film analyze essay

I'll come to history of animation, American animation. I think that's the name of it. I'm looking over here to look at the date which is April 15th. Of course, my name is Jerry and as his profession was, I'm going to be the beginning of this new way of people are filing in, still coming in. >> Our numbers are growing. >> We'll wait a moment or two. >> I'll have a sip of coffee. I'll adjust my camera a little bit. Okay, and in the preface for the, the class, we're going to talk today about the 19 fifties. And I think I have to go get my list of films that were going to run, but I think I know what the first one is, so we're OK. We are continuing the serialized story of, of the history of animation. As I've just to recap in the most minor way, we're essentially at the beginning here. We're talking mainly about the United States, which, which the growth and the maturity and the, you know, the history in a lot of ways really starts here and it rose here. >> We'll get to the rest of the world later. But right now, as I mentioned before, the tree trunk is sort of the Disney Company or Walt Disney himself. >> And then there were roots before that, animation at the dawn of film cartoonists. It involved the novelty of a moving drawing, Felix the Cat emerging, and then of course, Walt Disney with Mickey Mouse and silly symphonies, the wonderful cartoons. >> You didn't the 130s that push the medium forward in an effort, in his case, to create a feature feed, makes an animated feature, Snow White, which actually is one of the biggest films ever done at the time. And certainly it evens, I'm sure it ranks very highly today, even not even adjusted for inflation. >> That not only brings animation to all new level, character animation. >> But then Disney starts experimenting with non-narrative animation and experimental things, including it mainly in his feature Fantasia, the war breaks out, and that disrupts everything. Meanwhile, the other studios are trying to catch up to Disney, Warner Brothers in particular, and tech savory and specifically at one at MGM, kinda decide the put on as the shortage subjects that are being made by Hollywood. >> They say, well, we're not going to follow Disney right now because of various reasons. >> But one is we can't do what he's doing and push it to budgets. We have business just on his own planet doing what he's doing. So by the forties Short cartoon comedy cards. Here, Bugs Bunny is starting character. We're now plunged into World War Two, where we're coming out of that depression. I've left out so much details in this recap. >> That's okay to recap. And then the forties, World War two. So add animation is used for education and education that you say that education, education, education and information and new uses are found. New uses, new types of animation or kind of concocted at that point, animation isn't just Bugs Bunny or, or Snow White. >> It can be, it can be other ways and other things. >> The war ends. And that's, that's where a group of artists come together as a unit called UPA access. >> That's the story of where we are today with where we're going to talk about today. >> New ideas are thought of and we will begin with that. >> So if you're already I think there'll be people probably joining us. >> Still everybody. I will now, if I'm if I'm allowed, we will see if I can start sharing screens, seeing if I can give you a little bit of a slide shown to some talking and show some films. So alrighty, UPA, What is this? Sipping my coffee again as I speak, I'll let you ponder that. Well, if you look at that that shipped logo. Okay. >> Upa is the is it was a studio in the 19 fifties and they were the biggest studio in the 19 fifties in some ways, or at least the mean Disney's Disney. >> But they were right there. Suddenly out of nowhere there, there and the UN, and everyone knows about them. >> You would, if we were there right now in the 50, we can go back in time. You, we would all know of this studio and, and yet nobody knows of this studio today. Most people have never heard of it and is completely forgotten. >> And yet it was, it was for ten years a big deal. >> Okay, that's what we're talking about today as we look in general at things in the 19 fifties. >> Alright, but we're going to start with the UPA studio. And what's what happened here? And what's this about? >> What it's about is this in the 19 forties. >> We're gonna have to go back in time a little bit to get there. These guys, these guys were all at Disney animators of that, of that early on, that the Snow White Pinocchio Fantasia era guys. >> And they were also three, and there was a fourth. >> That'll get to where we're also big Disney picky, picky tiers, that right word pickers, when they had the Disney strike. >> And the strike was all about without getting into it. >> That's another story for another class or another sorts. There were books written about this, but Disney, Disney strike in 1941 And a lot of the, a lot of animators so wanted everyone to be paid fairly and equally, well, maybe not equally, but fairly for their job position and get the benefits that Disney was already given to some of his top people. But he wasn't giving to everybody the lower down. And it wasn't just Disney, it was all Animation Studios. It was all studios in Hollywood. And again, I'm going a little too far here, but it was a, it was a big deal. It was a big unionization of Hollywood was happening in the late thirties and mid-thirties, late thirties, early forties. >> And it's finally came to animation and it was a big strike. >> And that was another issue that kind of helped break Disney. >> The war and the strike were really, really crippling. >> And 1941 to the momentum that Disney was on. And we literally had to stop because of these factors. >> But that's another story. >> So these three guys were like major proponents of the, of the union, as was another person that will be mentioned, and that's John humbly, another name that will be mentioning again and again and again after this. So, and they got together during the war time. They either some of them were in, were in the Army and worked at the First Army unit, which was the armies own animation studio, the government's own animation studio. Because not only did the army takeover half of the Disney lot and commissioned the Disney studio to make all kinds of films for the soldiers. >> Recruitment films. >> I think I showed you guys Private Snafu, right? >> I think I did. >> And that was done at Warner Brothers. But all the studios in Hollywood got involved with the war effort one way or another, either for the public's consumption or for private showing for the army and the, and the soldiers. And these guys got together and they were working on these films, they realize that when this war is over, or even before it's over, that we ought to get together and start a little company, continue making these kind of things. And they had theories, theories. They were artists and they were very, very good, but they had theories about how to do animation. >> Chuck Jones was, was a friend of theirs as well. >> And they all had new theories, were developing that animation didn't have to look like Disney. >> It didn't have to look like Donald Duck. What? Bugs Bunny or Snow White? >> It could be, it could look like anything. And another thing is, because of the war, they had to produce films very, very fast. >> And the thinking was the films don't have to have contained full movement, which is where they were at. >> Disney was at where the industry was that by 19401941, full flowing on ones are on two's, which means a new drawing. Every frame or every word or every other frame. >> You know, when you think 24 frames a second motion picture film, I hope I'm not going too fast for some of you non film students. >> And I don't think I am, but if I am sorry, I will well, I'll hopefully answer any other questions later. >> Taking another sip, bear with me and she says hot now and I don't want to get cool. >> So they got together and they formed a company that was called something like industrial films. That wasn't even industrial films, just bland name like that. >> Industrial films and Maybe an industrial films and posterior or something like that because they were making posters for the war effort and things like that, any way to communicate. >> And they got together and formed a company, Hoberman, Schwartz and bus Susto. But Susto being the key leader of this. He was a background painter, I believe at Disney, John Snow White and things like that. >> He's the guy on the, on the right there with the mustache. And he became kind of the head producer of this company. Of the key principle that's missing here is John humbly, and that's him right there. >> Humbly was a animator at the Disney studio during Snow White, Fantasia and all that, left the studio during the strike. He was like a notorious speech maker or until he very out, very boisterous buddy. >> He knew that even if Disney kinda Disney couldn't technically fire him, but he knew Disney wanted to, so he left and went to the crazy screen gems studio, the studio that Columbia Pictures was doing their nutty cartoons