tone of Thurber's
work. That they succeeded is
now n foct of animation history,
and one of t he mnny fcnd1crs in
their collcctfrc cap.
- lconard M<1lti11
Unicom in tbc Garden, nn
adaptation of humorist
James 17,urber's short story,
begins, "Once upon a sunny
morning" with a hen-pecked
husband eating breakfast.
Spotting a unicorn eating
roses in his backyard, he
rushes to tell his sleeping
wife rhc news. She dismisses
him curtly with "A unicorn
is a mythical be;1st."
The man goes inro the
garden for a closer look :tl
the Cllle and all'cctionarc
beast. He feeds it a lily and
then awakens his wife again
to tell her, hm she rudely
replies, "You arc a booby.
and J am going co have you
put in the booby hatch!"
The man returns to the
garden but finds the unicorn
gone. Meanwhile, his wife
calls the police and :i psychi-
:n:risc, :ind suAAests a scrait-
jnckcr be called for. \1/hen
they anive she announces.
"My husband saw a unicorn
this morning." The doctor
and police exchange gbnces
and pur the srnitjacket on
her. As they Lake her away,
the doctor asks the husband
ifhc told his wife about sec·
ing a unicorn. He replies,
"Of course not. A unicorn is
a myth ica I heasc."
48
17,e rilms ends with a
moral: "Don't count )'0llf
boobies until they're
A
hmched." Stephen Rosuscow
had long wa nted to produce
Unicorn
a brurc film based on
1nurber's work, but when in the
funding for such an erudite
project proved dil11CL1lr he
asked director William
Garden
Hurtz to adapt a Thurber
subject as a short. Hurtz
chose "A Unicorn in the
Garden" because it foarured
human characters, and UPA
was trying to avoid chc oni·
mal sul~jccts traditional to
Hollywood cartoons.
The rilm continued
UPA's critically acclaimed
series, but AosusLOw was
reportedly disappointed.
He refused to enter it for
Academy Award considera-
tion and rcluccnntly changed C~lDITS
his fem1re-ffim plans for a
more commercial vehicle for r.Jer~mid hy \V1lli11t1l T l lu.rtt
Mr. Magoo. Story l11mu Thurber
To animace 1nurbcr's
crude lim:-dn111~ng style Anl111.111u11 Phil \,fumoc, Rudy lamva,
foichfully, William Hurt=
"srudicd every dra11~ng he R:tek.Aruund, l\ubc11 Dr1nko
ever did. Using color both·
crcd me at first, but I P1oduu lnn rn11111;cr: Hnbut Klynn
thought if he ever got
around co it he probably
would do it th is way- as
long as it was strongly linear."
 he rlill on·sc1·ccn titl e or this
canoon is I 1,, /Jut ,r 8o)S ,11
r1111wro Unilmirv; or 1 lil'
or
l~inils Roqt1c/ort f Iii/I. It IS 3
or
parody the 1890s dime
store novel mdodrnmas,
11 hid, w,1s nothing new in
cartoons, but it's al,-o the
mm with which Chl1Ck
Jones hcgm taking artistic
1-isks and which stand5 ~ $ ,1
11':ltcrshcd in .1ni1mtion his-
t01'\ . Until this rilm. l lollv•
' ,
wood animators indudin)?.
Jones tried to achieve rd•
ism 11~th their char.icters.
n)~ D(n·cr 8~1•) was devised
hu m:m cJ1ic.1turcs who pl.,)
hide .md seek II ith D.1im.1·
Dor:i Standpipe, who roHs
.1long the scr.:cn as if on
wheels. ll1c hulh~ng cad
D.in Ebckslidc kidn.1ps her
and takes her to his mmin
t::iin cabin hideout. ·1i•uc to
form, the 001·cr Bo)'S resc ue
her, hut she prefers the com· he Dinm Boys is a
pnnv of :m uddlv-drcssed m:1jor mile5tonc, the
oldtimcr who keeps r oppin)?. first corcoon LO contain
up unc:-.pcctcdly. such sly, intdljgcnc humo,· com•
Chuck Jones claims that hined 11 ith highly stylized
he almost µ,ot !ired from human chnrnctcrs nnd equally
Warner Bros. for this car stylized movements. (For Lhc
toon ...-17,cy hJtcd it, md if most p,11 t, this style ii n~ not

The with styli::.cd settings .md

intcntioMII)' unrcJ1isrk
movements.
they hJdn't been block·
boukinf!; I hc:1cc~. l her
would have ,,;th held it and
explored further fm· several years,
until the advcnl ofUPA in
, ()48, nnd rhe setics ofvVard

D over The sio,, takes pbcc at

Pimento Uni, crsil\', :1ls(1
thrown me oUL." Rut the
nc11 style caught on, and
Kimhnll cartoons nc l")isncy in
1953.) Even n hnlf-ccnLUry Inter,

Boy s kno1H1 as l)imcmo U., t ir

simply "Good Old P. U."
71,c most popubr students
arc the Dover Rovs n
spouf of th.: Rover Roys
dimc·ston.: no\'ds Tom.
Did.., and l...my, c\a!!-geratcd
:iftcr 17,c DC1t.'Cr Roys, Warner
cartoons and those the or
other studios hccamc
rJstcr and runnier.
/1,c 0011cr Boys stands as one of
Lhe most clcf.nnr examples of the
principle 1h01 the less lirer.11 the
charncrcr dcsii:i,n, the more inno-
vative the .inim,11ion c,m he
without losing bcliev.,hility.
- Milt Gr'!v

C' I\ I ll I ·1 S

·n,c Dm·cr 8 '1)'S are three nccunl successive fr.nncs from the Rlm, dcmons1rn1ing

l
hcse scenes from
/\mnmmn Hoben C1mnon the i1rnova1ivc use of limited :inim:ition thrnughout the picture. Characters pop from pose LO
pose with n frame of "smc.1r'' n11imadon bclwccn them.
49
I
 1
l LL HAVE TO
SACRIFICE MY
ART AND 00 . _ . .
IN THE MOVIES,

