film analyze essay

Alright. >> Where all this is the history of that animation. >> Jerry back UCLA. And for the record, it is April Monday, April 13th. >> That's good luck for us and OK. And if we're ready, I guess we'll just dive in and I'm turning. >> It was anything else to inform you of at this moment? Again, I'm going to look at the chats will TAs will answer questions. I'll answer questions. Now our k, we will see how this all works. Bear with me 1 second everybody. >> All right, so let's see. >> Let's see if we can do this. >> So alrighty. >> Alright, so I'm just going to dive in and around a lot of neat stuff. >> I bet some of you have seen at least one of these Hollywood cartoons in 19 forties. >> Okay, so to continue our story, i f to a quick flash back up. >> Previously on history of animation. >> We, we learned about the beginnings of it, the silent era, the early cartoonists, Walt Disney, steamboat Willie, sound, sound animation. And I made him a Mickey Mouse, Walt Disney major in the 19 thirties, pushing it, developing the art because really he wants to make a movie, he wants a feature, you know, he doesn't want to make novelty little cartoon shorts. He wants to push it. >> He wants to Hollywood in the world to take it all seriously. To FF he's going to be editing, might as well get everybody to rally around and seed from his point of view. >> So works on develops Snow White, the other studios in mind. >> This Hollywood studios reminder, I now repeat myself a lot and I feel like I have to sometimes because it's hard to understand, you know, from the world we live in today, you know what it was like. Back then, there were no independent animators. There were no it the only animators for people working on these Hollywood cartoons. That was the only market for animation, that was the only infrastructure for doing it. It wasn't like today. No one had computers. There was no internet. >> So the equipment was expensive. >> Cameras, Technicolor, Fillmore, black and white film, even at that point. So the Hollywood system was it than the Hollywood and Disney within it was pushing the medium is this amazing miracle of the moving and moving drawing, moving painting. And, you know, people are just sitting back and watching. >> And Hollywood tried >> To compete with Disney, but they couldn't. >> Ultimately, they could Max Fleischer, but we're going to talk about in a minute, who did the cartoons poster? You see here the Max Fleischer studio, Paramount Pictures, we're releasing date. They were Disney's closest rival and they tried to make an ad. If they did, they made to animated features back in those days. And then Hollywood gave up after that. No part of it was because the World War II broke out in 194142. So thinking about doing that was not a thing that Hollywood wanted to do at that time. Disney, meanwhile, started making cartoons and animation for the war, as did, as did others, as we will see in installment in this chapter. Last week we talked about the emergence of the Warner Brothers cartoons and their style and their influence will see a little of their influence today. A lot of their influence in a way in films like show you today. This is the mood, this is what was happening in the world of the universe of animation, or the universe gets bigger in the 19 fifties and sixties and seventies. And we're gonna get to that. We're going to go there right now, this chapter 19 forties. >> Alright, so last week I showed you loony 2Ts and Warner Brothers cartoons. >> And when I showed you that, I showed you cartoons from the 19 thirties, forties and fifties. I just give you a link to encompass, you know, the, the, the thing, the thing that is the Warner Brothers cartoons, you know, the, the, the, you know what they were doing. And as I mentioned before, let's do my usual thing here where I go. Felix can cap was the big cartoons sensation of the 19 twenties. There always is always want, although I don't know about today, we'd have to debate that, but would be today's biggie. But but that's a debatable thing is don't start writing chats and on all the things you can say Family Guy in Spongebob or this or that anyway, but the thing is back in the twenties, it was Felix and then Mickey Mouse emerge, mickey mouse and Disney. But shockingly, the Thursday's is split because by the, by the mid-thirties up, it's pop by the sailor, which was Max Fleischer cartoon studio in New York, adapting a famous comic strip at the time. And people, people identify, all great cartoon characters become that way because we can identify with them one way or another. We either love them or we don't love them. Well, we know somebody like them, but we can identify with them. You know, Mickey Mouse in the early thirties, scrappy person who's trying to make it on his own, pop by the fighter during a time of again, the Depression Era. >> And then during the war, war breaks out and pop i represents the American spirit, as does Bugs Bunny. >> Bugs Bunny emerges in 194041. By 194142, Bugs Bunny is to do super character of cartoons. For many reasons, these cartoons are funny, they're beautifully done, and everything about them is first frame, but the character touches another nerve. And that's true of any, any era and ending period. >> If you talk about even. >> Let's go back to the Simpsons that's now 20 years old, 20 or 30, got me like 20 years. I think it's 30 years >> And do I have that right? >> Yeah. I think it is 30 years old. >> When that when that emerged, why was it popular? >> Well, first of all, it's funny, it looks funny, but people could relate to it. You know, Homer and Barton family life. And that people could relate to that dysfunctional family. >> And, you know, that's whatever the character is, wherever it is, whatever it is that it has to do with you, how you relate to it. >> So anyway, it's the 19 forties. And in the 19 forties, a lot of things happen. Let's just take a decade on the whole, the beginning of the forties, it's the end of the Depression Era, barely. And it's the beginning of getting into World War Two and other crisis. And I haven't thought about it enough to reel, but I thought about it in a minor way, that World War Two people are now making comparisons between what we're going through this minute and the Depression Era and World War two. And there's definitely things that relatable, although it yet it's completely different contexts. This pandemic that we're going through is a completely different thing. But, but there's a lot of parallels, and I think you'll see some of that in there. One of those parallels as shortages, especially during the war. There's a lot of things like rubber, but there's a barred there outside. >> I can hear them here at and if you guys got out, they won't be disturbing the shortages of things today. >> It's toilet paper, but back in the old days it was rubber for tires and that silk for, for stockings, all sorts of things like that, which those kind of gags and a lot of cartoons about that sugar was something I was in short supply back and threatening war. Okay, so let's start right here, 194041. And here's what's going on. Today's little lesson is the other studios, do you? Studios that aren't Disney, Studios that aren't Warner Brothers for the most part. That's what we're talking about today. >> I'm actually going to dip into Warner Brothers for two seconds. So forties is war. >> And then the other half of the forties, forty five, forty six, forty seven. >> Postwar era. >> But really what the post-war era isn't a lot of ways is it's a continuation of where things were in 1940. >> Everything like today, right now, we're in a period of everything standing still until this is over and the world's going to go back to normal. Well, that's what happened during World War II. >> That's what it was like on the home front for sure. >> If you weren't at war, a man who was in the military or sent to a boot camp to learn to be a soldier, are being sent overseas. >> I don't know if you weren't that and I hope you aren't. >> You were, you were, you were world would have been a lot like it is here where there's nobody on the freeways and all sorts of things that would that would happen. >> But so back in the early forties, 1938, Just going to jump right in here. 1938, Superman emergence. >> Superman. Why are we talking about super? >> May well see the poster there. >> We're talking about Superman, because that's, that's very important. >> Very important. >> Yeah, these superhero movies, they're a big deal today. >> There were, without getting into the history of comic books and superheroes. >> But the character of Superman emerged in a famous Action Comics. >> Number one, if anybody has that, I'll, if you don't want it anymore, I'll just take, I know it's an old comic book. The Action Comics number one comes out with this character, Superman. >> Comic books are a new thing. >> Try not to get into the history of comic books, but up until that point, they were mainly reprints of newspaper comic strips in the news. And comic books for a thing. People like buying these reprint little booklets for $0.10 on the newsstand, like a 7-Eleven or something. And, and then some publishers said, let's put some original content it needs, it needs books. And they looked for all kinds of original content. >> And Superman's won't story, how it got to the publisher, because it was originally supposed to be a newspaper strip. >> But the two teenagers from Cleveland who came up with it and drew it and wrote it, sold it to national periodical publications. And, and they, and they put it out in the first issue of that magazine. And it was a novelty and it caught this nation in the depression by storm. He was at another two fistfight, or Allah, Allah, pop I. But this was done in a realistic adventure comic style. And was that, that whole thing, the whole, the whole superhero in a