film analyze essay

Part 2 lecture transcript

Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're learning about. >> What else happened? Well, the next big milestone is the 19 forties and the Warner Brothers cartoons. And last week we talked about the beginnings of the Warner Brothers cartoons. Hugh Harmon and Rudolph Ising, two of the Disney's animators from Kansas City who got split from Disney during that period where Disney lost Oswald and started doing Mickey Mouse and harmonizing state with Oswald for brief moment. >> And then opportunity rose when they got to show a cartoon character, Moscow. >> To this personally on Schlesinger, who was how to deal with Warner Brothers for short subjects and they will. And one of those was looking for animation. That everybody, every studio, MGM, paramount, all of them had to have an animation affiliation and sorted. Warner Brothers didn't have one. >> So Leon, who had been doing movie titles and other bits of animation for the feature films. >> He was really, he was really casting a wide net for what he could possibly do with Warner's. One of those things was maybe more with what inline with what he was doing and doing. Cartoons fit perfectly in with that. And when harmonizing, walked in one day with their character. And these are seasoned experience. Now animators who worked with Walt Disney and it seemed like a natural, so he hired them. They started doing these cartoons. They were pretty popular all based around music, Because Warner Brothers now owned all this great music, though they were used to get all of their musicals, 42nd street and gold diggers or 33 and all that kind of thing, we're in the money. So whatever they did, they would make it take a song and they'd make a cartoon out of it one way or another. >> And that worked three years. >> Harmonizing, then flute harmonizing wanted to continue. >> Their personal goal was to kinda go after Disney. >> They wanted to be, there's going to be better than Disney, except Disney had really more for thought and had a bigger agenda with what he wanted to do by making features and things. >> Whereas these guys just really wanted the Kinew competing with with Disney and keeping up with the Disney's. And they did do that. >> And by 1933, they knew they needed more money. >> Disney was doing. >> Color is Symphonies were getting more elaborate and they needed to go in that direction. >> We asked us injure was not going to give them any more money for doing that sort of thing. >> So they left and they went over to MGM, who is now looking for some kind of cartoon thing that was better than what they were doing at that time, which was by words to this story. So they, MGM enlisted harmonizing studio to make these beautiful, happy harmonies cartoons that are really aren't very close to Disney style. >> And that's what they mainly did during the 19 thirties. >> Meanwhile, at Leon's Schlesinger studio, independent studio, really sing through. >> Warner Brothers had nothing except the titles, it's E and this trade ad he's got, he's got the registration, US patent office. >> He's got these kinda got the patent, copyright, whatever, on trademark on the name Looney Tunes and Mary melodies. And the only other thing he had was that, that, that that's all folks at the end, that the characters would say that that would be part of C only thing he had leftover from the legally from me harmonizing split. So basically animators who either were disgruntled or loyal to Leon or, or, or new people from left field. Other X Disney people are, you know, animators traveled around a lot, jumped from studio to studio. So as Leon was, had the, had the shingle out, they were looking for animators, looking for directors, looking for people to do this and do immediately come up with stuff because he had a production schedules. Affiliate NEW shorts, yeah, they released to the theaters in the fall of 1934, and they immediately fill that slot with a substitute for the Bosco character, this little character named Buddy. As you can see from this picture, buddy and cookie was sort of their little imitation Mickey Mouse characters, little, little people. And the reason you don't never heard a buddy is because buddy is probably the least popular cartoon character Warner Brothers studio ever created and maybe in all of cartoon industry. Nothing extremely repulsive about him. It just nothing original about him. >> And the cartoon themselves are very, very bland. >> Here's a buddies trolley troubles, which is really a remake of a cartoon called trolley troubles that Oswald the Rabbit did and all the other cartoon series did something about trolley cars. That was a thing and 130s body, but that didn't work. But they but they had to do something. >> That was the year, that first year or so, it was so bad that they even Looney Tunes series. >> There was listening to