/j
I
I I

he earliest ancestors or
LOday's cmtoon characters
moved across a silent screen;
most became extinct bdorc
the advent of sound. ll1e
lineage of such sapient crc.1•
cures as Mickey Mouse and
Bugs RLinny leads LO a cal
named Felix- th e lrrsr car•
toon srnr ro OJiginatc within
the medium itself. Most or
his conlempornrics were
either based on popular
comic strips (Krazy Kat,
Mutt andJell) or were
designed with little individu·
ality (KoKo the Clown,
Felix in famcr Alfolfa). FclLx was
diflcrcm: A thinker, he
HolJywood solved problems ,vith solu-
tions appropriate to his em~-
ronmcnr rhc anim,m d
world ruled by lunacy.
M J WINKLER, 19>3 Within a few years of his
appearance (1919), Felix
was as popular as Charlie
Chaplin and Buster Keaton.
Felix r·eached che apex of
his ] opubrity in 1923, the
year of Fdix in I lol&ri.uood (he
played the pet of an out-of,
c RE o I T s work acror). 77,c actor
\f I W'"klt, Pru,nu. p., Sull..,n ,,.,,,, sends him out co find money
Anim,iion 01111 Mmmcr for a trip to Hollywood. Fcli>:
C)r,nn the whole
town w as P,Um -
med :1r ~
185
discovers a bankrupt shoe
store, sells out the shop, and
hands his owner $500. In
Hollywood, Felix ditches the
accor to pursue his own
career at Static Studio, where
he asks the hoss (n carica-
tlirc or censor Will Hays)
for a job and dcmonsn·atcs
his acting, cmotingjoy and
s01Tow. Felix hears a cry for
help and rinds Dougbs
Fairbanks being :mackcd hy
giant mosquitoes. Swiping n
gun frnm William S. Harr.
Felix shoots two of Lhcm,
and his duel wiih d1c third
delights Cecil B. DeMillc,
who signs him to a contract.
Felix was the lirst cartoon
character licensed for use on
merchandise, includin!?,
dolls, bahy oil, ,md even his
or
own brand cigars. More
than seventy years later, he's
still one of Amcrka's best·
known cars.
SQ , (
eisty Felix barges inco a
F Hollywood studio nnd
mingles with caricarnrcs
of che gods md goddesses of the
hum:m screen. In a pa1ticularly
memorable encouncc,~ 11fccr
chc cat perfonns an astonishing·
ly accurate impre55ion of Charlie
Chaplin's wnlk-Fdix is accused
by the Little T rnmp himself of
"stealing my scum" This brief
sequence was an in~jokc inserted
by Orto Messmer, Felix's crcnrnr
nnd chief a nimator, w ho, in
19t 6, scudied Chaplin 's pan·
comimc nnd focial expressions
for nn animated series of C haplin
111,ns produced by Pnt Sullivan .
Tl1is thol'Ough research influ•
cnccd the personality nnd move•
men ts of F clix chc Cat wh en he
first oppea red in , 9 r 9.
- Jobn Cmcmakcr
Other Great Cartoons
or
T
here arc, rnu,·sc. man> i\101/icr Goose Goes HollVL~oo.l Van Bwrrn Studios S.:,1rc.li Cu
more than fifty ~real rn·· (Wilfred )nck,on/Sill> Tli. .Sunslnnc Al,rkm (Ch.irks M Joncs/Mcmc Melodics/
toon~. Althoup;h our ha], S1mphomcs/19 18) {Run C,illcit. Ted hhhnugh/ , 9-1-S): Porl..1· l'i~ Svlvestcr
l011np; procc.,~ r·csulted in J remark· Rainbow f>aradc/19;5)
ahly "di rounded and diverse list,
,\fl)t rng n,,y t\ /, tic o{Tt~o f.;.iw,s
(Ben Shnrpstcm/A M1c\-,cy Mnusc (Rohm Clampett/Merrie
there \\'Crc sumc surpri~1n1; nm,s· Warner Brus. Studio~
Cartoon/ 193 8): Mickey Mou5c. Melodics/ 19+1);1wmy
s,ons. T ownrd the end or the list. Basd,,11/ Bu11,s
Oon:tld Duek. Gooli•
the point spread w,15 minute, in (1. Frdcnl)}Louncv TLmcs/ 19-16). Twcrlic Pre
~umc CJ5cs. only one or two \'Oles Aluirc LrnJ Rui;~ Hunn) (1 Frdcnr.JMmic
~cparatcd cartoons that made the (v\l,llred l:1cl-son/Silh- Melodics/ 19+7); TwccL}', Syh ester
11" Bi,1: Snoo;::c
topNty list from tho,;,: th,i d,dn't. Svmphony/ 19;5)
(Rol:>crt Cbmpcrt/Loonq• T uncs/ 1\ Wild I /,ire
In another ci,nc. rn .mother pince.
l'l,rnc Crn::v 19➔ 6): Bu)).s Runn)', Llrncr rudd (rrcdA1en·/Mcrrk Melodics/
these cartoons mJI' h,wc been
(W,111 Disney/ 192.S), Mickcv 19+0): Ru);S Runn1 . Hmcr Fudd
included. Folltlll inp; ,trc Jll c,,r, Bu1,'> B111m1 l~cr, thi Bord (Rohen.
won$ that received ,1 suhstanl1al Mouse's lir,;t nrpcJr.m.:c. silent nim
Clampctt/Mcnic Mclndics/ r9.p)
MGM Studios
numhcr of votes from our panel TI" /ioinr,.,
llu~s Runm, and tbc TT11ci Bc11rs n)c 8/,i;:: Wolf
l:..1ch rs a d,,ssic. (Ch•dc Cernnimi/A Mickey Mcrlll!c
(Ch.1rlc~ M.Joncs/Mcnic (Tc, /\vc1·y/ 19-1l)
Note 11,c nfcv Arcaccst car- Cmoon/ 1919)
toons, with the i:.~.:cption of l~cru, Melodics/ t 9-18)
.\louse Ck,111i11g
1/,c D1110111ur, a,·c .1ll cd •Jn1m.ttcd. 17Hu ilu Mirror
hill 1tncl h1rry•OII$ (I bnn3·83rhm/ 1948):
Some of the ~,lcm and mdcpcn (DJvid Hnnd//\ Mid,c1· Mouse
(Ch.,rlcs M. foncs/Looncv T unes/ T ommdJcm•
dcndv produced en noons th.11 Cartoon/ 1916)
1949), Ro.id Runner and W ile I
,lJ'PCJr on the follo111n~ list nrc Sm-wh.11/ S,1111rrd
Who ".,I/eel Co,k Rohm (n.,v1d Coyote
paper .min,atcd This list d0cs not (Tex t\,·cry/ 19+1)
I lmd/Sillv Svmphon1/ 1935) Gorilla 1111 Dm1111s
mdude computer ,mim;1tcd or pup· Sciior Droop~
pct-animated films. {Robc,t McKim~on/loonei•
Fleischer Studio {Tc, Avery/ 1 9-19): Omop1•
Tunes/ 1948); Rug~ Bunn,1•
Koko 's r:,ml, Co111rol
Winsor McCny Swrn.~ S/11fi Cindml/,1
(Inkwell Imps/ 19~8) I /,1ir·Jl.11s111~ 11,m
l mlc N'1no (19 11) (Chnrlcs M. )oncs/Loonel'
rrcx Avcn•/ 19ts)
A/ic/J,111ic,1I /\ Jonmrs
Disney Studios T uncs/ 1946); Ru)),s Runny
( 19.11): Supcrmnn UPA
F:,luc,111011 for nw,li I /,(1{1t rn Sing,, \ \//,en ,\ /<1Goo / /m,
(Cl)'dc Gcronimi/Spcml/ r9-13) nic l)IJ Al,111 ofrhc Aloum,1111
[rc.x Avcry/Mcme (f>m Bumcss/ r955): Mr. Ma~oo
(19n): Rwy Boop. with Cnb
I uJ111,mJ 1hi Rull Mdodies"916)
Calloway
(Drck R,cbrd/Spccml/ 1,.nS): Tcrrytoons
1\/rry Kommd
Academ, A" ard winner Poor Crndmlla I lihus
(Rtibcrt Cl.1mprn/Looncy Tunes/
(Color Cbssic/ t 9H): Rcuy Roop: (1:mcst PintufT/ 1957)
I lou ,'l's ,md Trw 19+6): l'ork,- Prg. Sylvester
llrst ghon rn color
(Rurt Gillcn/Silll' Symphonies/ /7,c OIJ Gr9 I /mi Independents
19,2): flrst color Silly S1·mphony: Popcv- tl1L S11ifor AJcm Air R11/,,1 's 1\1/,~rrmo
(Robert Cl.imrctt/Mcnic
AcJdcm~ Aw.1rd " inner I o,ty '/liicw (OskJr Fi;;ch1nier/ , 98 1)
Melodics/ 19-H); Rugs Runny,
(Porcyc Spcml/19-p) l:.lmcr Fudd
lonesome Ghom nii Bo,
(Burt Gillcu/A Mid,"' Mou,:c Ub lwerks Srudio ll/1<1pso.iv rn Rit cu (Murnbm,-Wolfhlms/ 1967)
Cmuon/ 1937); M1ckc1 Mm1sc. 8<1/10011l1111J (akl n,L PinCLl~l,ion (I. Frdcnr)Mcnic Melodics/ 19+ 1) Cr,,c
Don.1ld Du.:k, Goofv Mun) {19;5)
R/,11psodr R,1/1hi1 (Frederic Back/ 1981)
1\lr,kcy', Sm'"c S1i11ion (1. rrclcnr)Mcmc
(Ben Shnrpstcin/A Mickey Mouse Walter Lintz Studios /?ic Crnnch Bird
Mclodic~/ 19-r7), Rui:,s Runny (Maxell l"emk-l''mm'ich
Cartoon/ 1 935): M,d,C)' Mouse. I VooJ) \\fooJp,,ka
Donald Duck, Goofv (.,kl 1711 Cr,1ckcd Nut) (Wnltcr R,,blm I load Productions/ , 971)
Lani;:/ 19+1); F1r:;t Wood) (Charles M Jon.:s/Mcrric
l::rsai,::
Mi,k9o's 1r,1i/c1 Woodpecker c.inoon Melodic~/ 1950) l'lugs Bunnv
(Ben Slrnrstcrn/A Mickcv Mou,;c (:'..a~rcb Studios/ 1961)
Cartoon/ 1938): Micl,cy Mouse. J·mnk film
nnn3ld Duck, Goofv (Frank Mouris/ 1973)