costume, you know, with the tights and the Cape and the emblem on his chest and the boots, that all comes right out of Superman with things that lead to that getting in there and how that happened. But that's another story for another, that Superman comes, emerges and it's immediate, like Mickey Mouse in 1928, an immediate overnight sensation, and the comic book shelves. >> And it establishes the entire what is today, the industry. It industry. >> It's about the, unfortunately maybe, maybe dying right now, but the comic book industry that dimension superheroes the hole and suddenly the flood of other superhero competition out there. >> But Superman was the first and made the biggest splash. >> And by 1940, a year and a half later, Superman's on the radio with a radio show and, and that's extremely popular for everybody. Grown-ups. >> Some kids might have been aimed, the little kids, the, the comics I could say are, are sensational and long story short. Dc was becoming known as DC comics, started going to Hollywood. >> Hollywood was interested in doing something with Superman. >> But you gotta remember, help move. >> These were, and that they didn't have CG effects we have today. The, you know, it was a different animal. And but the idea of putting Superman in the movies only made sense to Hollywood if it was something like Flash Gordon, meaning movie serial, serial. Oh gosh, I don't wanna go into explaining that too long, but, you know, that's a that's a movie. >> It's broken up into 13 or 14 or 15 parts that we've shown >> Mainly on Saturday afternoon matinees. And we are now back to a world where we have continued television, serialized TV shows of all sorts, comedy shows, dramas and stuff. But the idea of a everything you'd lose, contained, self-contained as we all know. And movies, you go to a movie, it's self-contained. It begins middle and n. It's not really continued, but now we're getting back into that now in the world we live in. And the but back in those days, they had 11 place for that. It was on Saturday mornings and they would have the serialized movies, which were big hit usually with younger people, although they were aimed at all audiences. And several years earlier, from 3637, Flash Gordon and Buck Rogers were to science fiction comic strips that were in their day, elaborately look really funny looking to us today. >> But they were very, a lot of special effects, primitive, funky special effects. >> But those were big hits as serial movies. Hollywood thought, yes, Superman is a good idea for one of those serial movies. But Paramount Pictures didn't make spherically that allowed. Those serialized movies were made by the lower studios like Columbia and universal and Republic pictures. >> They made the, they were low budget studios. >> Paramount was an a studio like MGM is a big deal, a big studio. They were interested in Superman's suit. Me, I was so big of a character. And so they bought the rights. They've put the Superman and the movies, but they didn't do cereals. And they also looked at it as a comic strips. They thought, you know what? Let's give it to our, to our animation Studio, Max Fleischer. There our dyes, they are the people who, you know, if disease make an animated feature, we get a flashers to make an animated feature. If we think Superman is a cartoon, then we get the flashes to do it. >> Here's the problem. Those flashes, believe it or not, didn't really want to do it. >> They were making their animated features and those were very complicated. >> There were still making Papi. Those are very popular. >> I'm leaving out. >> They meet other little odd one-shot films, you know, throughout the year. >> Superman, no one had ever made a cartoon that could look like a comic book. >> Adventure Comics that wasn't done. >> Again, we've grown up with enemy. We've grown up with Batman, the animated series. You gotta remember, nobody did this yet. >> That didn't happen. >> That there were no cartoons are action adventure, serious, serious stories. >> You know how the heck to do that. >> They didn't want to do it. That I think in those days, making a poppy cartoon in black and white plus like 25 brand back in 1939 to $40. So when Paramount said, can you guys make these cartoons, they said, well, yeah, we could, but it'll cost you, you know, and they were like, let's give them a price that they'll, they'll, they won't do it. So they sold them, they would do it for a 100 thousand per, per cartoon, which is the price of for cartoons. And paramount didn't bat an eye and said, okay, and they bought the rights and gave it to them. >> And in the flashes were had to figure out how are we going to really do this. >> I didn't bring enough images to show. But >> They this is the only other image I have from the Superman's. But they went, they think they quickly first figured when they're going to take the actual drawing and strip like they did with poppy. And we're going to animate what it looks like in the comic strip. And secondly, they, But in that those strip for very line art, very, very simplistic. No shading or anything. Just it was just very, very simplistic drawings. >> They look back at those old is great reprints volumes, hardcover volumes of the first Superman comics. >> You look them up online. What am I talking about? >> Whether the future you might have other alright, sorry. Okay, move unless it's urgent. >> The, so the, these early Superman books were very primitive looking. So I think what they did, and I haven't gotten this document anywhere except my own eyes. And it seems obvious to me, but they looked at the other thing that was out on the new stands. And that was the pulp magazines, the pulp novels, the shadow, the spider, crime fiction novels that were out on newsstands. I'm not gonna go into the whole explanation as to what these pulp novels, where they say it's something that really existed in, thrived in the 19 thirties into the forties and pretty much died out in the fifties. >> And paperback books became a successor to these dime pulp fiction. >> But the thing is those covers on those magazines, you back at them. The pulp fiction of the 19 thirties. It's beautiful. >> The artwork is beautiful on the covers. >> That very dramatic, very, I would say they were film noir, but there was no such thing as film noir back them. But these, this precedes film noir that way they would do these covers very, very intricate. And I, I believe that the flashers looked at that and said, okay, that's our priv is on what these cartoons could look like. There's nobody was doing anything like this. You know, they also, I think figured they could use the wrote a scope. There are little invention for tracing. >> Live action could come in handy here. >> It did come in handy later in the series. >> I'm going to show you the first one. >> If you haven't seen it, which I can't quite I don't know if they used the rotor scope on this one or not. Maybe a little bit. If they did, they did a great job. >> It's hard to tell. >> But this first one is also a little funky compared to the ones they did subsequently. I'm going to show you that cartoon. >> It's, there's a, there's a couple of Fleischer isms in here that, that they would not repeat. >> And I'm going to point them out to you because I don't want to hear later, hey, one is just that the henchmen has a, a cartoon like, like Raven, I think it is, or an eagle or so I think it's a raven of some sort. And then, and it's very, it's cartoony and they would not do this ever again in this series. This series is super serious and I highly recommend looking at especially the first nine that are done by the fly shoes. And when he did his 17 of these, and the first nine are really cool science fiction little stories and ten-minute form. The other thing that they do that's a little corny. And this first one is again, no spoilers, but there's a building that's going to rocking and rolling and may fall over. And it begins to fall over like it's butter, you know, like it's made out of butter, it doesn't fall like a real like a building would end. I call it cartoon eyes. That shouldn't be and they don't do that kind of thing ever again, that they learn their lesson from this first one and the subsequent ones or more as they get ruler and real or unreal, or the last seven of them, I think it is, might be eight or seven or eight that they did are, are all wartime because now they, now those were done like a year later, we're at war. So they're either verse, it's, it's Superman versus the Nazis are supermen routes to the Japanese enemy at that time. >> The, and those aren't as interesting. They're very, very flat. >> They're just, you know, just really basic step. The first nine are all science fiction ideas that are just, they get wilder and wilder and wilder as they go along, very, very highly recommended. They're all over the internet. Go look for him. But for now for class, the, if we're ready, let's take a look at Superman's from 1941. >> In the endless reaches of the universe that once existed. A planet known as krypton, a planet that burn like a green star. And the distant heaven. Civilization was far advanced that brought forth a race of supermen whose mental and physical powers were developed at the absolute peak of human perfection. But there came a day when giant quakes threatened to destroy, crept down forever. One of the leading scientists sensing the approach of waste as infant son of a small rocket ship uncentered hurtling at the direction of the galaxy. >> The rocket ship spandrel star studded space, landing safely on Earth with its purchase burden. >> Krypton Soul Survivor passing motorists drown the uninjured child and took it to an orphanage. As the years went by and the child grow to maturity, he found himself possessed of amazing physical powers, faster than a speeding bullet. Going to locomotor tall buildings in a