a series of America melody Series. >> Mary melody series was miscellaneous characters, all based on music, but miscellaneous, no regular character. Looney Tunes was supposed to be their regular character cartoons. And Buddy was so bad, they started putting missile his guard dues. And Louis didn't series because they had the carried, there was no character there. This is a still from one of those miscellaneous cartoons and happens inside of a cartoon studio. In fact, the guy in the middle of the walkway with a big art portfolio under his arm is a caricature of Bob clamp. >> It >> One of my favorite Warner Brothers cartoon directors who's just an animator at this point, the mid-thirties, but we'll see one of his cartoons of the forties later today. >> Alright, so 1936 rolls around two years of, we don't know what we're doing at Warner Brothers. >> Yeah, here's the Mary melodies posted from that period. >> This is, this is just, it's just nothing to it. New, new cartoon. >> It's got a name. >> Let's call her 1935, because, well, they could, Disney had a lock on color for a couple of years, and that Locke was released around 1935. >> So other studios could also do them. These, the two of those characters, at least the little owl with, with glasses and that turtle there'll, they're part of a cartoon that came out during this Mary melodies miscellaneous thing that occurred to call, I haven't got a hat. And it's just a, it's a cartoon based on a song called I haven't got to happen. In the cartoon. It's take place in a schoolroom and a bunch of the students perform different talents, reciting a poem or singing or dancing or this or that. >> And one of the characters, I don't even know if I've images for this segment. >> We'll get to that one. >> Well, one of the character, a man made them. >> Yeah, here it is. I haven't got a hat. There's the owl, and you can see on the end on the left is a pig named Porgy. And the character next to him was it was a captaining beans. So they were introduced as Porgy and beans. >> Uh-huh. Oliver owl and the two little pups were ham and acts ham and x, e x. That was the name of the character. So half funny, funny puns. Funds, Of course, of course, they looked at this cartoon and they, and they thought, you know what? >> One of these characters could be, R star character. One of these guys can be the start character for Warner Brothers, Looney Tunes. >> Which one do you think they picked? >> No, I don't need to see a show of hands. I don't need to hear you say corky because the answer is not Porgy, The answer is beans, the other character, they decided to make a whole series of cards, foods with that black cat character named Beans. >> I was a bust. >> I'll get back to that in a minute. I think I'm gonna go towards me to get back to that in a second. Let's go back here to that image. >> So 36 rolls around. >> That was 3536 rolls around. >> And Leon is kinda pulling his hair out. Leon, the producer and doesn't know what to do. And he just starts or another hiring wave it looks like he takes and everybody who applies. And the good news for him, he said some really cool people applied even though they didn't have the, the background that you really need it, but but he was kind of desperate. >> One of those people was Frank to Ashland I don't know if you know that name. >> I'm not sure if we're even going to see a frank tension cartoon today, but, but he's more well known if you, if you have heard of them and most of you haven't. >> But if you have heard of him, because he became a very famous live action comedy director of the 19 fifties and sixties. >> A lot of movies with Doris Day, Jerry Lewis, and Bob Hope, and people like that, plus a few other films that he made. >> They're very, very original, very inventive. >> Why were they inventive? Because he was a cartoonist and he would make these live action movies. I had a lot of what I call a cartoon like gags in them, which were unusual in the fifties, but not in a frank Tasha and movie. >> So lookup Frank cache line and check out his film on graphene has a lot of good ones, like I'd say almost every film he made as great stuff in it. So she went cartoon, point-of-view, live action movies. >> But Frank Tesla and before that, the 130s was a cartoonist. He was a cartoonist. >> He had a comic strip and the newspaper in New York. He moved to, he worked for the van urine animation studio here, assume in New York and then moved to LA and knocked on the door, at least lessen your studio and got hired as a director. >> And at the same time, three other people read other people were hired that really made a big difference. >> But two of them really quickly where he hired a guy who's knocking and knocking and knocking on the door to try to get voice work. You gotta remember, before 1935, between 936, there were no voice actors. >> I mean, they were, they