186
n,c Furitl
(Snr:ih Pcny/ 1976)
Lupo ,lit 8111,lw
(Danny Antcnnucci/ 1987)
i\loon/,uJ
(The Hul,lcy Su,d,os/ 1959)
71,c S1rw
(C.,rolyn Leaf/ 1976)
Your Fucc
(Rill Nympwn/ 1987)
I LLUSTRATIONS AND
CONTRIBUTOR CRED ITS
1.1/1,,ir's Opfm, Doc?, l'ngc ,o: pro-
duction cd with r-c1:rcatcd ba-:k-
i;round. l'a)!,t ~ 1: byouL sl-.ctchcs
b) ChuckJoncs. PJi:,cs l2 n:
concept pJmlm!\ hy M.,u,ice
t\ohlc. Pnge H: hack)!_round wnh
eel and overlay. r>op.c 15, tnp: color
chan: houom. cunccpL pJ1mmgs
b) M~uricc Nohlc.
1?11rk Amuck, l'ai:c ,6: rc·crentcd
eel J11d backi~round Pap.e l8, ccn
tcr lnyout drJ1.-ing h) Chuc!..
Jones.
17ic Bm1d Concm, !'ages 40 ·I 1:
pruduction eels and backivmmds
Page .p.: rroduction cd Jnd l,nck-
ground. Pap.c .13: animation draw•
inp. by Les O~rk
Duck Dod)1.crs in t!,c 2-f 1/21/i
C,nu.,!)', Page +t• production eds.
Page 45: productiun ,cl with hack·
ground rt-om .mother r.lm. Page 46:
produedon eel. Pa!!,t 47: byout
dra"~ng.
Po,1-y 111 W.rckyl,lhJ, fla1;c 6u Slt>•
ryhom~ skcrchcs. Page 6, story·
hoard sketch; limited cdiuon cd
and hackg,round. Page 62. top:
storyboard sketch, bottom;
production 1-acl-.!l''Ollnd. Page 63
~,orvbuJrd sketch
Ger.rid McBoin)1. Bomg, Pa!!,C 6,+:
color key by Herb Kll'nn and.Jules
Eng,d. flni:c 65: productiun eel.
PJ!!,eS 66 67' .::olor key hy Hc1·h
Klvnn and Jules Engel: n:cord Jacket.
"Jni;-Si;;c C111,,~1•. Pa1;e 69:
re-crca1cd eel: mudcl sheet.
l1ir<c I 11cl, Pigs. Pag,c 72, wp:
model sheet drawings: rottom·
poster Pa!?,C 71: mimalion
d~m111gs.
R,ih/111 of S,11illc, Pages 7-1-75: lim·
1tcd cdiuon eels .md bae~rounds
Pa!?,e 76: back~ound. P,1g,c 77: eel
Smm,ho<11 \,V,111,. Page 78. mp:
poster; but1um: ,1nima1ion dra1-1in!!,
h)' Les Clnrk. Pa!!,c 79: anmmion
drJwi11g, hy Les Clnrk.
/1" Old Mr'II. Pap.c So: model
sheet; Wail Dis11c)' ,rnd Mrs.
Up;o D'Orsi srudv a reference
model of the mill PJg,c 8 1:
sturyhuol-. illustration.
11,r Crr.1t Pi/©' B,rnk Ro/,/,c')', flai,;,
Si: animation dr:iwing,, Pa!!,c 8 1:
limited edition eel and background.
Page 84: limited edirion cc.I .ind
hac~round
Pop,!vc tiu St1ilor Afois Sindbad 1l1e
S,1ilor, Page 80: poster PJgcs
Co.ii 81,,,1. anJ Jt Sc/,hen Dw,ufs,
Page 102: eel md background.
P~gc Io 3: swryhonrd illustrations.
Page IO,f'. model sheet. Page 105:
smryhonrd illustranon.
Da /"11d1rcr 's r,1Cc, Page 106. sheet
mus,c ill ustn1t1un llie title sung, cl
Der /"11dirc1 ·s Fucc was rc.::ordcd by
SpikeJones i11 19+i and become J
huge hil. selling, mon: th.111 1.5 111il-
lion copies.
Lmlc R11rnl Ridini; I /ood. Page 11o:
uni.motion dro11111~ Pa,11,c 111: 011i
mation drawings.
/1)< r,11-I nlc Hmrt, P~j;C , 1 ~: rrt)
ducuon arr, P,1!!,C 114: Steven
Busustuw and Ted Parm,1lcc. Page
115: production art
11,c 8(~ Snu, Pages 1 16- 1, 9: pro-
ducli<,11 eds and bae4vDu11ds.
Brrn:t L111ft Tc1ilor. Pnge 120: poster.
rroduction i:cl and bai:kj!;fOUnd.
Pa)\C , :n: puhltcit)' nn. Pn)\C , u.
publicity nn. Page , 2 reel and
hnckp;round.
Clock Cle,m.rs, Page , 2.1: pomr.
Jnimntion dr.1wing. l'n11e 1 2.5:
rroduction eel.
Nonl,wm I low1Jcd Polic<, Page
126: ,mimation drawings
Toot. Wbmlc. Plunk ,md Boom,
Pa/!,c r 30: production eel. Pa!!,t 131:
p1·oducdon eel nnd lml-.1\round
H,iM>rt Swsonirri:, finites r12-13:
production eels.
·nit SMrlcr Pumpnnickd. flngc q7:
You Ouglll 10 B1 in Pirn,res. Pa!!,C
1++: still photograph.
Al, Bal-., Bunr!Y, Page 1.18: skmh
by Chuck Jones. Page 149, top:
sketch bv Chuck Jones: bouorn:
lirnitcd edition , d and background.
Fe1d 1/tc NI[)', Page 150: model
sheet
Bimbo·s Irnti<1L1on, Page 15 ~: ongi·
nnl paim1ng by Leslie Cnharga,
created lor this volume.
B<tml,i Mms Godz,11,i, Pn!!,C 154:
production all. Page 155· pruduc·
tion n,1.
I.ml, Rcd Hiding lfohhir, Pap,c 1 56,
top: production cd, botmm: pro•
duction -cl and l,nck,1?.i:ound, Page
, 57. top. p,-oduction eel. Bottom.
animation d1'nwin,1?.
Roo!}' Toat Toot, Page 16o: produc•
tion eel .md hnckp·<Jund P~p,c 161:
concept ~ketch.
·n,t Gn Conccrro, Paf,, 162: animn•
tion dr:iwings. Page 163: hack·
g,round pninuni; Ii-om "/Ji, Cm
Concmo, \\~th eel rrom anothc_r
Tom andJcn-y cartoon, Page 16+
anim.11ion drnw1np.
'nic Burlier ofSet i/lc. Pages r66- 67:
producdon eels.
·n,c M<1n \Vho Pldlt1cd I rm, Pages
168 69: production eels and back•
)!_rounds.
Book Rct•uc, Pa)?,e 172: model sheet.
ti11 Q.!wck<1dcro, Pages 174·
~ UtlSI III