that, that, that really, they never, they never really came up with a character. >> I think I talked about them on Monday on pardon me? If I if I don't the fact I can't remember, I'm actually teaching three or four classes online and they're all mushing together and they're all different in different places in this story. So I can't remember what I've shown ever. I believe that I at least had an image on the screen of the fox and crow, which were the only characters to achieve anything. >> And it was nothing. They weren't, they didn't, they didn't have any lasting value other than being a DC comic book that lasted into the late sixties. But, But so he was over there. >> And since that was such a low rent studio, low budget, kinda know, famous characters and really, no one was really looking. He was able to incorporate some really interesting concepts into the artwork design and backgrounds. And sorry, I don't have images of these things to show you right now, but they did some, did some creative things that went completely ignored by everyone. But they were able to try some to find out that studio. >> And that's kind of cool when I look back at it humbly. >> Then went into the army. I forgot a few was drafted or were enlisted either as possible. >> And, and it was immediately made a director. >> He was made a director at the Columbia Studio, which is something that would have taken forever to achieve at Disney anyway. So it was good that he left. He became a director at the Columbia Studio. He became a director for the First Army unit, directing films that have to do with identifying warships are Snafu like cartoons, where here's what you should do or what you should do. And you know, and he again got together with the Susto and the other, the other two on, on with their theories about how our animation could be and what we could do with it. How we could possibly outbid the Disney Company for all kinds of industrial work, because we'll do it in a, in a, in a highly artistic but cheaper way. >> I think that was the original thought. Oh, the fox and the crowd. I think before I go back to the flux in the CRO, strangely enough, that comes up, it comes up all the time, will, will start. >> I think what we're going to start here with is, is I want to show you a film directed by humbly in 1946 for the Navy. I believe it's the Navy or the I'm sorry. It may not be the Navy, it maybe the Army Air Force. >> And it was made for m. Here is, this is how they made films that they would make these films that will for super specific audiences about super specific topics. So this particular one, a lot of these films are lost by the way. >> They destroyed a lot of these films after the workers. >> They were really never needed again at that time. Or it maybe, maybe not this one. >> This one just happens to survive. >> Some of them survive because soldiers took them home. They would just, they random movie and they weren't supposed to return it or something and they just took it home with them. And so some of these random millimeter prints of these things that just pop up from time to time is when popped up about 15 years ago. >> And a lot of us looked at it and we knew immediately was hub please designs humbly directed? >> And it was, it was, it was done at the beginning of that independent studio, industrial films. >> They would just changed their name after the war to, to united productions of America, UPA. >> And they, they Allah, other studios did this sort of work for the government. >> So it's, it's black and white, very low budget. >> But look at the artwork in it. The artwork is really kind of modern art. It's pretty cool that this is 1946. This is one disney is still making, you know, while he's making Song of the South or something at this point, but he's making stuff. He's making these classic three Kabul Euros was the recent Disney movie of that era. >> You know, 46. >> I mean, people are getting back from the war tech savory, the Looney Tunes at their height, really literally, I think it's one of the best years ever fulfilling agents. So the, and so these guys are doing this thing and it's completely alien, completely different. And this is typical of what they were doing. And these little films that they were paid to produce, they at least had the freedom make them look the way they wanted and to do them in any way that we do to keep them on the budget. So there's limited animation. You'll see a couple of scenes where, where the bodies of boy, I think he's a boy chasing a girl and she's he's kept holding a rat or something in his hand. >> He's trying to scare a little girl and the only thing that's moving is their legs. >> Their legs are turning to indicate that a boy chasing a girl. >> Very, very simplistic stuff, a lot of things with still drawings, poses. >> But this is what this studio is specializing in. >> And actually, you know, again, the public didn't see this, but gaining enter in a name for themselves to do this. >> So let's v, Let's take a look at a flat padding, if not the greatest print in the world. But the I will stop the share and, but you'll get an idea of what this little united productions that America was doing in 1946. >> That one, there we go. >> Oh, it is the navy. >> Most solo flats are inclined to be DOT and consequently modifiers try to relieve the monotony Harlem area familiarization Fight. For example, pilots have been known to become familiar with the area. >> Now this young man isn't psychopathic, So why does he act that way? >> Let's go back a few years and see what makes them tick as a child. Murphy was just an ordinary, fun, loving youngster. They'll indications of present or potential or Rossi whose behavior pattern was perfectly normal, usual tenancies toward actually possessed a natural desire for freedom. And like most Germany, made, no attempt to restrain isn't fossil evidence manifestations of a drive towards self-destructing? Also an assertion of ego, which by inversion and one of them to destroy other than simply a matter of ambivalence. But as he grew older, the society in which he lived imposed upon him. It's controls and convey a learned or a strain is impulsive. Dominant society failed his animals directed more acceptable so that when he joined the Navy, he was able to comply generally with regulations set down for a Navy flyer. And now an officer and a gentleman, he accepts the totems and taboos of civilization. You wouldn't think of doing this or this or this. He behaves. And of course, when he's completely alone, it is moments like the rest of us, but he isn't alone most of the time. And the groupies affine formation fly, or he knows radio discipline, these are now applied. In fact, whatever elaboration involves group responsibility, Merck gets a big bang out of sharing the burden. But what he is alone, all alone read from the restrictions of the group. Not a monotonous assignment is getting a release is aggravated by boredom soon, that old black magic is massaging is my drive towards self-assertion. >> Now, what do you suppose Murphy's reward will be for this display of virtuosity? >> No, Murphy's a big boy now. >> That was his last flight. >> Sat antibiotics marketed deviate from such cores. They are random, thereby endangering the lives and property of the inhabitants. And the area. >> Specification proved and at the sedan, son Murphy is of a charge guilty. >> The court therefore, sentences aimed to be dismissed from the US naval service, said United film service or something. >> At the beginning, the company had various names, various names on the on their logo before that. >> Sorry, everybody. >> I'm just going to go back to our okay, so foxing crow. >> Ok, So hopefully you noticed the, the, what I call modern design is completely a departure from what at the time was traditional key, traditional animation people. What people thought of as animation, it's just using a more modern style or, or their own personal style that was actually John hub Lee's own style as an artist. >> The company got together and they did a lot of jobs like this for a lot of different clients. >> You know, whether it was an industrial plant like Ford Motor Company, or it will allow these industrial films ever made back in those days, they did, they did one, a very special one for, I think it was a religious group. But there was a book out that came out, a little cartoon pamphlet that was, that came out and was distributed after the war called, it was called the Ansoff. Sorry, I don't know the name for me. >> I think it's called the brotherhood of man into saving the brotherhood of man, just like the song and >> And it was a pamphlet about how basically the war's over and we really all need to get along. We need to, we need to love our German friends are Italian friends or Japanese friends who our enemy. For the last five years and so much propaganda had come out. >> But this pamphlet had come out and was widely distributed. And they were paid by religious groups to, to create a, an animated film of it. And they did. >> And they got seen a lot in church groups and even I think it maybe even a plane in some theaters, it was very, very widely seen. It was done in the style of the cartoons. I'm