were on grade, but they weren't in cartoons. They really generally used musicians and other studio staff for the voices. >> And a lot of cartoons that's, that explains why Walt Disney is the voice of Mickey Mouse. And I can't think of more signifigant names around that time. >> I, I mean, I suppose quiz stele. >> Who was doing Betty boop in New York. She was, she was an actress, I guess she might have she might have been one of the early, early actresses who got involved with, with the animated cartoon field. >> But a guy named Mel Blanc, who was an Oregon Ian would come down to LA who knew he had a whole bunch of funny voices and might work in cartoons. >> And he knocked on the door of every studio. And Ali, when he actually got hired by every studio in Hollywood eventually. But it seems very prolific in the 130s. You can hear Mel and a lot, a lot of cartoons. >> But he got hired by Warner Brothers to do some of their main characters that they didn't even have yet. >> It point, he was just doing peripheral factors around the edges. >> I'll get back to Mel Blanc at some point, but that was insignificant hire another one was Carl stalling. >> Called stalling was the musician that came out from Kansas City. Walt Disney hadn't come out and work on the early Mickey Mouse cartoons and silly symphonies. Even the one who suggested the idea for the silly symphony cartoons was Carl stalling, was a musician who was the Kansas City theater organ. As the plagues of silent movies. When needed sound out here, Walt didn't know who to call. >> I called the guy going musician. He knew the >> Theater organist in Kansas City came out and he ended up making a career making animated cartoon movie storage for Disney. You didn't went with will all buy works to his own studio. You get a lot of freelance work and then ultimately got hired full-time at Warner Brothers and was pretty much there for the rest of his career. And his soundtracks, the cartoons are kind of legendary now and really worth listening to. Isolated from the cartoons, they're very cool. >> The other person that also got hired was an animator who was at the Walter Lance studio who was a big gangster. >> He did a lot of it, came up a lot of gags, crazy stuff for Oswald cartoons. And he wanted to move on. And his great heard, there was an opening for director position at Warner Brothers and applied got higher. >> 6x Avery, Fred texts Avery, super important. >> Those four people, or the beginning of what we think of when we think of Warner Brothers guarded dividends when we think of daffy duck cartoons or Bugs Bunny cartoons, those are the four key components. >> Okay, so what's this at? >> So 1936, Avery is installed as a director and he does two things. One is he does a bunch of them marry melodies. And this is one that was based upon a song that Warner Brothers had. >> There was a movie called, I think it's called Page myths glory. >> And so they made a cartoon where they took the title to them. >> They just called the cartoon Miss glory, and it's a musical. And so as this cartoon, in fact, this cartoon is sort of Avery trying to make fun of, although I'm thinking you almost, it's almost comes, comes off more as an homage or attribute to the Busby Berkeley musicals of the day. I'm going to show you this cartoon as opposed to a takeoff, because Avery begins, to me, begins the, what I call the Warner Brothers style of humor. >> It doesn't start right away. >> It takes a few years to develop. This cartoon. >> Isn't that funny. >> It's got some jokes and things. >> It's more interesting for the use of Art Deco, which is extremely rare in Hollywood cartoons. There's only a couple that I can think of from various studios that embrace that aesthetic. But here's rare Warner Brothers take on that. But this is Tech savory early, early on in his tenure. >> It's what he does with Porgy pig. >> This more interesting, I guess I'll talk about that on the flip side. >> So the, if we're ready, let's take a look at 1936. >> This is where they are at this point. >> Mary melodies, Technicolor myths, glory, obvious where there's no sound. >> I don't hear any sound. >> Here we go. Personnel. But now you've gotta get your guys. Time marches, SY boy, glory when the Moon is new genre to mine. I want someone to down. What do I do when there's one other thing I know is gone? So when I begin to view the Deirdre, again, that MPB you and way down in my heart Service Ms. glory. Glory. These glossaries, Laurie, when the Moon, and I remember when we went one day, this only we need a new one. I write vagueness. Wait just a minute. >> So all folks. >> All right. >> So there is a boy or a moment here. >> Can you guys see my PowerPoint screen or no, not yet or you don't. Okay. Sorry. >> But figure that out. >> She has oh, there we go. >> Okay. The Hopefully that all ran for you very well. >> If I were being