177: production eels and bad,,

()m Fro&S)' fa mini:, Page 48: hack·
ground, Pa);!:$ +9 5, · sketches by
Chuck Jones.
Gm,, 1l1t D111osc1ur, fla1;c 51· pro-
ducuon .m. f'ln!!,C 5 r lirhuir,iphcd
publidty poster Pai,;cs 5-1 55: pro·
dumonnn.
ncJ / /or lliding I food, P.,gc 56: eel
and hJ.::kground. P.1g.e s9: produc·
ed.
11011
88- 89: production cd nnd hack-
~und
'/1,r Skdcw11 O,mcc. Pa!!,C go:
nnimnLion drnwinp.
Snow \Mme, Pages 96 97:
calendnr ill,,slration.
,\ linnic 11,r Mooclm, Page 98:
original nn hy Leslie Cnlmga,
created for th,s 1•olumc. Pa)!_c Io t
nnim,1lio11 drawmg.
r,:•.rcated eel.
grounds.
11,1 Cm Cmnc R,ick, !'age 138- ,9:
Corny Concerto, Page 178: pmduc·
production eels nnd b~ckgrou11ds.
tion eel. Pa!!,e 179: animation
Supmncrn, Page 141 : pmducLion eel dra1vin~.
and b,rck1;rmrnd. Pn1;c I -fl: pro•
I\ Llmcorn in 1/.1, G<1rdm, Pa,11,e 180:
duetion eel and haek,1?.round. Pa,1?.c
.:nnccpt p.1in1ing,
r+3: model sheer; prudui:tion eds
.111d hnckp.rounds.
How to Find the 50 Greatest Cartoons
IISI or the nr1}' !tfC,llCSt
c,1rLoon~ l!tm h, ~~L:n lU'l
hroadcJst rdcvision,
,.,hie television. or home 11Jcu
Wlw1 's Opera, Doc?
TV: "Rui:,s Runnr and Twcm·" on
ABC. TJrc. 11,c B11.~s Bunni• Ro,1d
Rwimr \l otic. Liscr dis.:: Loon,f
foncs Cun.11n C.11/J
Duck /\muck
l Y. "Ruj!,S Runni .,nd T11ccty" on
ARC. Tare /1Jc Bu.~s Bunnv Ro,1J
R111111.r \/m,i. I .1scr d1sc Dud,
\fl(10t\'
The Band Concert
'\1111 cum:mlr JV,l ilJhlc un l,lf'C.
Shm, n uhcn on The Di$ner
Channel.
Duck Dodgers in i/,c l 'f ,/ltl1
Cmrnry
lv': "R11i;s Runny Jnd Twccty" on
ABC I a~cr disc: Duck VictO(V,
One Froggv F.vcning
lv': "RUj!,5 Bunni' Jnd Twwy"
on ARC. l ,1 pc: Rui:i Runny') i,,/
\101 tc: 1110 r R,1h/,ii / <1b. l..:tscr
disc: /.00111,> I11nc1 Cwwin C<1lls
Gm ic r/,c Dinowur
T,1pc and bscr disc, \,\ 'insor
\ fcC11 · 1\111111,111011 /.ci:cnJ.
Red Ilot Riding Ilood
lv': Sho11 n 011 va,ious cJrtoon
hlod.s on T urncr's TNT and The
C.u'\tl11n f\.c1wurl.. 1 ape· IL,
A, en's Smwh.1/1 Cl,1ss1cs Vo/. ~.
laser disc: 17,, Comp/c<1t l'c., /\vcrv
Porky in Wt1ck_,,/a11d
TV. "Lu(111cy ·1uncs" on
'\lickclcxkon; Laser disc: rork)' l'r,i::
I /Jrn on \Vrv
Gerald McBoing Boing
·,v,"Wc,ncr\'1llc" or "CartClOn
Kah-lone\'" on l\ickcludcon. T,1pc:
Colu111/i1,1 C11coo11 Classics Vol. l
/(Jng·Si.::c Cuna!:)'
"IV · Shlll\ n on vanou~ cartoon
hlocks on T urner's T'JT and 711c
Cmonn Nm, orl.. TJrc: IL,
1\1 ,,v's S,,,11,l,,1/I Cl,1ss1.:s Vol. 2 .
L,~cr d,sc n,, Co111plM r" 1\nn
Tlirrc Uttlc Pigs
\Jot ,;u1TCn1 !v Ju1l.1hle on 1.1pc.
S11t111n oltcn on 11,c Disnc)'
Ch,mnd
Rabb,t of Scvmc
1V· "Loonc\'Tuncs" on
Nickelodeon user disc:: Loom1
/ uncs Cur1c1111 C,i/1,
S1carnboac Willi,
7V: "MicJ..cv·s Mouse T"tcks" on
The l")isncy Channel. Laser disc
1\ l1,kc1 ~ rOltlC' 11,c Bltick <1nd \ Vl111,
Y~dll.
11" Old Mill
Shown occos1onall)• on 11,e
ni~ncy Chmnd
Bad Luck Blackie
1V: Shu11 n on 1,1nous c,inoon
hlock< un Turner's TNT and 1l1c
CJrtoon l\c111orl... Tare, r~,
A1en.'1 5,·md1<1/I Cl,uslL> \lo/. i .
Laser disc: '/1,c Complc,11 /"c., 1\rny.
The Grwc PiS&JI Bank Robbc!JI
TV: Shown on vanous cartoon
hlock. 011 T umc,:s T'JT nnd ·n1c
Canoon Ncrnork. Tare: D"f/1
I .,~er disc: /1,c Go/Jm A,i:c oJ' /,oonc~
Tunes, Vol. 1
188
Popeye rl1t Sai'lor Mem Sindbt,d
tbt Sailor
TV: Shown on l'Jnous C,111oon
hlocks on T umcr's Tf\.1T and The
Cmoon Nctll'orl Tope: l'opn·,
C.inoon$ i'c<11tmng Goo11/<1nJ user
disc 1'01J<1< /"wo Rec/m
The Skdaon D 1111et
Shown o.:casionalh on
The Disnc1• Channel.
Snow White,
Shown nccasinnalh on Amcnca11
Movie CIJssi-s Tore ,md bscr
di'll:· R,111 /3001,·s Spwc1I Co/lcc1or',
[d11ro11, Vol r.
Min11ir tb~ Moochtr
Shown occosionolly on Amcricon
Mmic Cbss1c~. ·1ape .ind !(]Ser
disc: Bm1• Boop's Spr,1<1/ Co//wor'1
[Jrrron, Vol. l,
Co,,/ 13 lt1ck and de Sebben DuX1rfa
Nol currcnd1• ,11•Jilahlc or, rnrc or
tclciision
Dtr h,tr/m's I act
Not currcntli• available un tape or
1clnisinn
Little Rural Riding l-lood
TV· Shown on 1·anous c:11,oon
blocks on Turner's ThT and The
C.1rt(1nn Nct11orl T.,pc: i\lG,\/
C.111oon 1\1"~'u ser disc: n,c
Com/JIM Tc.., Avcrv.
Tht Tc/I-Talc I /care
T,1rc Co/11111hi,1 Cirroon C/,,m.:s.
\lo/. 9: U/l/\ Cl.1ssrcs
17" BigS11it
Tore: l11ocd1/,k ,\ l,mitoh,1Aninwtion.
L3s.:r disc· 11,c N.11ron.1/ F,lm Ro.irJ
ofCm<1d<1'sA111m,mon Fmn,11.
Brt111c Liu/cT,1ilor
·rv:"Mi,kc1:, Mouse Tracks"
on ·n,c Di~ncy Channel. Tare
D1mc1 's Cntoon C/,,ssics, Vol (,:
\ frckcy ,mJ ,\ lrnnic
Clock Cleaners
"l'V: "Micl..cl'°s VICJusc Tracks"
on 77,c Disney Channel. Tape
Dmtev 's C.moon C/,1ssl.;s Spcci<1I
LJ11ron; fun on 1/,r /oh.
Norrlnvm / /ounclcd Police
TV: Shown on 1~11ious cartoon
hloch nn Turner's 7;\JT nnd ·11,c
Cartoon NwvorJ.. T.1pc Tt.,
Ai,n ', Scrcwh1/I Cl~ssr.s, \lol. i
I o~cr di~c: 171c Co111p/r,11 / ,\l\1<11•,
Toot, Wln~d,, Plunk m,d Boom
Nm currcnth Jl'Jilahlc on 1.1pc or
tclcvmun
R11bbit Seasoning,
lv'· "looncv Tunes·• on
\Jicl..clodcon l.:iscr· dis.:. /lugs
Bwmi , Wmncr l;Y ,, //<1r,.
Tiic Scar/cc Pumpcmickc/
lv'· "Mcnic Melodics" on ro.,.
user disc: L.oomy ·nines Cur111111
C.11/1
The C<lt Came /1"ck
Tnp;;· lncrcJ1blc ,\ (,m,toh,1
i\nim,won. L,s.:_r dL~: ·n,, Mmon,1/
I·1/111 Ro,,rd ofC.mad,,'s 1\nir11,11ion
l·ci1r<al.
S11pen11an
Tare, Supam,111 C.irtoom, Vol. I .
Laser disc: -n,, S11prn11trn C.ucoons
oj 1\ l,11 G.,, nmc / /ci,d,n.
Y011 0 11g/n co Be (n Pictures
"IV: ··1 none) Tunes",,,,
Nickelodeon Laser disc: Pork, l',g:
l/,1111un\V~.
Ali Baba Bunny The Barber ofSC'tiillc ANIMATION ART Silver Stone Gallery
TY. "Mcmc Melodics" on Fo.x Not cu1TCntly avaibble on tape or SOURCES 2005 Palo Verde Avenue
Tape: 77ll Bi,gs 81111'!)'/ Ro,,d H111111n television A growing numhcr ofgnllcri.:s, mail Lon)?, Reach, CA 90815
M01'1C. Laser disc: Duck V1ctorv. order firms, and auction houses 3 10·598"7600
The Man Wl,o Pl,mtcd Trm deal 111 originJI rroduction an and
Fccd 1/Jc KJt!)' Sold on 1~dcotapc cxdusil'd)' hy limited editrons. Herc arc some or S1ay T uncd GJl!cry
7V · "Bugs Bunny and Twccry" on Din:ct Cincmrt, 1•8uu•2-ti•6uuo. 1he ones that gave (IS informatmn 71,e Arcade
ARC. L,scr disc: l.oonsv I uncs 01· lent us mwork for 1h,s volume: 272 East Dcerpath
Assorted Nuts. Book Revue Lake Forest, fl 6oo4-5
TV Shown on va,iou~ ca11oon Anima::in!!, Gallery 708•:q4· p I I
Bimbo's /niticrtion hlocks on Turner's 7Nr and The 5+9 W m·burton Avenue
H:1.tinl?,l' on Hudson, NY 10706 World's GrcJtest Posters
Sh011 n cx:casionall)' on American Canoon Network. T~p(: Golden
Casrlc Rod.. WA 9861 1
Movie Classics. Tape and laser Age of Loonry foncs, fope 8: 1940s 91 +-t78?278
disc: Bmv Roop 's Specirtl Collector's ;::;,mies. Laser disc: Goldm Ase of
Edition. Vo(. r. L.ooncv '/iinei, Ve,/. , . C (,r A Animacion Galleries ASIFA
77 Middle Neck Road 71,c A5socia1ion lntcrnnt1onalc
Bambi Meets Godzilla !)__uasi at the Qiiackadc:ro Great Neck. NY 11021 du Film f)'An1111atio11 is nn
I 800-541 -AART 01·iani:::11io11 de1 orcd m chc fldd
Tare and laser disc: The Rockrnl,ip No, cU1,.cml) avail.iblc on tare or
or classic and cun·em ,m1mnion.
Red. 1clevis1on.
Ccl ,ehrm ion ·r1-tcy hold fi·cquc m screenings or
P.O. Bo.x n3 animated films. For infonmtion
Little Red Riding Rabbit Corny Concerto
Little Silver, NJ 07739 abou1 the ASIFA chapter ncaru1
7V· Shown on V:niuus canuon TV: Shown on various c:m oon 908-8,p-8.f89 yc,u, conmci
blocks on T umer's TNr :md "Inc blocks on Turner's TNT and The
C.1noon Network.Tape: The Cnt'toon Nmvork. Tape: /lugs Cohen Rooks and Collectibles ASIF/\ Cast
Goldm Age of Laon91 / 11ncs, r,,p, 6: Bunny Supcrsti,r, Laser disc: Go/den P.O.Box810~ 10 c/o Linda Simensky
Fn= folcng. L,1sc.r disc: The Goldin Agc of l.oon(J foncs. Vol. t. Boca l\nron, FL 33-tS r +70 West 24th Street, ff 1y\
Age of Looncy ru11cs, Vol 1. -fD7•,t87'7888 New York, NY 100 , ,
A Unicorn in the Garden
Peace on Earth Tape: Co/um/,ir1 Gmoon Cld!sics, The Ctickct G3llery ASIFA l loll)"vood
"fY : Shown on v:irious canoon Vol. 6. 1 108 Roswell Road 725 S. Victory Boulevard
hlocks on T urncr's 7Nr and 7nc Atbnta. GA 30305 Burbank, CA 91502
Canoon Network. Tape: /v/GJ\I The D,n,e, Boys 1-Boo·RUY-Cf:.I.S
Cartoon Clmsu111~. L.:iscr disc: ·1v : Shown on vnnous cartoon AS lrA Midwest
MGM (<11 10011 Classics, Vol i : bloc~ on T umcr's TNT and 11,c Filmm GJllenc~ A r111n,1tion Pl us Gallery
I l,1pp1 //nnnonics. Can:oon '\Jctwork Tapc: Go/den P.O. Box 128 790 N. M1lw:iukec Avenue
Age of Loon91 Tunes, I<1pc 5: C/,uck Old Bcthpaj?,e, NY 1 1804 Chicaj?,O, ll 6o6u.
Roo!Y Toot Toot Ionrs. Liscr disc: ni,; Golden Age of 5, 6--935·8+93
Tape: Columbia Canoon C/amcs, Loon\,' fonCJ. Vol. 1. ASIFA Portland
11,c I lc,ward Lo,, cry Gnllcr)' +1So SW86th Avenue
Vol. 9· UPA Ct«ssics.
38 18 West Magnolia Rlvd Ponland, OR 9721.5
Felix in Hollywood
Burbank, CA 91505
The Cat Concerto Tape and la~er disc: hb!
8 [8-972-9080 ASlbA San I t·mc,su
7V: Shown on vadous cartoon
+78 Frederick Street
blocks on T urncr's TNT and The Note: Tapes and 1:iscr discs can be Name "Thnt Toon San franc1sco, CA 94117
Cartoon Network. Tape: Tom and ordered from: \,\/1,olc Toon 8481 Melrose Avenue
Jerry's 50,/i Bml,d,9•Cl.rsiics. Vol. 2. Access, P.O. Bo~ 1910, Seattle, West I lollY'1ood. CA 90038 ASll•A \1/Jshin)?,ton
Laser dis. T7ic Art o[To111 <111d /my, w.,~hmglon 98 111· 19 1o. 2 q ·6s3-s6n P.O. Ro,5 1 101
Vol 1. Washington, D.C. 20009
PiJ(illntion: ·n,c Animation Source
387 Danbury Road
Wilw11, CT 06867
20,? 62-8507