single bound to be in a position to yours as amazing powers in a never-ending battle for truth and justice, Superman has assumed the disguise of crop can While not every part of our great metropolitan newspapers and I want to say you just received another flattening? >> No. Okay. >> Mr. White lowest another note from a mad scientist to listen to that warning plans to strike the Beware you fools. My electrode from Asia raised Christ. And neither total restaurants laughed at me and they already eat my warning, beware at midnight not may prove dangerous. Help lowest follow up, really, you may have an angle on there saying, yes, I'd like to change the historian MyYahoo Lois, don't you think that's a dangerous mission? Yes. Yeah, I report here the story of the world has ever known. How is that story? What are those? >> Come at night? >> I am back around one way but apprehended. No. >> This looks like a job for Superman. >> Yeah. Yes, thanks. >> Alright. >> So somebody who's seen that cartoon a million times, I enjoyed watching that over again in it's horribly choppy way. I don't know how I hopefully you guys didn't see it as badly as I did, but it was incredibly choppy. And I don't know if you did love to know if you did, because that's not the way you should be seeing these things. But and so thus the lead, we also have the links for on CCLE for everybody to look at the cartoons, right? I think we do. I think in so I think they could all see them if they want us to get better. Again, maybe it was only me, but it didn't look that great. But then again, from my point of view, it was great for me to study the frames, a lot of significant, interesting frames. Any of you grew up with Nino Batman, the animated series or any of the, Anything that's action adventure, cartooning. Every body working on any of those things at the moment in our lifetimes was inspired by these series of cartoons. And they've all gone on record, including, including people like Ionia Zaki. Go read interviews. You'll see that that's these cartoons were extremely influential on all adventure animation that was done since, including The Incredibles. Brad Bird. Again, I can't think of a thing that hasn't was inspired by the series which came out in 194142. Very much of their time, in many ways. Some of them good, like some of the art deco in some of the previous, some of the subsequent ones have some interesting art deco designs and things anyway, on and on, and not Superman. Okay, I may not show most of the cartoons I wanted to show you today because at least if they were as choppy As I just saw, I just cut it down, cut it weighed down, and just do more talking anyway, because I enjoy talking. Let's see if we can get the slides to work that they don't. Oh, that's nice as a nice poster for the paramount pop I cartoons. Well, this illustrates the fact that this is what I'm doing. Those surveys I do I think I did this last week for the 130s, where I'll go studio by studio just to see what we're going in. >> We're not going to look at a puppy from this period, but, but they're worth checking out. Their different. >> This is, it says famous studios, paramount pictures. If I didn't tell this story already, I'll tell it again real quickly that the flushers were removed from their own studio, Paramount Pictures, right around the time of that first Superman cartoon and the release of their first or second feature, Mr. bugged down, in 1942. They did that for a variety of reasons. The management at the Fleisher Studios was sort of falling apart. The two brothers, Max and Dave Fleischer were really, really the partners on these things, were fighting with each other. Dave quit the studio in early 1942, went to California and worked for various Studios in LA. Max was trying to hold it together between that and the fact that as they weren't independent studio, and the fact that the between that and the fact that paramount had loan the money throughout the years to help make the cartoons, which Paramount was making lots of money off of. And long story short, the debt they owed Paramount was so great. They had the paramount basically foreclosed on the flashers and really left all the animators intact, but got rid of the upper management of the fixtures. They called them Studio, famous studios. Need continued making Superman Papa, and then later, in later years in the 19 forties, they introduce new characters like, Well, when you've probably all heard of Casper the Friendly Ghost, that comes from this paramount studio from the 19 forties. We will not be seeing any examples of those. >> But that's what happened at the paramount studio. >> Oh, here's a poster when they started doing miscellaneous novel tunes. >> And there's Casper, really early, early version of Kasper on the upper left there. >> And a little Audrey is the little girl Herman the mouse, and Baby Huey is the duck. >> And on and on a lot of fun characters. >> They came up with World War Two. >> Let's stop for a moment on my survey of all the studios and talk about World War two for a second. I love this ad. >> I found this add a few years ago. >> It's an old ad from looks like it's from a school magazine, School Executive Magazine for school principals, I guess, or deans or whatever. March 1944. >> But death pauses for Mickey Mouse. >> Wow, this is, but this is what happened. >> 16 millimeter, which had been a home movie format and the 130s for affluent people because there was no other way to see a movie at home unless you, there was no television yet, but you could buy film and you could buy cartoons and things. Believe it or not, that was a whole thing that happened in the 19 thirties. It stopped in 19 forties and they found they could rent these films. The military was using films for training and for entertainment of the troops in the field, in the field of battle, they would have a projectionist, one Corporal would be the projectionist and get that. >> That would be their job. I've got that would be the job I'd I'd want If I were sent to combat, I will confess that my father did. >> That's why I know that my father was the corporal who ran cartoons and movies for the troops. >> And that's what maybe Lin to how I got in the collecting movies and stuff when I was a kid. But anyway, cartoons, and not only whether the Hollywood films and old cartoons, but, but we're making new things just for the troops. The troops were men, they were grownups. So they could actually, and they were, they were risking their lives. So suddenly some of the films that were made for the troops are, well, I wouldn't call them R-rated. I guess I call them PG 13, but they wouldn't, they might feature nudity and they might feature dirty words, words that the Hollywood movies couldn't use. >> They also made cartoons in that for training purposes. >> And one of the most popular allow, these things are very rare because believe it or not, after the war, believe it or not, our government who paid for a lot of these films, destroyed a lot of them on purpose, for a lot of reasons. Some of them had secrets and then some of them were just, they would just consider old not useful. And they just got rid of them, buried the negatives and things like that. >> That's another story. >> Luckily, they held on to the negatives for this, the Private snafu cartoons. These are at the Library of Congress and friends of mine, that means they're public domain there, but meaning anyone, we, uh, we own them. And a friend of mine went the negatives and started making transfers so that we can all enjoy them. So I'm going to show you one of his sound is a little funky. >> On the one I'm going to show you. >> They made about 25 or more and maybe 30 or more of these Private snafu cartoons. >> Believe it or not, this character was created by a private, Theodore guys L, AKA Dr. Seuss in the Army. >> And you can tell from the cartoon I'm going to show you that it's Dunning rhyme, which is very much a sushi and thing. >> Snafu, the word snafu, if you haven't looked it up, already, stands for situation normal all EFT up. And if you look it up, you'll actually see the F word, sometimes a space than they say fouled up, but it's really in the other word. It's usually in the dictionary that way. >> And he's a F up. >> He's an F up because heat. >> And that's the whole point of the series. They want to, in this series to be somewhat, I don't wanna say educational, but it would, it would have a message for the soldiers that basically is something they want, they want that the soldiers to do or something they want the soldiers not to do. >> So they would have our character here, Private Snafu, do the thing and get messed up for doing it. >> And that would funny way to tell you, don't, don't do what he's doing. >> There's a lot of them. >> All good. >> They're all funny with this. Normally I show two or three of these because they're very short, like three minutes long, or in black and white. These, these were farmed out to Warner Brothers, meaning the Looney Tunes studio. And this is like the height of their powers in the mid, mid forties. The one I'm going to show you was directed by Chuck Jones is no credit on it, but it's Chuck Jones is unit. >> But all the directors did different ones. >> Mel Blanc does the voices, and Carl stalling does the music as it plays like a regular Warner Brothers cartoon, except that it has Hitler in it and possibly other unflattering wartime stereotypes against our enemies. So as much as I'm going to hold back on shore and cartoons, I think this is only three minutes. It may run a little bit better. I hope it's worth showing anyway. You can look it up online or look up the link later. >> But let's take a look at the Private snafu, right? Don't silence. Yes. Watch most secular. >> So that was still crummy, choppy. >> Try to, I'm going to say that all these cartoons too, to recommend watching them. And