sorry, I don't have this in front of you of this cartoonists that did it. And so it doesn't, again, it didn't look like Disney silent look like someone's personal cartoonish drawing style. >> And it's all about the getting along with our neighbors is really well-made film. >> I think it's called brotherhood of man. I'm so sorry, I don't have this here. I should I'll try to get the link for it somewhere. >> It's, but it's a film that's worth seeing as also, I think 46 or 47. >> And that film is a key component in the steps of this company called UVA, because that one is one that was more widely seen and it also feature that kind of, you know, either stylized artwork. So third, because we're talking about 4748, this company is struggling along the big enchilada for any animation studio would be some kind of regular gig, you know, super Prize. Amongst prizes would be somehow to get a contract to make short cartoons for the public via a major studio? >> Wouldn't that be something, What if a studio would pick us up to, to make a whole lineup of cartoons contract for six or eight cartoons every year. >> That would be a real big prized for any, any body in any studio, especially an independent studio at that time, seems like a long shot idea for the people at it, UPA, but that's kinda what happened. >> What happened was they were well so well-known that what happened was, let's go back to the Fox and the crop. >> The, what happened was this Columbia Pictures studio that, that's really not even worth writing about. >> We're learning about it, just a footnote, unfortunately, and in all of animation history. >> But this, this Columbia Pictures studio was so doing so poorly that Columbia Pictures decided when the war was over, after one year of hiring everybody back after the war, they basically let everybody go. They said, we're closing this down, it's costing too much. It doesn't make sense for us. >> They were small at the time. >> Colombia was a low budget studio, wasn't up big a studio as it is today. It's part of Sony Entertainment. They released Spiderman into this biodiverse last year or two years ago. I mean that there are major studio today, but Colombia back then, the sword about b0 plus m0, right way to put it. They had a few a pictures every year, some of them winning Oscars, but they mainly, they'd be movies, Westerns, cereals, all sorts of stuff. Three Stooges. The Three Stooges shorts were Colombia >> And so the they got rid of the cartoon department because they didn't have any starring characters. >> And there's kind of no reason to keep it going. And they started scouting around. They still needed shorts and they didn't really have a plan. They didn't have any plan on what they were going to do about that. They were going they were listing and Three Stooges, maybe that's all they would do. >> So UPA went to them and ask them if they were interested in they talk basically in their pitch. >> They said, look what we're paying for a cartoon from your own studio. >> And they told him the figure. And they said, we can do a cartoon for half that price will give you a theatrical quality cartoon release. >> So Colombia said, okay, we'll test you out. >> We see what you're doing. >> But what you're doing doesn't look like cartoons. >> It doesn't look like Donald Duck, it doesn't look like Bugs Bunny. So we don't really see that you've ever done a cartoon that looks like what we think a stereotype of what a cartoon looks like. So they tried them out and gave him a deal. They said we'll give you a contract for, for, because they were really kind of hurt. And they wanted some more cartoons to release brand new ones. No one was thinking about reissues. No one was thinking about television or any kind of future use of the cartoons was just immediate need. In an immediate need. So they give a deal for, for cartoons while they were still kind of releasing the last of their previous studios releases, forty seven and forty eight and forty nine, they said, okay, well, by four more new ones from you at half the price that it would cost us. And he said it, but here's the thing. >> They said. >> Three of the cartoons that you make have to be with the fox and the crow, our big name star characters of which nobody really knew. And they of course, were inching, itching to do something that they really want to prove themselves with. So they said you can, you can have one miscellaneous cartoon of whatever subject you want to make, but you gotta give us three with the fox and the crow. So they made three. This picture that you're looking at is from the first one they made, which was a Robin Hood spoof using those characters. >> And it's actually better than any other they did, but it's still a classic. >> They, they were able to prove to them they can make classic cartoons that look like, look like old Hollywood cartoons that got there, but that was their foot in the door. >> The fourth cartoon they made was an original and oops thing. >> In a moment, I'll show you that that poster is actually right behind me when you see me. >> I that posterior back, right? I mean, the, So this is, this is a crummy, crummy poster that Columbia used to for the very first of the releases that were the non foxing crow. >> So this is the stock poster. It says united productions of America, the top jolly frogs. That was a name that Columbia Pictures, you know, all the studios had to have one of those names like Mary melodies, silly symphonies, you know, Looney Tunes. So these chemicals named jolly frolic, which is a crummy, corny name. And they threw that on the miscellaneous UPA cartoons. And this was this poster which features not characters from anything UPA ever did. These are characters from the kind of knock off cartoons that the previous Columbia in-house studio is doing. >> So that's where things started. >> So they, the miscellaneous cartoon, that's the most important thing here. >> They came up with this cartoon that feature to bear, which Colombia kind of wanted to be a cartoon, a bet with an animal. >> And they had these stereotype thinking about what cartoons are. So they feature these funny animals. And BUT john humbly and the crew there wanted to try something different, different character design. But they didn't do it with the bear. He did it with the, subsequently the human characters around the bear. And for this cartoon, humbly came up with the idea of using his uncle who was, was near sighted and acted like even that he didn't need glasses any, but yet he couldn't really see. And he loved that attitude about the old guy. >> So they get a caricature of his, his uncle. And he That's the character that was called Mr. Mcghee. >> And you can also see in here there was a Waldo, his, his nephew is the other human character, and urine and a bear. And they called a cartoon strike up the banjo. >> It sounds like an original title and a nice upon on things. >> Of course, Columbia basically looked at this model sheet and said, you know, well the bears, that cartoon star, well, let's call it ragtime. Bric's, he's got like up is a musical instrument here. And there is no ragtime in this actual cartoon, but they called it ragtime bear. >> And, and that's what they released it as, and I'm going to show you that. So oops, well that's getting ahead of us. And the thing is, I guess I'll say this, let's take a look at it because what happened in its aftermath is, is the beginning of the story. >> So let's take a look at ragtime bear. >> Which way to hodgepodge lot, Can't you redesign or design? >> Why does it say straight ahead our vacuum bag? You can find out scatterbrained our rubbing We came up very quiet. >> Get yourself a new code. >> Graceful bore this hodgepodge large pay attention, misdemeanor lawyer. How nice to meet my nephew. My very low. >> Summarize that. >> Oh boy. >> Oh boy. You see why it needs a rest. A loan. >> That loan. >> Oh, wow. No, speak to what shall I do? >> Water. That's it. Plenty of hop Walker. >> Unc, uh, back. >> Oh boy. >> A bed. >> Can I use it? >> Here we are. >> We are going to have your man. >> All right. Now what I should have pointed out, the, Hopefully you noticed, and you'll see it in next cartoons that I run the flat backgrounds, the design of the backgrounds, and in general, the foreground characters, or 75% what you'd expect in a cartoon at this time. Maybe Mr. Lu's design is a little unusual to be sure, but it was different. It was the first time the public really got to see this fresh new look. >> But that wasn't what impressed the public. >> The character of Mr. Lu was an instant hit in from this cartoon. >> Here we go again. >> There was to Felix the Cat back in 1919. >> There was Mickey Mouse, 1928, there was Bugs Bunny in 1940. >> Mr. Mabou >> In 19491950 era was an instant success. The public demanded more Mr. Mabou cartoons. >> The idea of the character was funny. >> Jim Bacchus was the voice radio actor. >> He was, you may know him from Mr. Howell on Gilligan's Island. >> And and the characterization of Mr. Madou is actually pretty hilarious the way they did it and actually improve the character as it went along, both visually and, you know, the verbal humor and back assist performance. You really got