Creating Animated Cartoons with Character


Book Description

Provides comprehensive, step-by-step guidelines for creating a quality animated series and getting it shown, drawing on examples from such programs as Spongebob Squarepants and Rocko's Modern Life.




Animated Personalities


Book Description

Mickey Mouse, Betty Boop, Donald Duck, Bugs Bunny, Felix the Cat, and other beloved cartoon characters have entertained media audiences for almost a century, outliving the human stars who were once their contemporaries in studio-era Hollywood. In Animated Personalities, David McGowan asserts that iconic American theatrical short cartoon characters should be legitimately regarded as stars, equal to their live-action counterparts, not only because they have enjoyed long careers, but also because their star personas have been created and marketed in ways also used for cinematic celebrities. Drawing on detailed archival research, McGowan analyzes how Hollywood studios constructed and manipulated the star personas of the animated characters they owned. He shows how cartoon actors frequently kept pace with their human counterparts, granting “interviews,” allowing “candid” photographs, endorsing products, and generally behaving as actual actors did—for example, Donald Duck served his country during World War II, and Mickey Mouse was even embroiled in scandal. Challenging the notion that studios needed actors with physical bodies and real off-screen lives to create stars, McGowan demonstrates that media texts have successfully articulated an off-screen existence for animated characters. Following cartoon stars from silent movies to contemporary film and television, this groundbreaking book broadens the scope of star studies to include animation, concluding with provocative questions about the nature of stardom in an age of digitally enhanced filmmaking technologies.




That's Enough, Folks


Book Description

An authoritative and valuable resource for students and scholars of film animation and African-American history, film buffs, and casual readers. It is the first and only book to detail the history of black images in animated cartoons. Using advertisements, quotes from producers, newspaper reviews, and other sources, Sampson traces stereotypical black images through their transition from the first newspaper comic strips in the late 1890s, to their inclusion in the first silent theatrical cartoons, through the peak of their popularity in 1930s musical cartoons, to their gradual decline in the 1960s. He provides detailed storylines with dialogue, revealing the extensive use of negative caricatures of African Americans. Sampson devotes chapters to cartoon series starring black characters; cartoons burlesquing life on the old slave plantation with "happy" slaves Uncle Tom and Topsy; depictions of the African safari that include the white hunter, his devoted servant, and bloodthirsty black cannibals; and cartoons featuring the music and the widely popular entertainment style of famous 1930s black stars including Cab Calloway, Louis Armstrong, and Fats Waller. That's Enough Folks includes many rare, previously unpublished illustrations and original animation stills and an appendix listing cartoon titles with black characters along with brief descriptions of gags in these cartoons.




Historical Dictionary of Animation and Cartoons


Book Description

Historical Dictionary of Animation and Cartoons is intended to provide an overview of the animation industry and its historical development. The animation industry has been in existence as long (some would argue longer) than cinema, yet it has had less exposure in terms of the discourse of moving-image history. This book introduces animation by considering the various definitions that have been used to describe it over the years. A different perception of animation by producers and consumers has affected how the industry developed and changed over the past hundred years. This second edition of Historical Dictionary of Animation and Cartoons contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on animators, directors, studios, techniques, films, and some of the best-known characters. This book is an excellent resource for students, researchers, and anyone wanting to know more about animation and cartoons.




Animated Cartoons


Book Description




Forbidden Animation


Book Description

Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.




40 Years of Animated Cartoons


Book Description

Animation, a lifes passion Animation has always been Jacques Mullers life passion. Since he was a small kid, he wanted to draw Cartoon characters that he had seen on the screen. These Cartoons were magical to him. The screen was no longer a flat surface but a window opening new worlds and other realities. After having practiced drawing through all his childhood and adolescence, he eventually had his first break into the industry in 1977 as a storyboard artist. Working for several years for the French TV channel TF1 and other studios in Paris, he eventually got the opportunity to fly to Sydney Australia in 1982 to work on a TV series. Another five years passed before he could enter the feature film arena for the big screen. Since, many major Hollywood studios employed him as a character animator on sixteen different productions. This allowed him to make some great encounters with big names in the Hollywood animation industry. Today he occupies the position of senior lecturer at SIDM (School of Interactive Digital Media) at Nanyang Polytechnic of Singapore; teaching students the arcanes of Classical animation. This book tells the story of his long journey into the world of Cartoons.




Doing Their Bit


Book Description

The golden age of animation stretched from the early 1930s to the mid-1950s, with movie cartoons reaching an extraordinarily high level of artistry and technique--far higher than today's TV cartoons, for instance. Nearly 1000 cartoons were produced by the seven major animation studios in the U.S. between January 1, 1939, and September 30, 1945--the immediate pre-World War II period up to the cessation of hostilities. More than a quarter of the cartoons substantially refer to the war, and thereby are invaluable in helping to understand American attitudes and Hollywood's reflection of them. The meat of Doing Their Bit is a filmography with extremely detailed summaries of the 260 or so commercially produced, animated, war-related shorts, 1939-1945. There is also a good bit of overall commentary on these films as a group. Two chapters wrap up animated cartoons of World War I and the general political tenor of animated talkies of the 1930s. This edition also includes a new chapter on the outrageous government-sponsored Pvt Snafus.




Cartoon Modern


Book Description

Between the classic films of Walt Disney in the 1940s and the televised cartoon revolution of the 1960s was a critical period in the history of animation. Amid Amidi, of the influential Animation Blast magazine and CartoonBrew blog, charts the evolution of the modern style in animation, which largely discarded the "lifelike" aesthetic for a more graphic and often abstract approach. Abundantly found in commercials, industrial and educational films, fair and expo infotainment, and more, this quickly popular cartoon modernism shared much with the painting and graphic design movements of the era. Showcasing hundreds of rare and forgotten sketches, model boards, cels, and film stills, Cartoon Modern is a thoroughly researched, eye-popping, and delightful account of a vital decade of animation design.




Frame by Frame


Book Description

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920–1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called “cels”) and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.