again, I'm going to not Jodi that everyday I was under shade today because I think well, I know I can't stand gone through that. >> Here's the, here's the model sheet for that few non Animation students. >> But oops. >> Alright, let's go move back onto our, the rest of our, our little survey of other studios. And here's where I'm going to cut the cartoons out. >> This is the part I'm going to save the cartoons for when we talk about MGM. But right now let's look at the other studios. >> This is what they were, I think special in some ways. >> Columbia Pictures, colombia Pictures plays a vital part in the next class, which is on Wednesday. So I would normally not even mention Columbia Studios because, because they produce nothing of lasting value, unfortunately. Whereas other studios all had some kind of starring character that became famous later on and was merchandise. Columbia unfortunately had a hole she years where they couldn't come up with a popular character for the general public. >> They released these miscellaneous color wrapped cities and Cub fan. >> And it just really very bland, normal Hollywood cartoons or a sad unfortunately. But the Columbia picture story will continue into next week. >> So that's one reason to point them out. >> And in fact, here's another poster from the Columbia unit, flipping e, which was a kind of a rip off Tweedy again, like I've never heard of the app. Well, that's the whole point. They never, they never named creating cartoons. And nobody ever heard of, or you've all heard of little Abner maybe >> Very famous comic-strip. >> This was a last ditch attempt by the studio in the mid forties to come up with something. They bought the rights to little Abner, very, very, very popular comic strip. And these cartoons are unfortunately extremely poor. So no wonder these cartoons are forgotten and it didn't work for them. >> They tried. >> I'll give you, I guess a, it will give me more about the Columbia story next week. >> This is displays a partner. >> You might see an extra gummy next Wednesday. This also plays a part in the Wednesday story. I'm going to tell you the Fox. And this is the closest thing to a HIT series that the Columbia Studio had. >> And it wasn't, it was a global thing. >> And strangely enough, these characters were, well, I wouldn't even say they were popular, but they were popular enough that Colombia was able to license them to comic books. >> Strangely enough, to DC Comics, Superman company, who published Fox and Crowe comics way into the late 19 sixties, even though the characters only existed during the warriors and the 19 forties. So you can go online or Ebay and find these old rare foxing crow conics. And most people don't even know these were based on actual animated cartoons. For those of you who love cartooning and cartoonists and may have heard that this past week. The famous Mad Magazine caricature is Mort Drucker passed away. If, if you look at this in 1 second. But if you do, this cover is by Mort Drucker, that famous cartoonist who just died this week anyway, and he'd be moonlit by drawing these comics for DC. >> Most people don't know that. Now you know something. Okay. >> We'll move over to we'll talk more about that next week. Wednesday, we'll talk more about foxing crow in Colombia. There's a reason why very significant for the next part of the story, but not for this part of the story of the 19 forties. >> 20th Century Fox recently sold itself to Disney. But unfortunately, 20th Century Fox did not own carry tunes. >> Itunes was an independent studio in New York, and they were the bottom of the barrel. >> They were very famously quoted. >> Paul Terry was the producer, very famous quote of his to newspaper reporter at the time in the forties, he said that the Disney is the tiffany of our cartoony business and I am the Woolworth's, Woolworth 30 equivalent today of a 99-cent store. >> And that's pretty much true, very, very low budget cartoons, except the difference between this studio and Columbia was a, it had a history. >> Terry 2s went back to the late teens as silent cartoon makers and made lots of cartoons during the silent era that we're strangely popular. But in the forties, they could not keep up with Disney or any of the other studios. Budgets were so low and they were not even in mainstream Manhattan in New York like all the other few cartoon studios that were there, they were actually in New Rochelle, New York, which most people know, only know from being the, the setting of the **** Van **** show, but also unfortunately, they were the epicenter for the coronavirus recently New Rochelle industry. The They didn't create, well, they, they made a parody of Superman called super mouse, but they morph that character probably right after this one sheet poster into what they changed the name of the character to Mighty Mouse. Mit mouse is still kind of well known, even though there's not been a new Mighty Mouse cartoon in over 20 years, but, but Mighty Mouse was a thing and Terry tunes rate was able. They actually came up with characters that people remember, unlike the Columbia Studio. Anyway, so Cherry tunes, I'll tell you more about them on Wednesday because they play a part in the 19 fifties, but as of now, they were very low rank. >> You can see that we're making wartime Mighty Mouse cartoons here is that there are other very famous character of the 19 forties excellence, which were basically their version of bugs money. >> Everybody had to have a Bugs Bunny in the 19 forties wise guy character. And this was the typical paul Terry thing though they really looked at every single dime. They somebody decided once they came up with this design to make them twins. So you can save money. By the way, these are not black caricatures and gives anybody's thinking that one is Brooklyn, one is British. They're actually, they're actually second or third rank, but they're not that bad. Oh, here's the whole line-up of territory and characters that we know and love today. >> Think he'd duck and all these great characters over a universal Walter lands, who was doing these funky Oswald rabbit cartoons. >> I think I showed you confidence that, that early thirties Depression era cartoon, Well, he pretty much blatantly out now did Bugs Bunny rabbit. Now would you would her, and strangely enough, these were just as pop there because he was catching the wave. I mean, Bugs Bunny was so popular. These, the idea of these wise guy characters were in that notice the site guys to the early forties. And so this was the bread and butter for Walzer lands. Oh, here's a storyboard from one of the cartoons, which I'm not going to show. Sorry because I just can't deal with it. >> Here we go. Miss ex miss sex, right? >> That's the way they wanted you to mispronounce this. Okay? This I'm sort of this is a weird thing because I'm going to I'm part of the story I tell you later, but it happened. How did wait, what order do I do this? And so I'm doing this this way. I'm about to tell you about a character created at MGM That was very sexy and very, very popular in the 19 forties. >> And again, every studio, in addition to copying, Bugs Bunny, copied this, this kind of a character, which is really a pinup girl, is what it is. >> During World War Two. >> Forget about for a minute. >> Today and in the era we live in today, you have to remember the era that these cartoons were made in and what was perfectly acceptable in that time, and especially with all the men, or 95% of them are 90% of them in a way from the women. >> There was a separation that the pinup girl was a thing, was a popular thing, obviously towards the men. Of course, it was very, very popular because men couldn't go out on dates. >> They couldn't Yeah. It was like there was no it was very, very that's why there was a baby boom in 19, forty six, forty seven, forty eight, and into the fifties because there was there was very few kids born or were relatively it during the war. And so pin-up girls were a thing. And the idea of pin-up girls in animation became a thing, and I'll explain why later. >> But here is the model for Walter lances pinup girl. >> Every studio did them. This, by the way, is another Walter lances as a sheet music from a cartoon called boop and bogey, which again, I'm not gonna show, but I'm featuring this sexy girl character, which they coldness x. And, and then there's all the studios did it, all of them, even, even this, even Tom and Jerry, Granada, not Tom and Jerry, but this brings us to MGM and next to Warner Brothers. >> This was probably the next most influential of this period. >> And of course, Tom and Jerry are also, by the way, this year is the 80th anniversary of Bugs Bunny. >> It's the 80th anniversary of Tom and Jerry born would be woodpecker, all of them born 1940, MGM. >> Let's talk about MGM from it. And we will show some MGM cartoons, whether we can show them or not. >> Alright, Joe Barbera and William Hannah, these two young guys. >> And if you can see that clear enough, you can see that interesting drawing they have between them of a cat and a mouse. This is clearly shot around i, In 1940, this photo I'd probably shot for publicity purposes after that cartoon came out, the very first one called push gets the boot, which became an instant, another instance sensation different from Bugs Bunny. And of course, Thomas Berry had this enduring appeal. These guys were, here's the story here, here's how it happened. >> I don't know if this'll be follow a bowl, but if you couldn't recall Harmon, You Harmon and Rudolph Isaac harmonizing. They did a series. >> They were the people who wear with Disney than they went with Leon Schlesinger and started the Looney Tunes and Mary melodies. >> I showed you that foxy cartoon, that one, that Fox character that looks exactly like Mickey Mouse. >> And they then moved over to MGM and the mid-thirties, because they