into it. And he really was that character for the rest of his life. It interviews with them and it never fails to come up that he was the voice of Mr. McCluen because it was the, it was the cartoon character of the 19 fifties period, the end. >> And UPA invented it. >> Colombia Pictures. We're releasing it finally, Columbia Pictures at a start, character. >> And it was the most contemporary starred character. >> The critics, if there was such a thing, and we're, it'll cartoon critics are blogs back in those days. But, but these cartoons, but I'm going to get into this in a minute. But the cartoons they started making where they were using modern art. I call it modern art is the short way to put it. We're blowing people away seeing these in movie theaters. They were really only a breath of fresh air. >> They were stocking. >> And critics were noticing. >> There were newspaper articles. >> Time Magazine, The Museum of Modern Art did an exhibit. >> You can look it up online. >> I think they recently posted archive photos of the exhibit from the early fifties of UPA animation art. This studio and the cart cartoons became a sensation practically overnight. So they got another deal for cool with Columbia. And I believe they had to do another group, another group of cartoons. >> But the first one out of the gate. Oh, well, here we go. >> The first one out of the gate that they decided they were gonna go. >> They're gonna go further with this next cartoon. >> During the war, when I showed you a Private Snafu cartoon, I told you it was a corporal Theodore guys Zell, AKA Dr. Seuss, created that cared very randomly with Ali. And I've made and Steve the Susto was one of them steep assist there was the guy running EPA and he went to Seuss said with thinking of me greatly to something eating or style. And I don't if somebody's ensues didn't want to do that. But but he said, you know, I can send you the way this way. >> I did I did a record for children for Capitol Records. >> Now think about a Dr. Seuss is known for his visuals, but you get a record. >> Gerald, mic boing. Boing. >> And he only only did was draw the cover of the, of the, the album. The, it's actually just a 45 rpm record and it was sold to kids. And I guess this is same from the same time, 848491950 on this thing. >> Well, that's 50 in in >> Bought the rights to it to adapt into a, into a movie. >> And although Zeus was just as famous then as he is today, they didn't opt to go his style. I mean, he didn't write a book around it, so there weren't really any drawings covered. And it was written to be an audio thing. >> That's why it's about a boy who speaks and sound effects sound. But they decided this would be a good thing for us. We can just put our theory into practice with this cartoon is because there's a lot to work with. >> So they did, and this was the model sheet for journaling. Morning, morning stay near 1950 or early 19501950. This cartoon, the end of 1950, and this was the next cartoon they released, not a fox and Crowe, forget that. >> That's over. >> Mr. MCU there, start on getting geared up to start making a series on that. So the first cartoon they come up with this journaling going by. And this has completely done in the modern style. Now you have to remember it. >> And this may not look like much to you today, but this was breakthrough in 1950. This is like nobody did this. >> Everything was Disney, Bugs Bunny, Donald Duck. >> And despite the things hinting in this direction, this is the film that, that really broke it through. And, you know, I mean, two in a row for you few united productions of America. >> Here's the mom and dad from the film. I'm going to show you the film. >> Here's the doctor. >> They always said, they always said that I love the look of this thing. It breaks all the rules, at least at the time. I love that. The image the there's a doctor examining Gerald on on the lower right there. And the parents are looking over his shoulder. >> And it's just done in this stream of action. Kind of way here. >> Real the physics of normal movement is not required. This is not a Disney film. They are not studying how human moves. It's how a cartoon character moves in this case. >> Yeah, sorry. >> If only this thing would work. Well, here's, here's an image actually is, is not an image from the film. This is actually an image. >> I'm going to spoiler alert. >> They actually made a few sequels to the film. >> So this is one of the one that's a still from the future ones that they would do. But it gets at such a nice image. >> This is from that first smell from Gerald Nick boing. >> Boing. >> I like this image for a lot of reasons. Just one scene, one quick shot. It, you get everything out of it. >> It's, it's so minimalist. >> It all we need to know. It's, he's walking up a long staircase back to his room and he goes to the all the most minor is stuff the wallpaper downstairs is dad is in the bathroom. They're shaving that he just left the bathroom, is walking up the stairs down depressed. >> What about the color design that the layout, what you eat a doing? >> Disney hadn't done it in their own and took the country to people watching these things. Took the artists, the museum directors, Everybody notice this. It's like, oh, there's something knew. They weren't independent films that weren't independent animators. There weren't like, again, like I say this a lot, I'm gonna say it again right now. We didn't have TV channels, we didn't have cable, we didn't have the internet, we didn't have YouTube, we have anything instead, movies in a movie theater. And animation was confined to the people at the studios and they knowhow and everything was just, there were no independent data matters. >> So this was a breakthrough because what it did, and here's the key thing I need to say about UPA, which is this was a gigantic signal to the rest of the world and to all other animators or anybody interested, an animation that, that, oh, we, everyone's just saw stuff like this and went, Oh, so it doesn't have to look like Donald Duck. It doesn't have to look like Disney, doesn't have to look like Tom and Jerry. It can look like this. >> It could look like I drew it. >> It looks, look, anyway, this was a signal at the right moment for studios and artists around the world to realize it was set free. Because up to this point, everybody who slavishly trying to copy Disney were the Hollywood formula. >> And UPA was breaking it and breaking it to the world that you don't have to it, that it can be. And this really, I mean, after this, studios around the world opened up with their own styles. Even Japan, I think we'll be getting later in this class down the road. >> We'll talk about anomie in Japanese animation up to around here, maybe even beyond here, maybe until the late fifties, looks like American animation. That's why you don't hear about animate before 1958 or something like that. >> It's, it doesn't, it is nothing special. >> It doesn't look its primitive. It's crummy in some ways. The art, the art of it is rarely anything already there. >> But once they realize they don't have to draw like the Americans, they can draw their way, their style, their feel. >> Then it set them free and it set a lot of places free. >> We're going to look at this film, Gerald make boiling blanks the take it away. >> Let's take a look at this form. >> This is the story of Gerald McCloy and the strange thing that happened to that little boy. They say it all started when Jerald was too. That's the age kids start talking. Most of them do well, when he started talking, you know what he said? He didn't talk work, He went aren't aren't instead what? >> Fat, quite his father, his face turning gray, backs up. >> Very odd thing for a young boy, 40-year old toddler, but still a poll. Quick dialed the number of Dr. Malone come over the ***** father played. >> I boy can't speak words because boy aren't I see that the doctor to UK PRP Speak word migrate my age that I know your face any back up its pills and walked out of the place. Guo Wo Men months pass. >> And Jarrow got louder and louder until one day he went like a big keg of powder. It was then that his father said he'll drive, was born with this terrible stop. >> A boy of his age. >> Children sound like a fall. He's gotta learn words. >> We must go public school. >> Seven, punishes McCloy, your little some Jarrow, the most hopeless boy. We cannot accept him. >> Well, we have a rule that pupils must not go get our school. >> Your boy bubble aren't all his knife, I'm afraid. >> Sincerely yours. >> Spanish shows teacher grade. >> But as little Gerald grew older, he calm when a fellow goes, no one wants them around. When a fellow goes on, he can't have any power and is a gal. They all shouted apply my mind going. >> Oh, no, that Poggio, Gerald monoid going that make sweet boy, I upsurge for many long. >> I can review the most famous bad imitation or i omega. >> I needed spot that make all the times we've been bought back a dog at the homes are gone. He inspired come do. >> But boy, you're higher up the State Department's. >> You're holed up in a good idea. Not even allow it. Knows how to meet weighty no homeowner. Ponder how silent Sam's