a uber nerd, I actually Sunday I should just make a frame grab from the last scene where the people are waiting for the miss glory car to come. The people in the town, and they're all caricatures of the staff. Only somebody like me would know that. I mean a or Uber nerd, but caricatures of tech savory Chuck Jones for his feeling. The key people that are going to be key to Warner Brothers. And there they all are. In 1936, the very, very beginning of what's going to be a big deal. This cartoon may not have been a big deal when it came out, but it was it was definitely beginning of a new era. Well, let's see if I can make some changes. Well, there we go. We'll go back to this image. Will go, will go away from it. When Avery joined up, Porgy pig was already established in this one cartoon, and beans was established as the new star for the studio. >> The every every wasn't the gags. >> Avery was into jokes, less into character development or character, but he thought that the pig was so weird and different and, and beans was not that much different from at least the character design. I'm Oswald the Rabbit. He wanted to do some, he wanted to use the character in a different way. >> Plus he had this strange, that strange speech and at a man and a real thing thought that that was funny and that that could be used for humor one way or another. So he started making cartoons that featured the pig character. >> And I think based on the cartoons that it didn't matter what character is Avery. >> His innate sense of humor just shown through. >> And it didn't matter who really, in a way, what character was the lead if he was making the cartoons generates laughs. We're going to be generated. Here's another image from that. >> I haven't got a hat cartoon publicity image. >> Anyway, we're going to speed along a little bit just to get that stuff. >> But Avery use that the character of Porgy. >> And before you know it, pork pig is now the, the character, the signature trademark character now of the Looney Tunes cartoons, B are becoming funnier and crazier and loop here. >> And it's this thing, this is the, the Warner Brothers aesthetic that, that Frank Castle and took on that Chuck Jones and all of them. >> So God at this point, which was which was >> To do it differently. To do it, we don't, we're not going to do this. >> Came kind of from the top Leon anyway, they just don't, they're not going to copy Disney. >> They were the first to resist it, and they were doing it up to this point, but they basically, we're not going to copy and follow what Walt Disney's doing, mainly because they couldn't afford due, mainly because once he did Snow White and 37, he was so many miles ahead that it got to a point a way. >> We week this weekend, he's gone off into the stratosphere. We can follow them. >> But one thing they did understand they could do, and that's because attachment and Avery in particular the directors, they, they could be funny cartoons. They can do cartoons with a big sense of humor and make audiences laugh. Disney wasn't doing that. >> Yes, he had gags in his cartoons, good jokes and things and gag situations. But Disney was looking for the Polish. >> He was looking for character. Nothing wrong with that, but he was going in a different direction. Warner's just said they're the ones not the other studios. Me wonders is the one who said, no, no, no, we're going to do this. >> We're going to, we're going to develop comic personalities. >> We're going to come up with cartoons are going to make you laugh for six minutes. That was the thinking. I think men gotta remember. >> This is an age before everything that we have today. We don't have they didn't have the internet. >> They didn't tell him that they didn't have Saturday Night Live, they didn't have a weekly variety sketch or they didn't have Mad Magazine. >> I'm travelling nationally, but they didn't have things that came later that were places you go for humor. >> They didn't have that before, you know it. >> By the end of the 30, still the Depression Era, the Looney Tunes become that thing. >> Now, what do you mean Jerry? >> What do you mean? >> They become that thing because they're cartoons. >> They're just simple cartoons with funny animal characters. It now they were, they were the Mad Magazine of that era. They were the, the, the satirical thing of that are, yeah, there were more law Fear, Robert, eventually. And there were other satirical things that this for, for movies. >> They were the sketch comedy for movies. >> They had crazy characters in crazy situations. >> They broke the fourth wall, meaning, meaning. And this was a big every trade which was they were extremely aware of what they were. They were extremely, what's the term today, meta. >> They were extremely aware that they were short subject before the feature. >> They were a cartoon, and they told the