wanted to imitate Disney as best they could. This is you Harmon and Rudolph Ising, these two animators, and they did, they did a series that I have not shown you eliminate taking called happy harmony Sounds like silly symphonies, doesn't it? >> And happy harmonies are this close to two as silly symphony cartoon, but not quite, although they were so close. >> A little addendum. And if you're out there and you're a big Disney buff, you may or may not know that it was so close to the Disney silly symphonies that Disney, when he was in the midst of making Snow White, actually hired the harmonizing studio to work on some of its shorter cartoons. And even ink and paint cells for snow white, because they were the only other studio out there that could be in the same level, the same ballpark as Disney. >> That said, none of their cartoons are especially memorable. >> I can think of one, but we won't go there right now. But there's mostly they're also rams to what Disney was due by the, by the late thirties, harmonizing were beginning to take a small backseat role in their studio. >> Coming like producers, there were directing and producing. >> And they started putting together teams of their animators together to see if anything could happen with them to take, they were, they were directing as a team. So they thought the two people together, one who was more in charge of the direction would, I mean by that is that timing direction. That's a thing in animation. You know, where, where you, it's one thing to do a storyboard. That's what the other guy did. >> Joe Barbera here, story man, he was the gag man. >> He had the stories, the jokes, he did the storyboards. Hannah was more of the, the time that the ball with timing director, you'd be the one who actually take up the paper and the, the stopwatch and the ruler and figure out how long a gag should last. You know, if Jerry's tipping up glass over a table, it's got, you know, for perfect comic timing, it has the hang for a minute and then fall, little things like that. That takes the genius of a timing director. Together, they were a dynamic duo in creating cartoons. And by the way, they did this with several other duo studio, but none of them came up with a cartoon. A typical, normal nothing run-of-the-mill had been done a million times, cat chasing a mouse cartoon. >> But the personality of the cat and mouse shown through the personality is really, really part of it. >> By the, here's a model of sheep from 1939, just from that first cartoonist called push gets the boot. And it featured what we, what we know is the characters names were Jasper and jinx. >> And Jaspers name is spoken on screen actually by the lady of the house. >> And but this, but they were really technically unnamed, often a mouse. >> But the situations, the animation, the timing, it's just really, really, really, really good. Here's the mouse from that cartoon, here's, here's Jasper, what Jencks actually in this case, and the cartoon was so popular that the front off of the oil Hannah murder, weren't doing other cartoons with other character this doing one-shot things. >> But the word got back to the studio from the audiences, to the theater owners, to the, to the fear feels representatives of MGM, more of these cat and mouse cartoons. And so they literally were assigned by their boss, fred queen bee, producer at the studio, to just do nothing. These cat-and-mouse cartoons. And he literally did nothing but these cat and mouse credit for the next 15 years, they, there's, this is interesting, they renamed the characters Tom and Jerry. Joe Barbera had worked for the Van Buren studio in New York. >> And they had a Mutt and Jeff human Duo, one tall one shortcut, Tom and Jerry, and they just sort of rip the name off. >> They just rip the name of Tom and Jerry. As I may have mentioned it previously, was the name of and still is the name of a drink, an alcoholic beverage that's well known. >> And so that was the clever thought behind their names. >> Now I was showing these again, but this is Tom and Jerry. Jerry, 1939. And here's Jerry, this is Nike. And five, this is 15 years later. You can see the characters, they actually evolve the characters, their new model sheets. Practically for every cartoon, MGM was a Tiffany studio. Mgm was, was very, budgets were very, very high, that would Disney level, and they wanted the best cartoons. Now finally, after ten years, they first wanted Walt Disney, Mickey Mouse. They got his right-hand man, uh, by works. >> That didn't work out. They got a by works. >> It got him started harmonizing, also working with Disney, really trying to come up and come up with characters that Disney and kinda cartoons Disney was doing that didn't work out well either, but they got what they wanted. >> Finally they got to star characters, finally MGM. >> And they would, you know, the budget for very high, yours Tom, in 1955 or maybe late forties. >> This is primo Tom. >> And you could see the action of these drawings. So if you're an animation student or not, you can see movement just in the drawings. >> That's really the key thing. You know, these characters look like, they're moving, even a still picture, I think just for fun. >> And I know it's going to be a big mess and it's just going to be nothing but still pictures. >> But let's do it. Let's do it the more we're going to look at a cartoon. >> I think the cartoon we have is called Katie foil. The reason I'm, I run this one is because it's the purest Tom and Jerry cartoon there, as one could easily stereotype and say, oh, those are the cartoonish chase each other. It's only due to chase. >> Well, of course that's not true. >> They're almost, in fact, almost every cartoon has some kind of plot of some sort in the middle of the chasing. This cartoon though is the generic Tom and Jerry cartoon. There's practically nothing in this cartoon accept them chasing each other. And the only plot that's not, it's not even the right word is that there isn't character of little, a little canary, as you can see in this crummy looking poster. But the mothers, these posters at MGM were really, really bad, really, really was bad publicity yard at MGM and crafts are full the fine, beautiful artwork and animation things that played. >> You won't see the wonderful timing and get the comic effect. >> So I highly recommend you watch this on your own at another time. >> But let's take seven minutes and look at Kitty foiled the can do that. >> Yes. Wow. Yeah. Mm-hm. Wow. Will do yeah. Right. Yeah. >> All right. >> I mean, I'm like, pardon me if I'm, I'm too crazy about the neurotic, about the quality of the cartoons. You got to see them the right way because in the case of Tom and Jerry, they're really beautiful little cells and they're really exquisite. >> The humor is it. >> People think of it as, you know that ICI and scratchy is taken off of Tom and Jerry. >> That's actually not true. >> That was, take, its really a rip off of one of the many series of cartoons with cats. And nice that there were a rip off of Tom and Jerry where the violence gets more and more extreme. Atomic juries, violence extreme. >> But it's funny, it's funny stuff. >> It's, it's the other, the people, you know, ripping off, suddenly we're thinking right now, people ripping off Tom and Jerry back in the day only saw the violence and heard the people laughing in the movie theaters and thought that's, that's what makes it funny. Violence, no, what makes it funny is the drawing, the timing, the impossibility of a lot of the violence, the, the shape of Tom's head when he's not via a vase or something. I mean, it's cartooning. It's cartooning and heightened and caricature. And it's really well done. And that's why you should see them the right way, you know, and really the right way it would be in a theater. But, but seeing them move correctly is the important thing. And that's what I want. That's what I want you guys to see and hear. >> So I will show some more cartoons if you have enough time, will might even go backwards. >> Chosen this stuff I didn't show you, but, but we're going to want to move on from here. >> See what I haven't told you about yet. And I think you can see that well, that's, let's see, that's left to right. >> That's Bill Hannah and Fred Quinn be the producer at MGM, the main boss, and then Joe Barbera, Joseph Barbera, and they were the stars. Now the other team, the other team and MGN. And they couldn't just have nothing but Tom and Jerry Cartoons day by 1942, they brought somebody else on the team, and that was techs Avery. >> I think I talked about ticks before. >> He's the guy who came and worked at Walter land studio on those Oswald cartoons in the early thirties. Heard there was an opening at Warner Brothers, 1936, join Warner Brothers as director when assessing your really had no idea what he was doing, buddy. But this guy in charge, and this guy had his own philosophy about cartoons and making movie theater screen cartoons. That was a new thing. Then. It was, it was, it was all about laughter, about humor, jokes and also playing with screen. He was very, I told you this, he's a very aware Mehta, very aware of the characters are in the cartoons themselves are >> Or they're in a movie theater, you know, for seven minutes. >> And if you happen to be watching the screen, they're going to do something funny. >> They might just talk back to you, the characters. >> I mean, techs, Avery is worthy of three or four classes. And me showing you many, many of his cartoons. >> I'm going to show you a few of them. They though take savory at MGM started 42. >> And then for the again, for about, say 1213 years, was there 12 or 13 years, made a series of about 60 cartoons, 66. >> So that our classics, they're all pretty good. It might be, it might be one or two that are lesser than, than fantastic. But the fantastic ones are great and the