Teilhard at Erie. >> God now, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh. >> Now his parents, proud parents, are able to pose their Gerald's known coast to coax out your oldest friends eat welfare. >> He goes instead, right? >> Okay, so all the words going, going this anyway, this film is definitely game changer, important film for you to see and to know what happened between Mr. McLuhan, this that put that studio completely on the map. >> And suddenly as it, it's just like I said. Overnight. >> Famous overnight, influential overnight, notorious. >> So we're not in, the tourists wouldn't be the right word. >> But Notre noted the so popular where their films that they started doing, the shorts, they started making them a goose were funny, really kind of have to see them. >> It'll be Theater. I wish we had, um, I can't show and another one right now, but we show another one of these in a large theatre. You'd all be laughing and they're really, really good. Let's see the key. This is, of course, when you're popular, suddenly are endorsing products. Here's an old ad, probably from a regular magazine or journal. Nick, one winning stages, it seem makes sounds that words to tell of new team, a lemon lime soda. >> Anyway, it's nice. >> As I've always said though, these cartoons back in the golden age were not aimed at children, even though that, you know, nothing wrong with that for children. >> One book, but they were charming to grownups, but they weren't, you know, these things were aimed at the whole general audience. >> And by that I didn't mention it that McMillan going won the Oscar 150, which was a big upset because it had traditionally been Warner Brothers, MGM, or Disney at one, the Oscars in the 19 forties, suddenly this new comer comes about and it is good. Who said not really aimed at kids endorsing beer? >> You know, he was a grownup character. Starts people were concerned for the kids. >> There was a Mr. McGrew and genomic bling, bling comic book, UPA, there was so famous, their logo is on the cover of the comic book and which Mr. McGill would do one month and genomic blowing them would share on the other month. >> Here's the title card of a of a of another UPA production. I just put this in here because oh, that's Ca, consider. >> Remind me to tell you that at every single UPA cartoon from this looks different. They didn't have a house style. Now if there was a house style, it would have been the way the missile dot style for those films and I kept it. And but the other films they made, all the miscellaneous films, had a completely new art direction. >> Every picture, this is one from, I forgot, I think this one was called the man on the flying trapeze. I think that's the name of this one, rudy to, to talk about, not a kid's film. >> This is a very special Columbia Schwartz subject presentation from UPA. The poster says, Academy Award miracle makers, Gerald boiling, that's so big that cartoon was that they had a from the makers of Gerald make white boy comes this one. This is the musical retelling of Frankie and Johnny, which is a very famous legend in Parliament about a tilted lover. And here's, here's a, here's a UPA there version of this, one of my favorite cartoons of the UPA library out. I want to show it to you. It's it's again, another example of that. They were about and I think you kind of need to see the best in them. >> There's many others, but we're not going to get to everything you should see with EPA. >> I do recommend you hunting down. I'll give you some titles after that. You see this felt this was the final film that John humbly did for UPA around 1953, I believe. And I guess on the flip side, I'll tell you what happened to him and why he parted company. >> But for now, v, Let's take a look at Rudy, 22 lanky and John and I were 39 million literally job ladders. Not John, he stepped down as the line. They'd be due to any wound up buddy maggie do that. God really exists and we call the bartender. The engine was known. And then one day he gave him wield outflank, you know, frame look, I could entail so quietly slip info. >> He's out back with Nellie Bly. >> Rudy too, to really to to write snoop your width. >> That's no question. >> Next witness is seeing Who's seeing melody thing? >> Please? >> I would love to read. Just a little bit. Nervous. There's no, there's no question. Mistake dress the flux of four changes. >> You have asked for the true without compunction. I have PO4. >> That fiction function is triggered. Live for my y >> Not ipso facto status quo rest rollout, Robert rollout, rubber tired cause he's going to do so. >> Ok, interesting things in that film combined. Well, the, the artistic, aesthetic is cool to me. But what he did here was he was, amongst many other things, one of the things that in animation terms, when you work in animation, at least back in those days, there were like certain rules that people followed in this film, breaks those rules. >> One of those was the monkey had read part of the girl in the red dress. He's in a red background. >> My favorite singing is where she's picking Holly hawks, and she's in white. She's all colored white, and she's against a white background. You just don't do that because it won't read. This was I don't know how this copy looked to you. There's some beautiful copies out on DVD of this cartoon. You really kind of need to see it the way it's meant to be seen. >> But it works perfectly. >> But it's the way they do it that makes it work. It's just not a thing you do to have a blue character on top of blue. >> It just doesn't normally would not work anyway. >> The also they combine. They used dance. They had a ballet dancer as a consultant. I think she gets credit at the beginning, and that's the stage that the film I probably they filmed some reference footage out of nothing was rote. Clearly, they looked at dance and Ballet for her movements and stuff. There's a lot of great things happening in that cartoon. >> The studio, I guess that didn't have a house style. >> Every film look completely different. I don't know how many people out there are familiar with James Thurber. >> James Thurber, great wit, a great writer for The New Yorker. >> He also, he did these cartoons to The New Yorker, but they're very much an a is primitive, not artist's style about they became well known because he wishes to Eve is well known. >> And so his style, quote, unquote style >> Was was, that was the thing that the public knew. >> And they say adapted one of his short stories, the unicorn in the garden, in the style, which is extremely cool and so steep that film out if you can. Another film, this eke out is this one. >> Maybe some of you have seen it. It was included as a bonus on an old boy to the blue, the blue ray, I think. >> But anyway, it's one of Del Toro favorite shorts ever. >> This is a, a UPA cartoon telling the serious horror story of Edgar Allan Poe's Tale Heart, narrated by James Mason. He was a big shot movie star. >> And a couple of things about this film. >> It's outside of those Superman cartoons of the 19 forties. This would be that the next in line in terms of a Hollywood cartoons short, that wasn't, that wasn't supposed to be funny in its way or have some humor in it. >> This is a total adaptation done in beautiful paintings, moving paintings, limited animation, but beautiful, but it's really a masterpiece that's typically live, fell down till recently that was being auction. That's actually a still of artwork. >> You Well, my gosh, That you can even see on the lower part of the still. If you can see my arrow there, there's a registration hole right there, there and there that because this is a background painting as soon as the photograph they released as a publicity image. But it's really cool yet artwork looks like that. >> It's just great stuff. >> Highly recommend you very dark, literally and figuratively. And very, very dark. Here's joules angle, who was the art director of the studio. They called him, they gave him credit like color stylist or something like that. >> But he was an amazing abstract mental. >> And I made earnings back to our, his fellow. And he was the first long, long lasting until he passed the head of the experimental animation program at, at, at CalArts for years and years after he left UPA. He did he did. He might know his one of his pieces from mom, from Gavin stripe. He's actually involved with it, but I want to remember the name of the artists who worked on Tell-Tale Heart? >> Oh darn Ted. >> No, no, no, no. It'll come to me later. >> I'm so sorry. >> I wanted to I wanted to bring up a reference to a thing you'd all know, but I'm going to hold off something you all know that they did pledges, budget. This is another I'm just showing you this still because it's just a cool-looking still. This is from a cartoon where they the art direction in it. It's about a married couple trying to stay on a budget. And the whole thing is done in the style of graphs and charts and lines. And it's very cool looking. And I just like showing you that image because this image kinda represents to me UPA, if someone showed this to me is what? Studio Yankee, normally, it was only one answer. >> Upa, UPA did stuff