audience, were aware that they would talk to the audience at breaking the fourth wall. They would talk to the audience, they would interact with the audience. And some cartoons, I don't know if I have any examples of that, but the next cartoon I show you, you'll have to hold the memory for a moment. The very beginning of it as pork. He Piggies talking right to us. He's showing us a newspaper. He's talking to us. In fact, I'm going to be showing you a cartoon with Porgy enters a world of craziness. But I guess before I do that though, I'll introduce >> A daffy doc, another zany, oddball character was brought into it by tech savory to be a foil for Porgy. >> In some cartoons, they're friends, some cartoons they're bitter enemies. >> But, but it's just added to the humor of the situations. >> Now here we galaxies that trade add. These are from motion picture almanac magazines that went out to the movie industry and film exhibitors and things like that back in the day, I love looking at these. This isn't the only places these things were advertised anywhere else. Produces Looney Tunes, Mary melodies for Warner Brothers. Just an ad for his company. And at this time, I'm going to have to guess by the dates they see in 1937. The side there, this is clearly before Bugs Bunny pork into f exist. Elmer is there. So this is 39 or so, possibly even 1940? Yes. Probably around 1940 is my guess. >> Anyway, Here's a poster from 1940 that features torque either having, they are basically the leads of the Looney Tunes series and they're pottering along and they are gaining traction on poppy and Disney at this point, something puts them over the top. We'll get to that. >> That's the something. Alright, so what I'll do right now is I'd like to run. >> I don't normally do this, but since we're saying the pictures are coming through good, we'd like to run two cartoons in a row. >> The first one is, I thought I had an image for it, but I guess I don't the the first one is a poor keep, but they're both quirky, pink or just one of them is Quirky, quirky and wacky land. And it's an early 1938 cartoon by Bob clamp. It, who I mentioned before one of my favorite directors, you'd put the Looney and Looney Tunes, It's funny. They all had their own traits. They're all different, all the directors for his feeling. >> Bob clamp it. >> Chuck jones takes a rate, had their own point of view, their own style of humor. And even if they were working on the same character like Porgy there, each car character, each directors version of that character was different. Sometimes his model meaning is this design was completely different each cartoon because it depended on which Director was handling the character. >> I love that. It's it's weird. >> I mean, I don't know what audiences slept. The governor look different, every guard Dune. But, but I, I, in retrospect, I think it's kind of cool. They all had artistic freedom to do what they wanted with these things. >> Bob clamp in cartoon features the character in a strange surreal. >> I don't want to say Salvador Dali ask, but is surreal is the right word here. >> Land trying to catch a strange dodo bird and its typical, not an unusual one. This is typical of Bob clamp it during this black and white era of these early Looney Tunes as a gag, I feel like I want to explain because, because it's gotten close to the heart in recent political events. >> But back in, during the thirties, when Hitler was on the rise, and this is before World War two. But Hitler was an horizon Europe. >> There was a famous book that came out, which was called it can't And I called it can't happen here. And it was all about how what happened in Nazi Germany won't happen here in America anyway. >> And when perky enters the wacky Land, is the sign on it says it can happen here, which, you know, if I just let left that alone it and explain it. That was based on that book title is a gag based on that book title, you just think, Oh, it's a crazy land or anything can happen. >> That's all true, but I like the fact, but that's the thing. These cartoons are laced, interlaced with topical humor that sometimes flies white past us. You know, there's all sorts of things in this cartoon that, or just funny regardless. >> But, but the more you know about pop culture, or just culture in general of the time. It'll make, actually make you appreciate all the cartoons even more. Neh, includes the music to lot of underscore by cross stalling. That actually is a comment on some of the action based on the music he's using, the audiences of that, they would've known that. I'm just going to leave that out there. >> The second cartoon is called you ought to be in pictures, and it features daffy duck, that it's from the same years as poster. >> In fact, Porgy's even a car in this cartoon. This cartoon is worth seeing for several reason. The main one is, is they just