lesser ones are good, very good. >> And between what was going on at Warner Brothers, which he started, he started all this with daffy duck and Bugs Bunny, the wild hair that I showed you. >> He had an argument with Leon Schlesinger over over the gags. >> I can't recall. I think I gave you that whole long story, but he, he, he had a, he had a gag re, ended up killing Bugs Bunny and cartooning. Leon knew that Bugs Bunny was there. >> Superstar, needed like get a cartoon at that joke. So he, they had a big disagreement and texts laughed. >> And that was a rare case of somebody in an animation studio leaving, leaving or getting fired or whatever. >> And it making that Hollywood trade papers because that never happened back then. But this was the one time it did well in tech. >> Savory moved to MGM and he lived up to MGM, their money's worth. >> But MGM had one ask of him. >> And similar to when they asked by works back in the early thirties, give us a Mickey Mouse, literally give us Mickey Mouse that didn't work out too well. And similarly, Avery was asked to come up with a Bugs Bunny and say, give us another, can you give us another Bugs Bunny? Weird thing with Avery though is he didn't want to, he wasn't a character maker. He didn't think he was, he was a character make, a buddy. He didn't think of himself that way of eating. >> That wasn't a thing he wanted to do, wasn't a bet for him. >> It wasn't about character for him, complete opposite of Disney and Disney thinking heat to him. It was about jokes, gags, tearing the screen apart. >> It wasn't about coming up with a character in this kind of thing, but he came up with this. >> He's the guy who started the whole wise guy cartoon character thing that was now trending in Hollywood cartoons of the 19 forties. So re-look mentally, for about a year, he toiled on a few a year back then. I think the end result is about about 3-4-5 cartoons featuring this character named screwy squirrels. >> Screwball squirrel. >> And I mean, I think he went into it with, Alright, let's go for it. >> And then I think he got to a point, even making him the first cartoon of like, you know, I'm going to make these characters so obnoxious that they're gonna wish I didn't make them anymore. And I think you guys wish that's exactly what happened. >> And >> On top of everything. The last cartoon featuring this character that he made, he did what he couldn't do at Warner Brothers, that he wanted to do with Bugs Bunny. And one of the cartoons, he killed the character off literally at the end of the cartoon. And it turns out to be the last one that they made. So it was a thing he wanted to do was to kill these dissolved and go back to making fun ones. >> But we're going to show you a little selection of the great texts Avery cartoons. >> And, and the ones I'm going to show you are of different type so that it gives you a little bit of the flavor of the overall. So we'll start at the first one, which is screw. The screw will scroll. Wasn't the first one he made. They're made cartoons. In fact, the first cartoon he made there was a wartime cartoon called bullets wolf, which was a parody of the Three Little Pigs, diseased pigs. But the wolf is, is, is, is Hitler. And in enough to see it, it's a very funny cartoon and actually got nominated for an Academy Award. But a couple of cartoons, any demand for new Bugs Bunny was asked and fulfilled. >> So here we go. The character is obnoxious. >> Avery starts the cartoon, and he would actually do several cartoons this way, where he would start with what the audience expectation of a cartoon is and then trash it. >> We're going to see two cartoons like that, actually. >> So let's say the beginning of this cartoon, we see a cute little squirrel that everybody was familiar with harmonizing in Disney cartoons. And then here comes the wise guidance, gonna rip this cartoon in half, so hopefully it'll play well. >> And V, if we're ready, let's look at screwball world. >> Go back to the beginning. >> Why tell me about that. >> The fatty stuff for star. >> Citizen hat j square. Else? Nope, nope. >> I'm not going to open the birds ornamental proper dog. >> Your dog registered Greenberg Erdogan? Nothing But that's not just merge. >> You probably do slow to chase wales. Yeah. Yeah. I get it right. Maybe you missed it. Can you describe catching nobody out good? Yeah. >> Yeah. >> They don't bet it dad. >> I think it's Billups. Do you see what the next thing I knew to that guy, that vaccine yet got your rotor that did not be limited. I'm not waiting for me. Impact yet that still polyploidy old CCG guy I get which look like okay. Okay. >> Stop to picture. >> Da da, da, da, da, da da by snack. Yet excited at this point, I'll just point out that appeal again will play hide a key if you can have. Oh, okay. Okay. Well, that's you people what he had on a little secret. You want to know how I trick that guy out. Due to picture, we will switch to, there's your first taste, sex, feeling sexy for bear with me here. >> As secondary vary. >> Sorry, I'm having some technical difficulties here with me a second as a fix it. All right, here we go. Sorry, everybody really go back and we are ok. So now, as you saw in that cartoon, you know, there's a lot of breaking the fourth wall, talking to the audience, the Hollywood, did they need me. >> Wild expressions when somebody the cakes, the calm takes, you know, when you look at something in your eyes, bug out The kind of thing you've seen Roger Rabbit. This is the, the quintessential, not this cartoon per se, but would Avery was doing an MGM was really the quintessential 19 forties. Howling. >> Would clark, This is this visit. >> During this period. >> Avery was the kind of the king of that and he did a lot of different things. >> But these kinda crazy gags and jokes and stuff where the main, the main thing, and it's almost a twin with the Warner Brothers style of humor. >> And Avery That right there is 19 forties all summed up. >> You need to know that so that I can tell you about the 19 fifties on Wednesday. The next thing let's see what else I had here. >> Remember those other picture though? >> Here's the dog from the film. And if you're into the animation, anything or behind the scenes, These are the model sheets that they made. Oh, this is from December 42, which is the cartoon came out 44, I believe sometimes it's hard to tell because the cartoons come out like years after they start working on them and making them because both the production time and also it was distributed, distribution issues. >> So, so Avery was immediately tasked to do this to a kind of a Bugs Bunny thing. >> That's Avery, and that looks like Scott Bradley, the magician, magicians, musician. And he was great, he was when he and Carl stalling at Warner Brothers to great musicians who did the cartoon music and really defined what a cartoon sounded like, at least during this period. >> Red hot riding, Speaking of Roger Rabbit jets, to wrap, that was fired. >> A pinup girl, which I mentioned before, and the pinup girl animation all started with tech savory in this cartoon called Red Hot writing, which I will now show you. Avery, as I mentioned before last week at Warner Brothers, One of the things, one of the many things he did in the many cartoons that he again doing was, like I said, he was like the Mad Magazine of films and the window Mad Magazine, the humor, the humor magazine, the SNL of that, that stuff wasn't around cartoons, were it? And the Avery cartoons made fun of other cartoons, made fun of other short subjects, made fun of other movies. That was, the cartoons were worthy place to see that kind of humor. And Avery had done a cartoon and he did Cinderella meets fella Cinderella parity, one called Little Red walking good red riding hood parity. And this was just par for the course. This is 1943 though, and pin-ups or n. And so let's do Little Red Riding Hood is red hot Riding Hood. And this was a major hit. This cartoon, again, whatever you think of it, if it's sexist or whatever it's, it's, you gotta put your head back into where they were at this time. And at this time, this was in demand is this cartoon was one of those things where we see what else I have here in the pictures. >> I may not have a. Okay, this is just from another one of the characters from the Cinderella. >> They then did Cinderella parody using that same character. But we're going to show you the first one. >> Similarly, beginning, begin. Similarly where it starts with what people expected in a cartoon of a red hot robber, red riding hood type. >> And then it goes into the modern, the modern version. There's a lot of, you know, gags and references to things that were contemporary to 194243. You know, unless I'm out it, unless I don't know anything. I'm just saying that the whole idea of the Wolf, was the clip more clever in 1943, that would be a, because that was the nickname or the expression or slang expression for a guy. I'm not sure what you'd call this guy today exactly, but a guy who would whistle it girls and and be on the prowl for single women. At that time, that was the nickname was that guy's a wolf. He's a wolf. That was the thing. So they incorporate that into it. You'll be happy to know that wolf gets it in the end. >> Lameness, so literal. >> Think back for a red hot riding. We got a lot of cartoons. >> Good evening, giddy time. >> Little Red Riding Hood kept Bing Bu Shi was going to her grandmother's too MDMA basket of nine goody. >> Waiting would mean ohm wove ready to park the pod, Little Red Riding Hood way, way back. >> And I'm fed up with the same old story over and over and you can't notice, no wait, but I quit. >> All right. >> We'll do the story. >> I knew once upon a time I was at work. >> Was grandma's house. >> Venmo >> Now, Little Red Riding worked in Hollywood nightclub and I was not, I think I think we know yet you are