189
Index
\dJtn"-ln lu.:,, 1. , ,. -sq. , 11 11) 1t~ JJ,w Rlllm\ 11t1J th< tl1t1t Rum, I Sh ,-, 1"), ,i.J, ~"'\, i l l -i ~II ~ I S\ 1!p l•nul'llinl, Cl, Jc. 1, 18b
i\Jt·,,UUhJ of r1,u
\\'"1..1 lht, 10 811,Q Hwm,/lfo..i.l ffonnc• \ l~t It /11t, :-.o ~·I• q-, 100 HII l<Jl, IOj,, IU l.•11r1~ 1/it /')min,111r. • •. ,~ 1i. 1-,. );, 5
, ,
\o..p'i /1ht1 h1Mn. r \ Ru):1 Rimm G,u 11,, H111J Ii- l' I • ;t, '·I • ..,.,,P,1-),.,,l~F ·(,1c,,,1n1111·• 111

-l/1 RJ/,., R"""'· , ➔s -1q "Ou,i:_... ~unn\ Shu,,, -lh~. ,u 1(, 1 hi, I·$ 18,~ 186 G11\cu f\""· •"'"
\11,,,m•. 18~ "R11ll111nkl, sh,)\\ 11ic rn r,,-.ni:\, \\.~lt. q, r~. ,~ •~- :i:1, J \, 111 , I \· .:-..,huh II' 1~

,\11,n l\nh,:11, 1 ,9 ~UnlC' .., rch· '·I I 14 ..s ..

l), 11 I I !, I If, ~f,11)/\ l;,,,il,us •
\n){'tlulll JJi( \n, 11 Dbni:\·, Rm, r 1h ~t:x1h, 1 1..• IJ-f
\11.l1('!) 1\lld,t,tli, ,~ c.1~ir~•-, "''"· ,i 1 -i•>· , >' n,.;;'\-nnbo, ,.,, IUO IOI IJ" Gm-..l111i, l:'icu,~~ 1 1 ~
\nJ,,...m. \I«. 19. 21 C1ll1:m .11, CJh. \'H \)\) 11).l, 1Sh Po no the "-id Imm nut er S1'\h.(... I l c....,,,di.1 \ h /'t,,,un~. 1g....
..,.\nnnaru.1\i
0

, 11 ''C.11\'ln mJ 1ht C'nlnnd", n, 1"1011 1IJf1u~l 1 11 .,,1e:,,, •.!.;, \8·-t• +· Cl1old. Chc.,h·r 8 1 Att :i
\nh;nn~1.:,1, [\mn,, 18 CJml'M,1 S1lhihl, "'O IU), lP , t...:?., I ::'.j !1, Lt,.1.. ll't CrJi;1c I 1lmi;. ')
', \,.1n1 Ho\ ... 19. rn CJncm.lkcr, John, 'Jl, .-,., , 1i, 1 ,u dt., "l\,onc~un Src\lJI. , •. w C-:nhJm, C'tr.Jhlm H 1 \
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(\~, •1,,1 1,-,~\,IJl, l r,1:oq, 1-, C,mnun, J1,h11n\· h.). •~ n~,r Rt1u, /1 18,182 S-;
1, ,

f'r. Scull'.~, t,5, t,-

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R,~~I\, •lt1. 18. ,,
R"k 1,dcm ,~S 1b9. 187
nttd,.u!'. lun, _. i
R,1J I 1.. ~ /l/,d,r, ,9, 8l S 1
n.,,,h,. 1\,lrh, "' , 1
n,11/w11/,11,J, Ig(,
R1m1~1. ,t,
Cr.mt, llll!. 1u
Lu1,1111'1i:,,, H,111/.. U,,J,f,,,, 11-it. i I S•, 17\
C'.trl,llh l\tc, ·9
''C'.irt,11n h,in,)!,,11,k1 Shtm The", ,H1 nrrn,,l·, it·1, 18, JJ IJ • 'lS l•rccn, Gene.\} 1
'+ -~ 114 Cbtl,nu. \Jn.1m. 1j,; n,.. k n,,1,~111 m ,,,l , , ltf"lflll\ 11 , ~, 1lhn. G,1~,·, 1 ti
C.1i.rcr 1,1 1- rtl- +14 I C,mcmnH ~1Jn, ,1-;
l...JI <.:,um It,.(, J1;,, 1 ,~ \(.) n11~k \11111,k. ~9. ;~ N l.iuU1HT1 /r11,,h, 11 q-- 11>1
1.,11 (1,1rxat11, J/1,, lbl ') 1 1
P11,1 ll,1M•11 f1<1.l 1, '15
()uml-,o, 1 h, iu-, qu
l 11111 f{,lblll_i;, l l1lh I tit°'
Ch,mrun, "''"· I$
Ch,rHn.Clmb ,~. 1~5 io, 11,nJ. i'J11d. 1S~
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) lmn 1, \\"1lh.1m. I(,. 1!'. n; ,o. .t I .!."J 1 .•'-}

R,11ttl11 ,\hd,GoJ.::11/,1 1)4 ,,. 1-6 d,;i,rhc fluN z J.

R,mJ ( 1Hhdf, l11t, 2~. 1.0 11
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llJ,l,~tJ, lu:1crh. If-.
ll'2, l~f
R,rk<r, CorJcll. 1 N
RJm.i .. l, H,11. 11
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R,A, Ru=rd. 1(,
I J1~1,n. Th11nu-1 hi 1t,-, ,t,.,
J Jo,.,1/11V1J0t (\,11/1, 10 ,Sh j !Jl"I' \ I hntll)UIC!i, I l
Ch1111~u\,C11;m. '-f') rJ......1,, d,ff"l lkdd, rl, 91
l l.ui.lJ\\,11, l~en ·llui:,,.", "'.J. .....,
Churd11II I r.nl.. 1
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f 1'11,;0, I j(, l~I, 1•1.
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I"~"· 111 1,5 I k,kl, ,nJ Jc.kl, 1•
Cl.ui-. ""'' '·f" I lillx11nJ11. I1,nc, 111
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'l1ut,h C,u):.~,... 10 f,mt,m.1 ,,. \f ,~. I 'J,, I ~11. 1-f ,, I I\ I lolm<>. Slml,,J. ~ I· S~ 8·
Lo.1/ 81,1,k Jn,/ J, 5,N•rn l">t.."'/" ,8 I JfflWl ,\ll:111.1, I; I lom\·mmm 1101d, 1-,