decided that the one that was live action and animation, this cartoon is obviously 40 years or 48 years earlier before Roger Rabbit, but you'll see some influences here. Porgy is goaded by daffy into asking the boss, Mr. Schlesinger, for arrays and or to tear up is cartoon contract. Go make movies, feature movies on the main lat. And that's what he decides to do. >> I think it's worth looking at and you get to meet me on let's see where this guy was. So see if you're ready. >> Let's see if they can run two of them in a row. 14, wacky land, you ought to be in pictures. >> Yeah. Oh, do yeah, and it'll be blamed. His mama was i upon BellKor? Fine little mill? I don't know which way. >> Hawaii >> Thank you. Going. Yeah. Yeah. Yeah. Yeah. Did you call me cartilage capping features? I'm not good at contracting. You can just fill up the way I ought to do or opportunity like every day, maybe I don't care now. I'm not afraid to come in. Hello. Hello. Hello, Lian. >> Well, partly what's on your mind? >> What can I do for you in Khartoum? That around? And I was thinking, what's your offering? Haven't you mean to say you want to get audio cartoon contract Petro? >> Well, that's the way you feel about it's alright with me. You're sure you know what you're doing? >> Well, if you say so, I'll therapy a contract if that's what you want. Well, if that's the way I feel about it's alright with me. Ok. Parking. >> Don't forget me when your star. He'll be back to the studio. My morning, come back. >> Oh, hello. What do you think you are driving through here like that at all? >> So your poor gaping, you'll want to go in there and you want me to be a nice guy and let you go in there so I can lose my job. Well, I'm not a nice guy and I'm not going to let Joanne and I'm not going to lose my job, but I am for all you out. Get out the body. Mr. McGill, morning. Majority party RD. You can't come in here like that. Okay. Turnover by everybody are all quiet, quiet there. I thought I told don't stay on here closely. I don't think you want to get rid of parts, place to relax, and that's a great guess. What Thank you. >> All right. >> Forget anything. >> All right. I'll take it over. >> I'll take it over a takeaway. >> I was only two of them they prefer. Okay. I know you come back. >> Contract. >> I didn't turn up Rstudio and go to work. >> Great Greek Cabo. >> Okay, so well, one thing we have so few talks, a little time to show films, really that one thing I'd like to make sure you're seeing, and you probably are, is the development, the development of what I call the Warner Brothers style. The next couple of films like show you will get there and will then will show something that's in the Primo of that style, but this is still on the road to it. So quirky daffy will. >> Now finally, Warner Brothers has some real bonafide cartoon characters. They're actually stars and films that are considered funny and fast and very popular. Meanwhile, meanwhile, back in that color Series, mary melodies, that's the star Sirius. >> The linear tunes on the Color series was the Mary melodies And that series, well, think about it. >> What happened was there was actually another cartoon that poor cane wacky land was so popular. Porgy as a hunter became a thing. I'm backtracking a notch to talk about Porgy because Porgy's a hunter. Hunting gags that became a thing at Warner Brothers. And they did a cartoon where he, he did a duck, a crazy duck, that became his new partner, daffy, than they did one He's hunting of crazy rabbit, and that was popular to the rabbit looked even less like this character, this two later where you can see where this is going. They was a white rabbit deliberately, but he was, he was zany and crazy. So the, I'd give a zany crazy rabbit trickster character was becoming a thing at one in cartoons. They're getting good reaction from that. Nobody saying, Hey, that's a big superstar or anything. But there was some good reaction from the cartoons with hunting gags. So several hunting gag cartoons were done in the Mary melodies series, like this one, harem scam featuring this, this, this character. >> It slowly evolved. >> Every directors sort of had a shot at using the wacky rabbit character. And each one, as, as I've said before, made the character to their own. They did something different. The character might look like, this character might look like another version of a rabbit is voice. Might be Gu, fear or something, or zany or in some high pitched way. >> But they would all do their own take on this, this rabbit. >> There was no one Creator of the character Bugs Bunny because the character evolve. >> And even after he was established evolve. >> So harem scam was a cartoon directed by a director named bugs, where Ben heart away, but his nickname was Bugs. Bugs, What does that mean? That means back in, back in the thirties, forties and fifties, the