that looked like this. >> But meanwhile, they continued doing Mr. Mabou. Here's the later model sheet for the character. They did many, many, many theatrical shorts. They won Oscars at two of them, at least, for the Mr. McGraw cartoon series, they started making their cartoons and widescreen cinema scope, and which of course was the big thing in the 19 fifties. This is one of the Oscar winning ones who flew, not spewed on time. It's particular cartoons about the character gets on an airplane by accident. He thinks he's going to the movies and seeing a movie. He thinks it's a 3D movie because that was the new thing, the rage at the time. And but he's really in an airplane. The whole thing is crazy. But that's, that's actually a typical premise for these. I love this picture. This is from the 19 fifties. Obviously, it's a little movie theater. They don't seem that posters in their poster case fits because they're not opening until Saturday at one o'clock when they'll show at Kirk Douglas major feature and Mr. Gou cartoon, you know, on the one hand, I like to say that these cartoons, game-changer ones, make key maths. Pop by Bugs Bunny, mismo Gu were actually what they call Mark. He built, they were built on the marquee of the theater. You know, it's almost like science fiction because to me, because the idea of a cartoon getting that kind of treatment, pretty amazing. But that's how popular they were. There might have been somebody walking down the street going, yeah, I don't know about Kirk Douglas, but let's go because of the cartoon. >> But maybe they were, I don't know. >> And but this kind of thing did happen once in a while when I, when I, when I surf the internet, and they still use that expression. But when they, when I surf the internet, I will find that such an image and I have to keep that and collected and throw it in my class. >> Okay. >> Right. >> Disney. >> Okay. Upa. They it never being billed with Kirk Douglas lists on big screen. >> They were the cat's pajamas at a term. I don't know. >> It's an 18 twenties term, but they were it in 150. >> Disney is making Cinderella. >> Nothing wrong with that good stuff. He's making our wonderland. Peter Band Lady, and the Tramp. And if you can picture those films in your head, you know what they look like, the standard beautiful Disney films from that period. >> But Disney, who was one of those guys that have a bit of an ICO by the fifties and not to be out done pulled from the moth balls. >> Well, I don't know if it's called mouthfuls, but do you know about the way that movies are made? >> They develop they develop games, movies or develop, they, they might get a script worked for years before they'll put it in front of the cameras. I'm talking about regular movies today where they make. They did that back then too, and Disney did that. And ever since Snow White was a big hit, they began to develop, I'd almost say a 100 or more movies or shorts, things that they could do. They bought the rights to things, they created new things in the forties, still hurt from that Fantasia movie because that was not a boy. It was a drain for the company. Disney wanted to continue making movies based around music, and the thinking was to do popular music. And they did do several compilation movies like Melody time and make my music feature films that you might be able to see on Disney us. I'm not sure of melody China's, they're really good. >> I highly recommended for film, but, but the, uh, at that time they were developing a what, what I would call a history of music feature that never got made. >> And they, but they developed that mean the script, they had storyboards, they came up with periods, they figured out what, how they might do it and it kind of didn't happen, it just didn't happen. >> Other things gotten away. >> So they pull from the moth balls the concepts from that history of music idea. >> And they, they created two new shorts in 1953. So that, that would conquer three things forward. >> Them 11 short would be made in cinema scope, the new widescreen process that movies were poor. >> Alright? >> So they wanted to make a cartoon, Scott. And of course, if you can be the first sound and other, other technical innovations. So he was always adopting and latest technical innovations when he could. >> So he made the first screen cartoon. >> In fact, this cartoon was also stereo, as was Fantasia in 1941. That was the first stereo felt. This was, this isn't the second stereo, somebody, Disney's second stereo phonic film, and it was made in wide screen. >> They also made second short, not in wide screen in characters as this one, and telling another part of the history of music. And that film is called melody, which I don't think I have it. >> I may have a poster for that down the road, but it's, but Disney wanted to not only make these two films with the thing and also use Sim is scope in 3D, but also gave them an opportunity to let Ward Kimball in particular, is, is wildest animator, let, let loose, the co-director of the shorts And he, him and his staff could design the characters in what we would now call UPA style. >> Of course, this is a cell from 2D Bissell. >> Pumpkin. Boom. Yes, I'm going to go with that too. And you could see this is as far away from Disney, in fact. And it's, and it's very much again, the modern style of the fifties and the UPA style, as we would call it. A kind of a Jackson ******* sq, background, very stylized caricatures of grown-ups. >> And the film itself. >> At both these films, Melanie and plunk and boom are, here's the post, you're pretty ugly looking poster, unfortunately for four melody and it doesn't sand opposed me. But this one was released and it's very cool, but it's the usual square shape of this than the adventures of musics series. And the second was To whistle, plunk, and boom, and to savant boom ended up winning the Oscar that year. And Disney felt very good about that because it showed I can do UPA style too. But it's also an educational film, which Disney was kinda getting into after the war. >> He loved having all what I call ulterior motives for mostly all of his films, and mostly all of them did this as a entertainment short, but it's also could be shown in schools as a history of music. So, so it's a Merkle, little bit educational and I don't know how our copy is, but let's take a look. The wide screen, by the way, when you, when you see this is something else, I want you to keep in mind that this was going to take imagination when they show it's widescreen films. >> Back when they first started doing cinema scope, it was only in these very, very huge theaters of your, you know, LA, you know, the big Chinese theater, the big Y or the, or the Egyptian or one of those theatres downtown with a giant green the sinner AMA dome, that giant wide screen, right? That's how these movies were shown, the wives originally, initially, and so they designed for that. So what I mean by that is kind of take note throughout the film, some things happen on the left and something has happened on the right. You know, there's, there's there playing with the screen. >> And if you saw the film in, on one of these giant screens, as I have, as I hope you someday, you will see real theatrical experience. >> I call it a Disneyland experience, almost like a theme park ride, because they're, it's almost like the film is halfway covering the theatre, you know, and they're doing stuff over here and doing stuff over there. It's quite an interesting thing. I like pointing that out because there's something more to it than just what you're seeing on your little screen, your flat screen right now. There's a little more to this. >> We take it away today. >> We're going to study about the study instruments is the subject for today. Did you ever stop to think from the band plays music from a to Konstan. >> Did you ever understand that a Navajo or the horns go, wins, the strains go plug the Brahms. But remember what I say when abandoned begins to play, just for them comes from and how students live with me to the dawn of history, we don't start investigating the two and plug in the boom. >> It's very stimulating. Oops, okay, boys around your area when a man, Luther, was born. Now let's look at history. >> And we are in Egypt 2 thousand BC now. The longer they made these ancient robots, don't know what they sounded like. A startling fact he had that changing a Trump did not admit its pitch on did. >> But this on could produce only certain notes. To play a simple tune, you would have to use cons of different lengths. Now cut off these eg >> It's attach them to one-on-one at bowed to control the passage of air through the x on. And this is a basic principle about modern browsers. >> For now, let's go back to our withdrawal when this cave man blew on a tube of glass. >> But then he first came to pass in order to make you a girl's smile to improve his style. And when he saw he was doing fine, he added lose about eight or nine. >> I just get o in a manner when caveman plunk down the street. >> It's bow. Look. >> As far as we know, birthday strains, there are two ways to go. >> You can either plug it or play it with a bow. From our last caveman rhythmic slap have come all things that go on tap came rattle bells at presume >> Other instruments that go, boom, He's trying to make good luck. >> Oh, and yes, very politically incorrect. The bear with me a second here. >> Sorry. >> Range this. So yeah, it's, we're looking at the history of animation in here. And I'm not a social studies class, so we're not going to go into the stereotypes that are used here, attitudes in these films. That's just the way it was and we're not going to hide it or it's that we have changed as a society. Okay? We are just going on now the animation in this training, we looked at that and there's melody. Okay, So these pictures have nothing to do with you pay or any of the these are Act require Ashton. This was the characters from the Terry tunes duty. I mentioned them before. They were up to Disney, the opposite of UPA. They were the they were always about five or six or ten years behind any of the other studios they were in New York, were actually in upstate New York. They just didn't care. Contract, but he's entry Fox. And they made cartoon characters like Mighty Mouse and heckling Jekyll and some of these others. They were popular enough, somehow they're not very good cartoons to maintain that contract and continue making cartoon a way into it in 1955, as they may or may not have mentioned before. 