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I lu~lt:\ I rnh , ;,
..,~c.1m ,md Cc.;il'" 1'l ,o, u Cuh,n. K.ul 11$. 1 15• 1·, r «J 1/<1"1" , 9. 1-,u s,
/ttJ11r\· 1.111J i1'1< Heim . .> 1 Cnhl.1 mil. 11. -;1. ld,m l1Jll1,1. l l I luh1.:\ Jnlm 1S lll. .l..t· (, ... 1 •t.,. 11+ 161
is., gs I l11Mc1 Stud111< 16·
0<1mJn, N,nn, Bl Cull,<t, BuJ, "t" tdn IFI lfolf\'lh'd1' 1l 1\,
Rc-ntd1~l. I J, 20 LL1l11ml I fn-J I 1o1,, 11 rch,tbcC,11 , , 1l, .,... 55,9:a., ,Rs I ludJcl,,m 11,,und'. '"· •,. 1~ I
Rcrn.1rd. l,1m,, )O, 1 ~5 "Cufond nl«f •o I ,,Jm,mJ 1/,, Rull, , !(, 1lucm,r. f"ltd,. 111-
Rem flour 1., :1 : l i.)-i 'f"• 1.)~ IOt.l, I ,1, Cl>luml-1., r1-.:turc111. I ,. ,l,. , ..,_ ~j, q--. l.;r').!.uM11,, '\Ju11n, \ l lurd. btrl. " q
lcr>!u""m,l"ltto, -tl
111111-::. \\ 1111:im 11 I 1R1
18b Ill 1,1 H"O. 1ti.f 1S1
R1( Sn,r, /1,,. ")· I I~ " ) Coh,i:., rm,,1, -1 wR I 1;:,,iru, I un\. 1(,(-1
,n,w1'1l•L•l1d/i11,1, .. ,. 1\:1,11,; '"'
Runho. 1. ,, i.) I ~) t(H>, I ')1 Condie, R1J1,n·J, 118 19 I i~lii11~1!.1 , ~1<.ltr 1 --tt 1 8~ 11.ai., MSmt,1, 1S·
RmV'iJ'1 lnnhUrl"n :>-=>,I')~ ~l l,..i"11\' L.in.crro, ~q. 1 \, 1 ~ 'I.) / li/111•. dt-
In~, \I Tl,ttm ,-. \. , I \
Cw,dlu. Rill, "l\,d r,rr<rS.11n".q1 fk1,cl1<1 llM,9", I 11
811Js -\n,m\m1Ju~. 1-fh
Bmh -,J 11 1\,1111111. 101 ··courJ~cou:-C.u md ~hnutt' ~111\tC~" 1(1 I l.;1,.,.;hi:r ~l.1,, 1 l I\· Jl, s~. q , 1-) 1.f;,
l,111~ Rudolrh. q ,s. 1~. l'l•, 1h, '"
11.,,., . ... ,
Rl,-1. I un,t•, Cr.IC, 1bS, 1Sb ,Sb
l\\i:rkc lll~. 11 1+~~.-8,1-)..l, IOI 18t-
~1Jc~iun, I Stum, 111, 1,., ~1 CrJoJ.,11. R,,t,nd (P,, I ') 1 11..:i~ hcr !~111, ~tuJa~. 11 I b, 21, h). tt8,
RIJir l'tc,tun, 1•, \') Cnrrmhcrl,•11 L)•,l)o.} lUI '-i''· ... ~ l, 11' ,t,1 ,._1,,.,n.l\ 1lfrcJ •8, ,s,,
~!Jn •. \ Id. 1 ·,, 1 8., I• 18, 1~- 1• ·- , ;(,. Cnul...◄h,mL, SJlh, 1 ) ll1p th.: I 11JC.. q. 1111 '"le1i.nn,,. The h) m, • :, 1t't.f
I t5, 171 l11r11""l1 JfoJ, 111\, ,8- '11,c I hm"IPn'i:s. 1 6 ;w, n. i<~,- hminr Cn..:-1...:t. q 1
Rln.::11',,I/. 11,. ;q. 1B• "Cru"JJc, I\Jl~~n .. , ... 1~. tu 1 f l..ru·cr, ,mJ 1,m, •~- 1-., 18(, luhnl'lton 01111:, Su
Rluth, !'1tin. m Culh,n,. '""" (Sh,mu,). 19, n. ·S. 1t,t- I o~hurn 1.ti:,hum, 1 Jun", Ch.irb M Chu,k ,t, 1S ,i, :,
Blutn, 69 CulhJn,:, lnhn, 1,r s~,;m,nau,d Rulk!IU,
, ,,r l, 1 1 .2.j. 2g ~q. , , n n, r ,s. ·H•
Bum)!At.:rln~5hu,, The", JI.') :.w I urJ. C,,i;. b. ;b 1,,. I .,• ,~. ~· .,,. 11 I 1(,. qA 1 ,1,
80\I~ Rttllt, 1{), 1"'0 .. l (1.1//, /J.,_, 11,,, ;S 1Uttttr, \IJn. 1-0 18, 18
R1)bL.1,. ,.._ r .., ,.1c.., 11,lt, f1u,l 1 \, 1 ~. u . L I ,~. 14• 1(> 1~ 1"~1-.1, \\ ,un:n, 1~.1 • 1-n.1 "/cmn, Q_uc..1 1q HJ,.•,. 1t-o 1
R1_)Cju,;-u1u, S1\°:phcn, 1q, (i- 1 •-t• 181 i+ 16 f •• b; ~-I tb t ,, t •S, I ('I\ ,mJ 1f1r (rnu,. 11"-, th
Ruulhor r l::.md , kJ I l\ lb, "I) 1b, I tS, I :-n, 1·2 ·1 ~0,1 • ➔ K.mt I lclrn. \ 100
R°', fl,.. ,S f)J//1 n,,.,Jk,. ,, I 111111 J 1lt11, I g. K11~tt1J.1m~r K1J•. 11-ic. 1t. 1,

"Rv;o the Clm, ri" !O !'1,hon. C,rl, '·I I rtJ I lull?-lOnc 11 f..J11lm,n J R, -~
Rr.1Jlc\, 51.oH. 1t,1 f"t;anJnJ.:;.:. Vl\u.n. to\ frcl,ni.fna,,1.u •1.1,. 1• 1S. 1~. I' ls:kfl,•1. M,kc, ,)I
/l1oJ1, I.ml, I a1fo1. 18. "" 121 11,mJnd.-:,.: Ruh, , 111, ", II) 1$, 1$ l(unbll, \\,,,rJ I \ U, 18:
Rm, I R 12, , l• 1-1 15 L'l.nu.,Atl, I\:, I n,d,1.1ld, \\'111 ,~) /\.m,r. ~,.:, CJn,m ti~ 1
An .int \rthur <"la, 16, - Otr,mt f rdcn~ LntCffll'O\'.!I. H) :t 5. 1 ,<, lnt: 1hi::C;n .to Kinne,. J.1Ll. 1u:
fluckc\ ,md Pepito .!!~1 'f'lcrut\ 1"'1J\,1t, :ll.d lta1<1, 11,, 1$ l\im l,..,ptll(,f\J. I B~
Ru~ flumw, t l, l fi tS, 11 1J... ,Lj , ,h'.), \I, no I u,h,a 'j .tu. •q, h1') , ...... ls:ni~I lrthur. (,I
•+ P"L rr,,, ,o. 8,1 ~· Nui;l,1r ".ru1.../•1 Ru.~.1, 1$, .t.l, 'J"'f, 1 •<'
1+ ll• l" 1S,+f- )1·
111 11),
181 18~.
I,~. :-1> -. 128
11S, 15~. 1·1, 1·S,
is~
P1th:h, Cic-ni::, JO
IA,nc, ~tuJ1u~ If , .., \I, lf, 1S,-1-o n.
G,11/..,pm' V11111,./,1. fl~. '-t