term, the expression bugs, I guess if you look this up on Dictionary.com or something with this, it'll, it'll, it'll say this. But bugs is an expression that meant crazy, insane. That's what bugs meant. >> He was bugs bug house. >> These are expressions from that period. >> So, so Bugs Bunny as he internally it was called at the studio because they suddenly became the name of this crazy rabbit characters more possessive by the, by the, by the guy who did this particular cartoon, which was not the first one, but the model sheets plan around for Bugs Bunny and take say, rehab. >> His turn. >> It that at doing a cartoon need decided to team the character up. Let's see if I can do this with, with that Elmer character. >> You can see in this, in this trade ad, they had this, they'd already had this Elmer Fudd character In the studio and at different playing little parts and little pictures. And so when Avery got his myths on this character, they said, let's put the Elmer character with hunting Bugs Bunny character. He also, he refined the look of the character more. >> So he won Avery it, Ray Avery ism was, there were many cartoons, brought. >> This particular one that I'm going to show you next. Where in his cartoons he has kept. That was a thing, it turns out from interviews that, that that was something that came out of him from high-school, his high school, it just was a high school thing and local, you know, in Texas. I forgot exactly where he grew up in Texas, but it was a school thing to address everybody is dock. >> So that was something he carried with him and in many of his cartoons, including a wild hair, which was, which was Avery's attempt. >> This thing the thing is with this particular 11940, this is the one where everything kind of click together. It is not even call it, he's not called bugs money or anything. And the skirt, he's just this crazy rabbit. >> Didn't have a name for me it, but the Elmer character to evolve into the version you see here with the voice that you see here, which was used in previous cartoons. >> But the combination of the hunting thing, it's almost become a cliche. In fact, it did, even amongst the cartoonist of the studio throughout the years. >> The whole, the whole of this cartoon almost became a cliche. >> The classic Bugs Bunny situation and a lot of little classic gags along the way. He doesn't exactly sound like the famous Bugs Bunny. We all know it's still 0s still forming. It's going to take three or four or five or more cartoons for us to get to that version of Bugs Bunny. He's just a cartoon character that evolved with all these different fathers putting a hand in him to, to get him that way. That's the kind of thing that happens in animation development today, but it all happens before they make the first film. So when you see the first episode of that show, where the first cartoon with that character, they've already figured this out for a year here. Warner Brothers is figuring out this character on-screen picture by picture. Anyway, let's take a look at the, what is not the first cartoon feeds for crazy rabbit, but the one that Warner Brothers considers the first Bugs Bunny cartoon, and I think they're right, this really the first of the line and it's after this one where it's this one where all the, the, the patrons of the moved out of the get reaction, patrons of the theater would tell the managers, leave little notes, we love that cartoon. >> I want to see more cartoons with that character. >> And they would then get that information back to the local offices of Warner's that and we'd get back to the studio and, and we'd get back to the cartoon studio that they want more cartoons, that rabbit. So it became a thing. And before you know it, a year later, within the year, Bugs Bunny is the new superstar of the Warner Brothers cartoons studio. >> And Really, really changes the course of things the next ten years. >> So let's take a look at a wild here, the fairly, fairly quiet. >> I'm hunting rabbits. >> Boy 2x, avid whole rabbits. Love Alex. Mm-hm. >> Whatsapp? Got to wipe it down. >> And I'm trying to catch, what do you mean? Women, rabbits. Rabbits, you know, big Wong is id and a wicker white fluffy tail gets up and he hops to wound at a wound or like, you know, I believe this is a a b, b I take on me, but, you know, you were just like a weapon. Listen, DOC, don't spread this around, but I thank jelly anymore. Now. Coulomb, BAD Meli, wayne, No, let me know what you say. It wouldn't be that rabbit will again be gone. Your main weapon tweaked and web. And I'll set my web at TWAP rabbit, a rabbit, Rabbit. Nice. Cal it. Well, weapons. I told you I'd get you deny for my TWAP. Mr. Muhammad Dewey. Smart play. It wasn't finally caught. You didn't financially dog gone. >> You will mean a weapon. >> Actually wasting one iPad might find much what I'm getting at