brand new. >> Let us sweetheart, that's when that already had it. >> Daddy, I want to really get the best route. Alex, swelling sable with labels. Daddy, you're gonna get one. Need not be amazed when you lasered me or not. Even beyond any consolation, I didn't make it that you are not a baby. >> What do you say after they show you will be go step out. >> So I'm just going to get a o dragon AND radio. We would meet to the VBA and UDP, the Wikipedia data. Amy, we even give you a new heights. Would you add to that the RAM. Hey, brother MacKay? >> Yes, sir. >> Wow, good. >> I'm thrilled that women like myself, what's already been walked and another plane. >> As a reminder, these weren't necessarily for kids. In fact, as I say often in 19, twenties, thirties, forties, they weren't designed, they weren't aimed at children, believe it or not. And I mean, obviously this one wasn't really but, but even then was that seem childish, are aimed at the hole in general audience. It's the 19 fifties. Next week, not next class. Next week I'll be talking about what happened and the culture and why cartoons and more perceived as children's fair. But that wasn't the case. That that wasn't the case back in those in those days. >> Let's see what we've got going here yet. >> So they made many, many sequels because this was very popular with the servicemen and the wartime audiences. This was another one swing shift Cinderella that happened a few years later. >> What else? >> King size Canary. When my favourite cartoons of all time of the old days, I like to show this one. This is like primo copy the line tech savory, be old. Mainly because it's I like the cartoons that are, what's the word? >> I'm going to forget the word now. Generic shifts. >> Pure. I don't know. The ones that are pure, pure, pure Avery, the ones that are very much, you know, straight to point E. And I guess this is the one that does it. >> It knows it's a cartoon. >> It starts with a simple premise is very simple problems, as usual. Starts with the usual, uh, I think it's a dog chasing a cat. >> Cat as a hungry dog is chasing it and normal. >> And then it goes into a series of gags inside of a house. >> Normal and the gags GET crazier than the premises comes into it. >> You can see from these drawings the premises somebody would do with characters getting king cartoons called King says, carry what's going on here. >> And, and then he just takes it and goes further and further and further, just milks this situation to the nth degree. >> Literally, there's nowhere else to go. And so if I had to pick literally one, I'd think I'd pick this one. Not that I'm not even sure. If it's I haven't seen it with an audience in a long time and I'm not going to get the reaction today of how it plays, but, but I remember seeing a long time ago that an audience that really what, why a while, but I can't really, It's not like it has a lot of jokes. And then again it does. >> What am I talking about? King Size Canary. >> You know, really the epitome, there's a word, the epitome of Hollywood cartooning. Takes Avery at MGM. That's, I guess all I can say about this cartoon. So looking at the clock here, and let's see we can how much I can squeeze in. So let's take a look at this one cuz it'll give me a dose, big dose of the forties. >> And that because a lot of what happens later is a reflection of, of this era. >> You know, there's some of it good, some of it bad, some of the people trying to do this, some of it people trying to get away from this. But let's take a look at this for now. What's cigarettes? >> Oh, Mm. >> Wait a minute. >> What you don't eat me loyal. Forget it saying I've seen this cartoon leave me. >> Yup. >> Yes. Smart. >> You're wandering, may cause but-for as much as all of us. I saved your life to look below. >> Moan went. >> Okay. >> Then next row you'll find Chelsea, right? Oh, OK. >> It's like I said at the beginning, I told you I'd save your life. >> Oh, Shrek. Salon shorting, full-blown below skill. Ladies and gentlemen, what's going to happen? Just ran out of court, anything cards. >> So I love that. >> That was Avery's philosophy. >> And he actually has characters say that occasion with anything to see others that awful looking poster, skirts, droopy. >> Okay. He did actually create a character, you know, Mainly because he was revived in Roger Rabbit and been brought back in here. Uber recent IRS, although I think they still use him on some of the Tom and Jerry directivity on movies they still make. >> But he came up with this character named droopy. >> Again. >> He didn't come up with it because he was forced to or asked to wear because even wanted to. It was just a supporting character in one of his one-shot cartoons and then use them again. And used him again, you know, like it wasn't really a series at some point in the late forties, either he and, or the MGM people said, look, you keep using his dog and let's give them a name and let's make it more with them intentionally. So they did but, but Avery did did them on his own terms. It's like if the premise they came up with and the jokes fit this character than yet, eight, Use this character. And this character do you like the jokes are around. This character is saying this is the same idea he, he was doing with pork pig. It, Warner Brothers wasn't quirky that was that funny. It was all the stuff you can do around him. And then when you're not dealing with the stuff around him, he's such a deadpan character. Anyway, it's yeah, it was funny. I did so it was only funny in short bursts in some ways. Anyway, this is the first one where he's, in fact, I can, it's absolutely now that I think about x or looking at this model sheet and it's says you get all kinds of clues from stuff like this. This was produced in 47. It came out in 49, I guess two years. Was the was the duration or become coming up with the idea being to draw production. >> And then finally, distribution. >> It seems like they were two years on the curve there. >> But interesting on this says bullfight. >> And then it says under that it says drag is detected by tech savoring. And it says that very lightly written. It says Happy Hound, and that was the character's name at the studio when, when they hadn't come up with a name for me. But this is the cartoon where they, they did come up with a name firm and a title. >> It's used in the cartoon and it's they changed the title to thin your droopy seniority. >> Droopy from what? The loopy. >> Anyway, this kinda was Avery's fallback character. >> His thing was really to do the one-shot cartoons like King says Canary, that many, many of that type of cartoon there, very, very funny at all of them. >> Unique endeavor. >> You rarely ever borrowed from himself anything. Whenever they would do a sequel to red riding hood or were too droopy cartoons. They're all completely different. >> There's almost no borrowing of, oh yeah, we did that and that cartoon, let's do it again. >> It's like he just always had to do something that anyway, let's take a peek and see what's next here. >> There we go. There's the poster for it. >> Let's take a peek at, let's take a look at CGU, Andrew, and this will be our final tech savory cartoon for today. >> And then we will talk more about other things. So let's, let's take a look at that BY showing it because it's a, this is the only character he did regularly, although that's not a 100% true. The more I think about it, he did it, he did have a couple of other recurring characters. This is the most famous of them. >> Okay. >> Uh-huh. He's my greatness. Challenger phage order 3a0, it'll be five watt HMAC. Ico mickey. Mm-hm. Hi, no, I'm a good my being You know what makes me me how sick nor do you have 1.5. You can have anything you want. Now your web sex every second or any leave enough anymore slides left on this thing. >> Whoops, it's like, I don't know how you like that. >> I so long as it back to the beginning for the heck of it. >> Bear with me here. Second. >> Alright. Okay, sorry, 1 second to zipping back for, for color for to be able to talk over things. >> So anyway, that was this pictures there I'm showing are not related to that, of course, but, but that was, that's Avery and I think I picked for cartoons that basically give you a quick education on that, that who that was and what he did and is influenced his great, it's still on today, really. There's still a lot of young filmmakers who've looked into these cartoons and also seasons filmmakers and all that. So Avery is a major force and major during the 19 forties. And pretty much, I think cartoons from any of these other studio, it's all there, all these other guys did. It's almost like a test tube case of how things work in life. But there's the people who lead and do new stuff. And then there's the other, once you've just their content to follow along or, you know, give you a generic version of something. But that's what these other cartoons were. I'm going to just, I'm going to just talk mainly a little bit more about next week. Next week, next Wednesday on Wednesday. And what we're going to talk about, and that'll be our class for this week. I norm, I had other animation for you to watch. But due to, due to what I thought was not a good good projection, I think the your grade, it just didn't work out on my end. >> The >> It was insane, really. Ultimately, it's like the other cartoons are really not that exciting and they're not signifigant, really. I was just showing them to where I was going to show them to you for just so you have an idea, a flavor, and you can get that idea and that flavor when you go to CCLE and you can look at the cartoons that I selected. And they really just, the other cartoons from the other studios like Terry tunes and Woody Woodpecker and thinking like an old knock-offs of Warners and, and Avery. Now what happened next, which obviously talking about