b j h -, I 10
111
L1lr,,lJ ,\l..:ffl"'m_-,:H.J1ni: 18 tq. rS, , •. "-l'~.111-... <.l1rtw. , \, "', 1 \. r, "l ,,
IS)
q-., ,i..
 N'ka ·, LJr1I, CMrro/1 186
Kr,;1• i;,., I j, 15, IOI. 85
K11d,lu,1, John, 15, 87, 89
I..JC.n'1, Grc~n,, 11, , u 1
l.,1J1 r/,11 Y,111 AfanJo/,n. 14 1•1
f.1.n ,ind d~ 1 '""'I'•
I4
1. m~tr, M,rl.. 152
Lmt::, \Volu:r, , ,-, 1Q, 10, .u, 2+
1b(, {,• I 8(,
Lnna, Ctm, 14
Lnurcl and lf,N)'. 111, 148
l.c,r C,mlvn, , ,6, 18·
I.end II r,rui, 121
L,.,101, A~,. 18
J.111/, R,J R,Jin~ R"hh,~ 156 57
L,111, Ro,,tl R1d111s I /ooJ. ,9, s•, ,us 111
Lmld\•utio, 12 q. 2.1. ~1. 186
IJ")-d, I l.1rold, I 25
1.o,~ Lane, , 40
1.o"'"""' Cho,u, ,86
Lontz /lmnd /l,1n, 84
l.wncyTunc,. 14, ,1, 18, -1~4•, 146, 1-0,
1?2
l.orJ o{ ti, R,rw. I2
I '"'• Fd. 59
l~ueJ!E, Ccn~c. + I
Lund), l:Jid,, cl
Luni,k, 0 1,t,, 16,
Lupo ~ Butebe,. , 8;
~l•~oo•, P11d,/l1 /vmpc,, 2,1
M,1,...,. 1'h:bol, 18, 20, l I , )J. b2, 7•1
I 15 l~• 1-15, 1,18
\,lalun, lcun,,.J, , ,, 411, 46, 18 r
Al,111 ~vl,o /llJ1ucJ Trw, 17't, 29, ,(,8 ["l
Mm,n M,1rtian. 21, 14. +I
M.a••m,J,1mc.11, 111
Ma.to.di P<:tnL-Pc1ro, 1,h Productions. 1g.,,
M,r, B,llv, , -u
M,rcr, Luui. B, 57
M~CJy, \1/il\!Ot', 10,
1 l,
, , , "'O, 187
Md(1m,on. Robm. 17. 18. ➔•· 187
Md..sf'(n, Norm11n, 119, 17b
,\Jc..h..m1t,1I Mon.sl'1'S., 1~6
MclcnJc:. B,11, 1 1, , oo
hld,J,, 11u
Mcn:<1'. Joel 29. 89. 9,
Mmic Mclodm, 14, 15, •~. 23, 3S, 4<,, 1-1b,
1•1, 178
Mcmtt. Rm,dl, 79
Vl~mc.r. Otto, 18,111, ,U-,
,s,
MCM. 14 17, ,7, 59, b8. "<), 83, ...~. I •7•
119. 146, 159, 16,, 18•
'vf,cht~•nJ fr0)1. 12, 50 51
M,ckcyMnu,c,u-11,19 11 ,fl,55,
78 i9-69 92,100,121 J\, 111 "15,
'71 185
M,l~n-', Sm:iu S1,mon, 186
,\/,.kn:, r,a,l<1. IS(,
M,lli:r, lotk •➔S
M,llcr,Jcfl, 81
Minnie Mov~c. .,$ 79, 111
\lrnlll, tll(AJ~"1.1, :.9,98 101 , 1t15
\1o,mbnJ, 18,-
Moon:, I red. ... l, 11 1
Moore. Nu!. 161
llod'<t Go.,, C•c, Ifo/lvu~oJ. ,Sb
Mouri,.1 r,nk. I 87
o\1oun efTomorrou•, 1ci
Mou~ C/cunm~ LS..
,11,n,n~ I),;, 186
Mr t..l,F,O<l, 18.10, 14 11 ~ 181
Mu,.ktmi Wolf/ ilrru, , &•
Miu1, l"mJ, ,86
Muttond Jeff, 12, 15,185
Mul'hnd~,. Cd11 ,rd, ,o
10 1, 1 11 1
N.,h. d.m:n« 21
N,1111nnl I ,Im Rum! "(C,n,d, The, 1q
I 16. '19
Nam1cl. Myrun "Cnrrt, 11, mo, 101
C.urcr C;intXin Show. "I he", lO
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0/J ,\1111. 11><. 15. 28, So S,
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0,11,ld 11,c lu<k)· R,1hh1L I I », , n
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142 4l, l)l
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r,,,' on f."'1h, 2Q. I 58
59
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l'inl. P,mhct, ,s u, 25, 1-16
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t"tnn.;:i;-h.Jo, 1 v.1
Plnit>ff, FmtM1 187
/~,m,Cra.:y, ' •I ·8 "9• 122, 186
5,:, Pluto, "l
11, 15, l,J,, J,.~,
N)'mpton, a,11, ' 17, , -,(,, I 87
Poe. [dp1 Allan. 11 3
r"""'· ,.,,,_ ,s<i
l'oor Cmdrnll,,, roo, 18b
l'orc1c 14, u •1-•9.89. q,.97,,62
f'apn, ,1,. ~,11/or Mcru Al, 6,1!,.,', /·ony ·n11<1 c.
59. 166
r.,,,.,, ''" S,1110, M«u S,11J1"J 1h, S,11/or,
88- qt
Porkl'l't;:. tS, 22 >4, iS.-14,-16, Ix>, &1 63,
84, I J6, 115 ➔6, 162, 1n, 178
19, : i
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p.,~, •,l)u.;l / lunt, , 5, 4~
•a+ ro,l) ·, /1,i,t! '""'· I b
Pork\', Du,l I lun, 18, -16, ••
l'11,'1r, ', BaJwnc Stm, 11
Pn.,, M"h"I H, So
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l'n,f,..ur l1', I, , l"
l'ud',)'. \, IUtl
l'ud...lan. V I.. , b6
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l(ll<•t•I. M,tc, 2 l· 99
ll.\i,ck n,,.. M,c,..... 20. , ~➔
(b.t11nh1.J-n:d, 119, 16,1
R••fn I 11~ ' 15• 148
Ro,f11 I lwJ, 18·
Roff11 Swonm,11, 29, •+ 1p \5, 148
&,;;,, o(Snlllt, 04 -~
RJJ4,dyA11111111JA11dy, :,,o, ,.,, l()J
R,J llot R,Jin,~ llooJ, , B, u, ,9, ,~. 5b :;9
Rcin,~<r. L<1t1c. "I• ,,t,
R<1thcnn,n, Wolrµ"ll, 11, 11~
"l\,n 2nd S11mp1 Sh<,... 11,i' 21, 2 l
Rcpuhlk r,c,uro, er
R&om nott!M U11Jcr, .:0 I
R/,,,p.,Jv R,,M11. 186
Rh1ipwd1• 111 Rnru, , 8b
Rtdcml. Diel, 186
R,brd, 11i<k. So
1\11,d l\unntr r,. 18, U, l), ll. H,4•
l\o,ky ,nd Jlullv.,nLI,, >o, >5
"R0<Lpi,d I Ii, I ru:nd, , R
..Rog.er R.imJ1£', 10
R""tl Tool Toot. 29. 101, 114 16o 161
1\,,.,, Yi~I, 18, u, 101
"Rulf md l\c,d, ", 16 ,o, 161
l I 1,6, 1l9
ll»n, W,11, 91
Sa!L,n, Leo, 114
5<011J1 L,js I 86
&11,lt1 Pumptm1(kc/, T11c, 1 it...- \"'"
Schl,h, l•d.. ,,,
Schlc,in~ct Leon. 24 ;8, 47, b,. 1 ,~. 146,
'•I"
Schmidt. Luuls, 81
S,hncidrr, Stc1<. 1,. 86, 146, 1 l 1, 172
~hwJrt:. ~,k. 114
5.:~11.11a1. ,o,
5.:c,1'1"'• 14
S.:rc:11 1,,11 Squ,rrd, 18;
5.:rc:" )' Squ,rrd. 16. 16, n, 111
5.:nbn,.-, Rod, , 8
Sc,,. led, 11
Sr,rcl o{Nlrnl,. l11<, 20
Sci:,i,. I..C, •I
Scldcs. G,lhm. 42
Sc"or D•""f')', , 8•
Sc,cn nw,ri',, 5,, 'H 121
Sh.,,r,ttin, Jlcn. 186
Slxrw R1.a R,.i;s, 18, 1 18
Shum,.J,x, 1-111
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Acknowledgments
Ullin)\ 1h1~ N><>I. 1~c1her ho; h,cn J h.,11, 1h.1nl-i< 1111h, dl,m• ul rl\>JC(l ,d11or I.on Stem .md .,II ..rmi !'""""·'' fncnds 11ho contnhutcd JM\u,rl.., ,,,, ,,,,,, .m,I thm

I ,pc,1,1h:cd l.n0\1lcdi;c Chud, !,11ws, M,l.c ,nJ !eJnne GIJd, S1c1c Schnetdcr, rJul Mul.11·, Im Guldm, \Mii l\),tn lmdJ ~11n,n~l.1•, ,\ndt'<\\ I I ,Jm, Chm·I Ch.11,
M,k, l!Jrricr, M.nl KJuslcr, l cnn,ml M.,ltm, lnhn 1-.n,f,,lu,i, S1c1-c Sc~,11, \Viii I ncd11,ld, M,J.., l-.1ekr. \\cnJJ I ln1 rn111::. R.11mond Srum, I klll,ml L1111 m I mJJ
June<, [)c,111 l11J::, 11.,m•I Von C111<1c<. I.csltc (JhJ1-,;J. nou~ R.,ni,n 11! 11" I I '/,olt 1,'<ln C.11,1/o~. RUlh Cbmrm, I.om (}Gr.id\', ,,n,1 11cnnJn, 1-.J~ Cohen. lmr.m
MJnlkt1'1Jn, , nd 'l,nn luhn_,on 1h1• 1-t,ol.. 1~ dcJk,11cd 10 1·ou all. l'J like tu c,r,:-1.tlh thJnl.. the con1nhumr,1 \I Im sh.ired wmmcm..•. m•ii.hh, ,ind II isdnm ,11th u, mJ
1hc rnllw,1r< " hu lent,., ,nw.,rk (h"th )\rnups Jr< lt>1cd hcl11\\)
,\dd111,,n,1\ th.ml• ,1rc due 1n Dtck M." 01 ·1um,, l.01,n.110mcm/MCM, L.11m l~nnJ l-.,1h1< Hclr ri., ,nJ Ch.wks C.•11- 11f\\ ,mer Hrw. An,m,111111 Ru\• Cl.11,ir<11,
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!ohn S,r,bcll.1 Jt The 's:J1111nJI I tlm Rn.,rd ul C,n,d.,, Stc\C \IVunh Jnd Lc11 St udc ,,r \ mtJ~<i\111mJ11on « I rcsu11 ,11111n lohn :i,mmb, Ch.mt Y,mmcr. Lu, \ Jmtnct, Su,.111
Lum, f1ccn, S1c11,, M,,hdlc Stem, J,1\!d mJ Ah·,~.1 'v11Sk1111', 111 \.m, ·1mor, mJ Cnn K.i.:.il,, J,1-uh anJ R,1'<;,;,;,1 Chen, I no ,\,l.irsh.,11. l,11 I h.,rn,..1nJ ,\I.in 1-.d lo.:k ·1 he
•tall ,ll I ur1ic1· l'uhli,hm~. mduJin;1. M1,h,1d R,,,~on, Jn dircm,r< Mich.,cl \:V,,lsh .,nd K.1rcn $rn11h, cd11ors 1-..JUI\ Ouu.lcr .md \,\ Jltun R.1wl,, :.1.J1c $p,11n, L,urm
Lmcrson, M.111, M,-1re..ind Rec l·dmun.l, l·.sr1 m.1dc •rrn,11dlorts, JNI\C .,nJ i'<1<tnd die di 111dull to 1mrrm c the h><•I..