1955, the studio Paul Terry, the guy who ran theory tunes, sold his studio to CBS television network. And CBS television network to this day still owns these. They own the company. They don't do anything with it, but they, they own all these cartoons and all these characters. And they still, at 1955, they still had a contract with 20th Century Fox. Cbs bought the library to use the old cartoons as filler for kitty goes for TV and got their money's worth and were able to to utilize them for that purpose. Voluntary himself retired and the studio was left to continue on. And CBS figured, well, they took a look around and UPA was the hottest studio around, so they wanted to get somebody in there to bring this studio up to date. Suddenly they at least look like contemporary cartoons. This is what they looked like in 1954. In 1955 that, that purchase went through and they brought in a UPA director who's directing TV commercials for UPA, UVA, and every other studio began doing TV commercials. And we'll talk more about that in an episode, episode of less than about TV animation. They bought a guy named Jean Dutch and we'll talk more about him in the future too. But for now, Jean died because he's still alive. >> He's 95 years old. >> He lives in Prague. Checklist to hockey. And he came in and he had been working at UPA for the last six years, being under the tutelage mentorship of John humbly on how to do with the kind of cartoons they're doing. **** was an animator who never had any of that is the training whatsoever in him. He was a cartoonist. Scott recruited by UVA and so he applied his own. So they went from looking on this to looking like that in two years. And next, the one she poster that was in theaters, and you can see the dotted it with heckling Jacqueline, mighty mouse thing keyed up. They didn't really make cartoons with these characters. They just, they would just part of the menagerie that Terry tunes was. But they didn't make characters with those weird-looking, you know, stylized shaped ones like John doormat handpick, husband Clint clobber or heavy, said guide on here. He was a New York City Apartments, apartment superintendent. Got stone like crayon, was a French artist to withdraw things with his magic brush. They'd come to life and this guy fly-bys. So I'm going to show you his cartoon. He was square pants before SpongeBob, way back when. Now things new dean dashboard, and a heavy dose of the UPA aesthetic This studio transforming them pretty much overnight. And this second rank studio to I would say, well that's because we weren't that different way from a third rank studio to a second ranks. I think that would be a better way to put it there. Cartoons certainly got noticed. They even got nominated for the Academy Awards. But you know, I like them a lot. They kind of try it out WPA at its own game. Their budgets were a lot, lot, lot lower. And but they, they had a lot of enthusiasm for trying to do something new and different in their day. I like showing this fly-bys cartoon because I usually I show these things in person and I get a lot of great feedback how crazy it is or what it is, or some people hate it, some people love it, but it's typical of what suddenly, I can't recall. If I showed you with Terry and I don't think I did there really, really bottom of the barrel, but, but, uh, so imagine a bottom of the barrel crummy little cartoon and then transforms overnight to this widescreen cinema scope, UPA sq cartoon. But by law is a very rare film. >> I think. >> I don't know if I uploaded this one myself to YouTube, but, but it's extremely rare is it's nowhere, no video or anything, not on television anywhere. So let's take a look v at fly-bys. Very unusual. >> This, this, this, this story about Sleepless. >> Sleepless was a nice guy. He had lots of friends. >> Hi Fred. >> Hi. Freebase. >> My friend Freebase, my Mildred Phillipa. Why Belgium? Id by, I believe it was nice when he met new people. They would all put up an ice cream cone or a fish or a flower. Sometimes he would do tricks are what make quality place. Everybody like famous by sleepers was very happy, very, very flavors, night crying. >> Then one day he bumped into a strange guy. >> I'm flap is so rude. >> What Rudolph was still on friendly and the Walker lipases flower Lebbeus, very surreal. >> And he couldn't understand why Rudolph didn't like everybody like high horn mean, using and make new Nine the name. Uh-huh. >> And he took my flower. >> Any wouldn't be my friend. >> Did you give him an ice cream cone? >> Did you do a trick for him? >> Yeah. >> Maybe he likes finish next day. >> I agree. >> As I same guy. >> And then he remembered, man, I ate fish and most of all by now, weeps, was getting a little consignee. >> He couldn't understand why Rudolph that night, sleepers couldn't sleep, Sleep Walk me. >> He knew he had horrible dream. Finally, flippase decided to find out why Rudolph didn't like, hi, I'm fly-bys, come in. >> I gave him an ice cream, a thing, a flower, tricks for him. >> Why does root out? >> Well, tack the top enrich you flippers is you are neurotic, paranoid, sue you. >> But seems to be the topic. They gave me a nice trick. >> I do fly-bys, world, doc taboo, which Rudolph was. Buzz, buzz the Roddick. She ran. >> Very cool. Alright, so let me just remind myself that almost getting professional, so I mean, charities wasn't a world on fire chain game changer, but it was representative of what was going on at all of the Hollywood theatrical cartoons, not to mention the whole world. Suddenly there were cartoons like this all over the place. It's really the beginning of its really kind of the beginning of the independent filmmaker. Because cartoons like fly-bys, cartoons like the John humbly 3D to 2D, or really one person's overwriting style. It's not a studio style. O. Next thing I'm going to show you is you can see these cool styling looking can't either bubble characters. The, the 19 fifties to the trade at and retire. That's been done by universal need, the screens newest and Phenice team, agian Sam on the craters of Woody Woodpecker. And surely, Willie, Well, that's true. All that for the, the, I don't know if I'm actually showing you this cartoon, but we'll we'll move. But this is what this is. This is from texts Avery we talked about last week before he, he left MGM in the mid-fifties, went over to Walter lances studio and actually made a couple of really cool cartoons that were there. They were his cartoons, but there were these, I'm going to show you one of them just to show you what a traditional animator from the forties, Not to mention one of the top ones who defined the style of the 19 forties films? What his, what would his cartoons look like? Upa EIS, 1950. This is a character from a phone call and this is a very being Avery being as pushing them, pushing it a little bit as he always did, is one of his last theatrical cartoons. You left theatrical cartoons after this and went into the lucrative world of being a director of television commercials. And I'm going to talk more about that next week and maybe show you some more cart cartoons that Avery did then. As commercials director. But this is one of his last cartoons. It's more traditional cartoon and the ones I just showed you, but I'm showing it you've just, because I want you to see the sense of style. It's not overly UPA looking or anything. It's just, it's just an example of how the Hollywood cartoon short was now adopting this UPA aesthetic into, into its look. And let's do that. >> So v, Let's take a look at this cartoon and everybody, Mr. trader, you are very sick man. >> You have a serious case of Trombone doses. I would suggest complete relaxation that some quiet remote hideaway. Because if you do not get away from this noisy hones, your entire nervous system, those shatter that. You will just blow up my life. >> It will give you our recommended travel folders. >> I would like a nice quiet pride ourselves on >> Boo, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. >> Greg? >> Yes, sir. >> Do you remember your nerves? You'll blow up. People just won't listen to that doctors advise. >> Okay, so that, so people like tech-savvy adopted the new Look. At that time. Any great artist, any artists really can adapt to The time period there to to any style of animation. Sorry, I'm just trying to get us back here on track. Bear with me everybody. 