on on Wednesday and I won't be going into it in any way. >> Right. >> But, but what happened next was this period, but I just showed you and Avery, especially king size can area and senior droopy or post war, the war ends, the world goes back to normal, quote, unquote people. The big trend then was to move to suburbia. Everybody getting a house, raising a kid or two, the nuclear family and, and, and getting on with their lives. A lot of the tech ation all, maybe not the only one, but one of the most influential tech deck motivation as of late forties is the television media. Television came about in the twenties, thirties, but it was stopped. Its progress to getting to the public was stopped because of the war. So after the war, very slowly at the beginning and 46, 47, it's first adopters, high end, very expensive. By 1948, prices are dropping and people are beginning to have televisions and networks are forming. The TV networks, programming is becoming began to be made for this new medium. And things change by the 19 fifties, literally 1950 up is there's almost an another new world that starts right at the beginning of that decade. And that's what we'll be talking about on Wednesday in the cartoons and how that reflects the decade, and how the decade reflects the cartoons. There's going to be a change from this text, savory. So go to the thing from this, you know, Donald Duck, Bugs Bunny, Tom and Jerry kinda universe that they cartoons represent. And along with the technological change of television, There's also other changes that allow more people to do at that age are voices more artists are now, will now be admitted in, it's still pretty tough in the 19 fifties. But, you know, the void, the universe begins to expand, the art form begins to expand. >> And that's what we'll be talking about at that point with 15 minutes or so. >> I feel like I I think I've talked out right now on this particular topic, I, I will happily do some improv, meaning if you have any kind of questions about Maybe I can answer them. >> Other than that, I'm I'm leaning toward ending the class a little early, so feel free to submit any chatty stuff if you wish, and I'll open it up if there's any questions, we'll take a look at that. But basically, or the final paper it, let's talk about that. >> People want to know about homework teacher, you've got dimensional homework. >> Okay? >> I don't know what I said before, but I'll start with what I usually start with and then we'll move on the paper, the final paper which should be in the range of, you know, this is the way I, I do it. >> There may be some more formalities that will, that I'll be bringing up in the future. But let's just go from here looking for something that's in the three to 4 thousand word range, that's at least three or four pages at least. >> And, and basically it's on a topic I'm very broad about this. >> I'm very open em, leaving it to you, you, the student you should submit to us, maybe through an email or whatever in give us an idea of what topic you'd like to do when. I mean, but it should be about something, a topic in animation history. What do I mean by that? I mean a studio, the Disney studio, the Warner Studio, a character, Mickey Mouse, Bugs Bunny, rupee, an animator, techs Avery, Chuck Jones, Maurice Noble, Ward Kimball, Walt Disney himself. >> Technique, the technique like stop motion, or here's some angle on the technique of hand-drawn or some animation oddity that I'm not thinking of right now. >> There's puppet animation, there's all kinds of things, but it has to be in the 20th century. It can't be about the latest anime films, can be about Adventure Time or I don't know, I don't even know what it can't be about. >> Trolls are minions. >> It has to be about something in the 20th century. And that's the big broad outline we will post, we will post and a document that I have. We could even send it to you in theory, but I will posted in the CCLE of suggested topics similar to what I just said a moment ago, but it'll have a little bit about 25 different topics on there. So you can pick your own. Reason I like you to pick your own is because I find that if you liked the subject you're doing, you will write a better paper about it. And it's really about the writing. >> That's a key thing here. And I want you to, I want you to, to, to pass. I want you to write a paper about a subject you're into. >> I mean, I'm an exception to things. If I were in this class, I'd, I'd probably write about Bugs Bunny or something's I Love Bugs Bunny, Why do I love Bugs Bunny? What's to write about about Bugs Bunny is history, the social, how we fit into the times of the 19 forties. There's research you can do, there's books, remember those? There's all kinds of things online. There's ways to research these things. You should cite where you your references. >> And that's my speech on that. >> I know you're going to probably somebody's going to have some other question about it. And I'd either at this moment, I'd rather take it off camera or or the chat or via an email or I'll address it next week if there's more questions on that. And far as I'm concerned, it's I'm also very lenient as to I don't have the dates of when the class ends and things like that, but it would, it would in theory, I should really have this. I know my TAs, you have all the answers right now, but that gap, that space between the last class of the June third and maybe the week after that, sometime between that class and that that week, during that week is what it would be. >> Do yoga. We get closer. >> We'll give you more specific than that. Yes, the paper is like a longer version in a way, but it should be it should be more like a research paper. Yes, it's more like a research paper. It's not that the reflection papers are important for a lot of reasons, but the main reason is that we know you're paying attention, that you're listening, that you're hearing, that you're learning. And v, But the research, the final papers, more of a research paper. >> So we will talk more about that. >> You can do film analysis, somebody's at people writing me. And you can do film analysis if you want, I mean, not of a contemporary film. If you want to do a review of, I don't even know if this makes sense to do, but if you wanted to do in theory, or a view of like Snow White or something, or some classic Disney movie. I suppose I'd let you get away with that, but it has to be really written well, and I'd like you to incorporate historical aspects to it. You know, I didn't know just doing a plain Review I don't think would be make sense. It needs to have history in it, if that makes any sense to me. >> You know, I mean, I am trying to make it a little easy. >> If we are doing all we, you and I, we're all doing this, you know, with this new remotely. And on the one hand, I shouldn't be any lean more lenient and if we were doing it in a regular class. >> But but, you know, with this is just such an unusual semester. >> So so that's really it. I'm going to say that's our class for this week, Web, excuse me that today. And we'll be back here at two o'clock on, on Wednesday. And you will learn about UPA and the 19 fifties, and I think you'll enjoy that. You learn something. Let's see. >> I'm going to hang. >> We're gonna do post-mortem after 430, or around 430 right now. >> Right now, can we talk to somebody wrote in? Can we write about the first animated features compared to the that sounds good. >> I like that. Yeah, yeah. >> How they influenced Modern animation? How the early ones. >> That's great, Livia, Excellent, excellent, excellent idea for the paper. >> The more, the better you come up with an idea like that for the paper, the better it will be for you, the grades. And try to put some creativity into it if you can. >> You know, in that aspect of it, that's a great, just a great idea. >> I love topics like that because I'm already enthused about it. And I mean, I know I could write that kind of thing. >> Alright, gang changing trends. >> For example, something like people following Disney in the 19 thirties, a trip. I completely understand that historic way, way, way I'm mixing myself up here. Changing trends in animation. Yeah. Okay. I mean, yeah, no, yeah, yeah, maybe because yeah, as you can see clearly, I'm I'm illustrating that trends in the twenties, trends in the thirties, the depression bends in the forties, the war trends in the fifties, the whole suburbanization of America, you know, and all that that's reflected in animation. You know, that would be, that would be interesting. If we write a review for, for historic animated feature, could we write it posing as though we're from that time? That might be too creative. I don't know about that. >> I'm going to be honest. >> I don't know that. >> I think I more want you to I I guy I'm going to I don't know about that. And it doesn't strike me as correct thing for this class, but I like it's creative. >> I get you get you get points for creativity there. But I know now that doesn't, you know, I got pros and cons in my mind about that right now. >> I'll leave it at that. >> The you say this is it for this class, feel free to if you'd like animation. >> I mean, I would, I'm hoping that when you guys go out and see some new film, check out things that obviously over time now you can check out things on Netflix and other places. You can check out contemporary movies like onward. And from your point of view to be able to look at that and kinda see between the lines about where maybe some of these things came from. From some of the things we're showing you here in this class is a lot more to show as you know. >> So there's a lot more coming up as we go along the timeline. >> Very exciting. Anyway, Happy week. >> Been weak to you all. >> Tas will talk and and that's officially class dismissed as far as I'm concerned for now. >> Okay. Gang