CONTRIBUTORS ILLUSTRATION CREDITS

loc Adumson: 1\u1hrn 111 / ~, •\1 u,: 1',n~ o/ (0111._/, ,1nd /111~, 81111111 / 1/11 \ ,,,,. John •nd Dnwn Altyn: rr , 1. )(,
,mJ tlnh One G,n / /,11c, Jll'Jrd ""'"~ dm:m1r/\\ ntcr/cditor 111 tck1 i,1,111 Pot Ballew: pp.•1,, •S, -9
documc11ta1ii:s:. Mike Sorrier: rP -18, , H·
M,chocl Bnrrkr: Cn:atur ol J 1111n11,01JJ: Juthnr uf scl'cr,,I ,olutn<s ton c11mi~hcttiks, C Gr A An11n•1t<m: rr 19 ,c,1w 81, 1.,~ \,,111,,m
:mJ of .i much J\\'Jll('d h1""'Wl'\' ol ,mmudon l cslieC,b.trj\J·rr, ,lclt., ;IIJrJnd .cntCI 87, 1/10, •-11 id1
Jami Bcmord: I ,Im cnu: ro, the 1\\i, \ ,11l /'0,1, .1u1h11r 111 I IT>! I ,Im,. Canndinn Broodcastmg Sy8ltm: pp. It,S, i\'9
Lc•lie Cab,irp.•: \uthor,,f/1" flw,l1,1 $1011;.ommcnc.11 antSt. John Cnncmakcr· r 5 l·
John C•ncmokc.r: 1\u1hur ol fout· 1,,,..1.,, 011 ,1n1m.111nn history; rroduw·. dircm11. Bob Coslno, P.,cclnticm: 77,c Ammulion Suu,·cc: rr 1J.f, ,(,~. I b; tor,
.ind dcsi~ncrof JllllTIJUon, h, Jd ,,rlntm,111011 pr(l):tJm ,11 'le11 Yml Lnff<r>III 1(1,1hottom
Doh Onmrcn.Jr.: n,m,tor ul Bo\, C1.H'1J'(1I rrod11rnons Jlobd31npc11 Producciono:rr ,s«unJlrnmld t:bo,~1.t,2,bi,S,,S-; '"'·
or
KJ1·I Cohen, l'rcs1Jcn1 t\ SII A S.10 J ,·,n,i,co, Jnttn,11011 ht511JtUn 'l''"'·''"'"i'. 10\, 10-~ 10,. 1"0 .,,, ,-8 ·9
,n c.irll' T\ Jn1mJ11nn and ''""'"h,r Joel Cohen, Houu of Collectibles: r•p
[uh,, Culhane:\,\ ii1crfor1',,11·siml.. //,c \m , o,k I 1111,s, ,nd mhci rcnll,kJI,; Solly Cruick.,honk: rr •-+ ,.,-
.1u1h,i1 orm..:ul hooks on D1, ne1 mdudm~ \\',,It /11w1's 1,1111,1,111 ,nd,lluJ,/111 Grog DundiJ: rr•I ti-. I -s ror n~h,
n, ,11,,k,n~ of,ir11\n1111,11,J h !111 Steve Fcrzoco r -
Grc>1, Fo,-d: /\n11n.111on htStmun. cuproduccr uf 17,, C.111 Sr.1/lm~ /',,,,,d, <u11T1tcr Mtkc nndJcnnnc C,lod: I'll p.11· 5, 111p. 5·1• 55. b I•(,(,, l, , 1 l,111111111.
.mJ d,rcm,r or\ \lamer~•.,,., ,hon,. mduJmi:, //1( n11\0l"SI ,inJ R/011('< • Rwinr, Su~ouc11Y1,')0,9t, 1i ,.. 11 I• 115. 1t>o, ,t,, , 180
Will Fticdwnld: Co,1ud111r uf 1,tldll<V ltmu <1nJ \ lcrrrc .~JduJ1r,; r 1-0J11,cr of Hu"'•)' Entcm1n1ncn1; p. 1~ \ch
~omril.1tt0n~ ul \ ll'lt.tAC mlL"'I~. Murk I Idler: r, 59 ni:lu
Milt Gray: P,uduecr/dtrc,tor/\1 titer ..rJntmltton; Jutl,ur ur C.111""11 \111111,mon Chuck.lone• Enterprises: l'l'· - 1, -,, 149
/nrroJowd,1 h>11 Cuw. GcQl}?.C Kurz rr ,CJ tor ,ltnl <Ct\lCt, ,o "'I' .md .;enter. 5 t cur, ho1tom I.it, ni.ht
M. rhomn& lnge: Rl.1c~"~ll l'tofcss11rnfl lum.,nittc. ,11 R,ndolrh MJcon Cnllc~c. i\nron Liken, Filrnu,1 rr- ', 7, IOJ', I m ruuom. I! 1 I ,.2 I(, I h11lll11,,

editor ol the Unt1<rs111 o(M"sissipri', :(u,J,., 111 1'opu1,tr (11/111rc; .,uihor of Heidi Leigh, /\ninui.;;ing Gnllcry: r ,o
Conl!d 1b Lldwrc. How,rd l.011 ~•)' Galleries: rr 'j sc,und f1om ,,~ht, I 1 top. I og wp. I I"· I I,
John Kncfolusi: Crc,tur ui' R,n and S11mr1 12fl, 111
t conord M11ltin: I ,Im wrrc,rondcn1 for "I ntcn.nnmmt ·1omi,.ht": Juthuruf Greg Manin/MacPhcc Croup: rl'· , ; 111\c M\< •rrcad
0/ \ /1,, ,111J .\ l,,~tc. Pnn, Mortin, Cchhr.ation: rr 125, t fshonom
!efl'Mill<.r, I ,Im cntic fur 11" I fotmon (1,..,,,,(1, Peter Mcrolo: rr• ➔"· ·I ' . 9b, -
Mork Ncwgn,·dcn: lllustr.11or dc,ii,icr. 0111mJti11n l,1~1,11·1.m, w,rcOlnr of'Jl,c M11Stlll\\ of Modern An him Stills Collce1ion: rr-
I() top. ,,, I \ ho11um,

G,rha~c rlll f.:,d, I ·I Ill(' Jcit. IO tor

Rill Plympton : i\d,imed Jnim.111on Jirc.101· (\0111 I ,1«).
Mich11cl 11. P,·ice: I ,Im mu, and cnrtooni•t for 11,c I ort I \-o11/, Sw Icl,,:r,1111; film
Jirc~tnr, i;o.w1lirn c:lf SI!\ et JI hutils.
Will Ry.in: Vrncc Jrllst ,nd S1tl1)!,I\ nt<r for n..nC\ .md f1on nluth; 1rd1111.st frn
I Imo 1\Jr.;!1 ,trk
Suwc Sd111eidcr: \oumJlisi; rl.""11, ~ht..mthor ul 17,,H ·, \II Foll, , nJ r,uc$t -:ur,ttnr
ofthc \ltu«um 11fM(1dcn1 \11 's WJmcr Rro< , hull
Lind~ Slm1m'1;ky n 11't~·wr or .11-mn.111an dc\dopmcnt lor ,i.:ld04.h:on. Pt\:~1d.:m
ufASII I\. Ne" Yml
Chorlc! Solomon: 11onk , n11< lor the / os .-\n~cl,i Iilll<l: ,n11nmon htsion,m: Juthor
of Ln, li.1111,J Di.11nn~s
Nationnl Film Bo•rd of Cnnodo: rr , , b, , 1q, , 1S, , N
M• rk Ne11 garden: Pr· I \cit. , 1. tr. 91 bt11tom
M• rv Ne11 land, lmern,1tionol llockct•hip: rr 5 n~h1 1•;.i, , ~,
Gre11 N unnolly: r So wp.
Cheryl Schnct Pct:l'o:clli: rp '9 n~ht 1or Jnd hunom IF, Il>5 wr: phn1n,zr,rh1
hi' C;rl l'ctlil::dh
Steve Schneider rr, I second lrom lclt, 11~h1, i,i. 1) top, 1S center. ti.), ~b. 8.1
ho11um, , 5,,. , 5- h,ttom
Silverstone G,llcries: rr v h1111om 1411 hctt1om. q2 top. 1-11 wp,/l,n11t11n ,,-,,,
Ridtic Singer: rr 11 ldt, ·I;-, 15~ 1or
Andre\\' Wdn8lein: rr· I I i'<Jltllnl, lS N>lt<lm, -H ni,.ht, l'i· 1Li \•111111,n. Ip.
rhom/?.r,1ph1 h, h , ., A""""
World', Crc.ttcst Posters: rr -2 hutton,, ~8 r1,:ln, I lll top. • l•> top. phtlto,).rJrl11
h1 Aden l-.c11h
Sccvc Worth, Vimup.< Ani1Mtio11: 111'· h5, 11,1
 Jerry Beck has been involved in the animation industry
for more than twenty years. The author of two books
and numerous articles on the subject of animation,
Beck also serves as consultant to The Cartoon Network
and is a member of the board of directors of ASlFA,
the international association of animators. Recently he
bas been working on video discs of classic cartoons for
MGM, Disney, and Warner Bros., as well as producing
new animation and lecturing in the field.

Also available from Turner Publishing, Inc.:

The Flinmonc.s: A Modem Stone Age Pbmommom,
by T. R.. Adams
My Life in 'toons, by Joseph Barbera

1..conn-"f~' dw,am.,NnQ..nf·rdard~ft~.JnlcmwbofWlmCl'f'n..C'1~
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J2ckct design by The MacPh cc Group

lllustmcd by Greg Martin

Published by T umcr Publishing. Inc.

A Subsidiary ofTuma Broadcasiing Systan, Inc.
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Disnibutcd by Andrews •nd McMccl

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