1 second. Here we go. >> Sorry, it's too trivial areas. >> So let's do twiddle now, all it also every, every animator by the late fifties, this was the page hadn't really became part of the norm of what a cartoon would look like. Next week we're going to talk a lot about the 19 sixties and what happens next. What happened after UPA, who was the big character of the 19 sixties? What happened next? Shorts, animated shorts in theaters, television animation. We're going to look at all of that next week kind of as a warm up for that and sort of an addendum to this class. I want to show you the dotted line. This is Chuck Jones. Now this is chuck, of course, was an early adopter. He was actually a one of the earliest co-conspirators with the UPA crew. The very first film they made was a special political film for the Democratic Party. And Chuck directed on the side, I'd moonlighting while he was working at Warner Brothers. But after that, he just be remained friends. Social friend isn't that had nothing to do with the studio until years later. But he was certainly a proponent of their style and really, really was an early adopter in the forties of experimental, stylized, background stylize movement. By the time UPA was popular with, with the, with the public, Jones really adopted as the aesthetic very, very early and did a lot later in the 19 sixties when the Warner Brothers studio was disbanded yearly sixties, Jones ended up at the MGM Studio, a brand new MGM Studio that he was the head of in the sixties, making Tom and Jerry Cartoons. But he got in his contracted, it can make a couple of miscellaneous one shop things while he was there, in fact, let me mention while he was there, he is more famous for what he made for television there, which was the how the Grinch stole Christmas. And coordinate, here's who. Those are. Two TV specials that became very famous frequently. But both, while there could be also made extraordinary theaters based on a picture book called adopt ally and the idea that you can make a character animated film about physically a dot and a line is pretty crazy. And it's very UPA, it's very much of that same thinking, which is you can take anything and give it, and give it a life and make a story around it. Well, the story was there, it was in this book. It's a romance, romance in lower mathematics. And it's quite a little. It's a clever little film. And yes, it won an Academy Award in 1965. It's a sixties film, but It really fits with the UPA aesthetic. Its Chuck Jones, he did it many times, but this is the most UPA, he got my mind. Great art direction by his, his right-hand man, Maurice Noble, I think gets a code direction credit here, I think, and definitely worthy of your attention. So take a look at the dot and the line and that we'll, we'll do some ending things after. That's over now to our class for this week. But that's the overall picture of UPA changing the world in my opinion. Let's take a look at that. >> It'll come in once upon a time, there was a sensible straight line, hopelessly in love with it, getting the hub. >> But the frivolous wasn't a bit interested for she had eyes. Why old and unkempt squiggle never seem to have anything on his mind at all. Thing everywhere together, singing and dancing and frolicking and laughing and laughing. And lord knows what else. He's so gay and free, so uninhibited and full of joy. >> She cried. >> Retrospect. And yours differs. >> A stick down, conventional and repressed, pied, untrammeled, subdued, smothered, and stifle squashed >> And quenched right. >> Take chunks is the line argued without much conviction. I'm dependable, steady, consistent. I know when I'm going, I've got dignity. But this was small consolation to the miserable line. Each day he grew more and more morose. He stopped eating or sleeping, and before long was completely on edge, is worried. And I noticed how terribly thin and broad he was and did their best to him up. She's not good enough for you. She lacks depth. Look alike. Anyway, why do to find a nice straight line and settled down. He hardly heard a word they said For anyway. He looked at her, she was she saw things in her that no one else could possibly imagine. She's more beautiful than any straight line I've ever seen inside. Wistfully, but even allowing for his feelings, probably stretching the point. So he spent his time dreaming of the constant duct and imagining himself as the first full figure. She was shore line. Those are celebrated. Daredevil the light as a leader in world affairs line, as a fearless law enforcement agent, the line is a potent force in the world of art. >> The line has an international sportsman, Todd, of self-deception and decided that perhaps a squiggle, it might have had the onset. >> After all, I lack spontaneity. I must learn to let go to be free to express the passion that me. But it didn't make any difference for no matter how often or how hard he tried, he always ended up the same way. And yet he continued trying and failing and trying again until when he had given up. He discovered last that with great concentration and self-control, he was able to change direction and bend whenever he chose. So he did and made an angle, and then again and made another, and then another, and then another number and then another hot stuff is shouted. Much impressed with his efforts, while burst of enthusiasm setup for half the night. >> Putting on another radius >> The display of site, spins and freedom is not a license for chaos. >> The next morning, water ahead there. And then he decided not to ponder his talents in cheap exhibitionism months he practiced in secret. >> Soon he was making squares and triangles, hexagon, parallelograms, rhomboid polyhedron, trapezoids, type in Chicago at an infinite number of other shapes complex. >> But he had to cite an angles to keep his place before long. Needs to carefully control ellipses, circles, and complex curves, and to express himself in any shape. >> People's David, I'll play it. >> But all his success has meant nothing to him. A note and say, well, if he went to seek that dumped once again, you would gain method this we're going to voice it sounded like bad plumbing, you don't stand a chance. But the line was bursting with our lovely new competence and aim is not to be denied for now. >> He was dazzling, mysterious, versatile, profound, enigmatic, complex, compelling, that was overwhelmed. >> She giggled like us, what to do with her hands and she turned to the squiggle, suddenly developed this machine, trying to give him every jobs scribble taken by surprise, did the best he could. He said, oh, she demanded, I guess so replied the miserable wretches. I suppose what I mean is I never know how it's going to turn out. Hey, have you heard the one about the two guys who wondered why she'd never noticed how Hattie and close he was, how untidy and restless, and how he mispronounced his L's and pictures. And suddenly she realized that what she thought was freedom and joy was nothing but any key slope you want is a melon. >> He said, cool it. >> Undisciplined, unkempt them, unaccountable, insignificant, indeterminant, but how to shape out of place, out of luck. With that, she turned to the line and shyly turkeys on to the web with all the funny curves. Again, Hao De Shi Hou, They didn't have lived, if not happily ever after, at least reasonably so. >> Very good. >> Ok, bear with me again. >> So next week we will look at TV animation and like I said, 19 sixties thing. And we'll talk about these guys And other things, way, many, many, many other things beyond tv, cartoons like that I want to mention if you, for anybody who wants to do more reading, I highly recommend this book that came out about a couple of years ago, two years ago when Mabou flu, that was the title cartoon by a friend of mine named Adam Abraham. And it's the only book about UPA bookkeeping has written up a lot, but it's the thorough what happened, how it got there and all that. And I do recommend it. And so essentially that's our class for this week. I have run out of notes to say and talk about at this moment. So I think we'll leave a little early, but anybody got a cotton with them. And I will hang out a little bit here to do a little postmortem and then we'll go on. But I think that's a class for this week. I can't wait to talk about the 19 sixties with you. There's a lot of stuff that too. Next week will actually be very much of the piece and a lot to look at as we move on and up. It's amazing how much there is talk about on the history of animation. I hope you're enjoying the class and, and learn something and hopefully get something out of it. Alright, gang. Thank you. >> Thank you all.