gunshot. Okay. Dac, okay. Looks like and hold out much longer. Everything's good. Vibe Mr. Wab, it say something like, you know, I'm I'm way deadly whoever I guild abuot it. No Gwaii will happen. Why did I why did I not lab in labs? Now, can you imagine anybody acting like that? You know, I didn't get all guys squirrely, so bear with me a second. >> Aida. >> Slight mishap here, but I got it fixed already. Sorry, Avery. We're going to talk more about Avery next week actually. >> But he was definitely major influence at the studio. And probably as I said, he's really into gags, that character. But this cartoon is probably the most character development he ever did. And it was long lasting because it became the beginning of the, the Bugs Bunny character that we know what to look at some of the other directives in a particularly Chuck Jones. >> And we'll get we're going to, we're going to talk a bit about him and look at some of his work are very important. >> We see what I've got here in my little list here of what's next. Oh yeah, Jones is famous for characters he created and cartoons that he made. A pub A's probably the, well, a favorite that's for sure of the he's one of the best and really kind of history of, of these kind of short cartoon directors. >> And very pleasing, very popular. >> But it didn't start out that way. He was a young guy in the thirties. He was at they call them sell washers back at that you'd use to wash off the animation art from the cellular Lloyd's after they film the cartoon, because they didn't know that 305060 years later, those things would be worth a lot of money. They just knew that they need, they need blank celluloid to draw another character on for the next cartoon. So that was how you started. >> He did all the early jobs that one does in the animation field to work their way up. He was a Hollywood kitty, grew up in LA >> He was an in-between a and then an animator. He was an animator during that period, that, that, that 1936 period. And slowly by the late thirties, became a director. >> Strangely enough, despite the fact that by the late thirties, the, the new thinking emerged. Was there already at Warner Brothers, which was comedy funny, haha, you know that. >> But despite that, Jones, for whatever reason, we've decided on his own because he again, Schlesinger kinda let these guys have their way. He decided to pursue doing cartoons in more of a Disney style. And we don't even think of them today as somebody who would do that. >> He's not he's not considered that will give you that will tell you what happened in a moment. >> He had a swift kick in the pants. This is one of his Mary melodies called Tom Thumb in trouble. >> Very, very Disney esque, silly symphony like subject of which that was not with that studio was doing at that time. But that's what Jones was doing. >> And he applied that to when he did Bugs Bunny or quirky pick, I mean, in the early, early, early wants to prenatal one as I go. >> Well, this jumps us right to the next June, and this is a key cartoon. >> So somewhere around 194041 now the studios quirky pig, daffy.com comedy, comedy, the reviews. And there were reviews back that up, cartoons. They're mainly done for the trade magazines so that the movie owners would know if a cartoon was good or bad or whatever that went for other short subjects as well. But the reviews on Warner Brothers cartoons were getting better and better. >> Leon was really just sitting back letting these guys make his fortune forum. And but the problem was Jones's cartoons were out of step with they were doing at Warner's. >> And long story short, he had a meeting with the boss. And the boss said, you, you gotta get in line with what the other guys are doing or what we're not doing, what you're doing, we're not doing this, the air and enjoying, you know, you see it? Jones was very, very talented and is, cartoons are beautiful. These early Disney wants, these Disney like ones that he did. But he had to get more with the program. And then literally the one cook, the cartoon, it switches it over is this one. >> And I'm going to show it to you. >> But what's weird about it is Schlesinger hated this guard to and it's like such an abrupt switch. >> He pretty much had to pull Jones back. >> This cartoon is unusual. It's, it's a parity, which is what they were looking for. They were looking for parities. Let me let me let me explain that a little bit for me. I was mentioning before that, that we didn't have Saturday Night Live or Mad Magazine. >> Summing it, Saturday night, still live, still does to this day is make fun of news shows, cable television shows, you know, other, other movies and TV shows, their skits. >> I'm leaving out something, but all those little parodies and all the rest of the media, of course, the news being one main one. That's what the cartoons were doing. >> They were doing parity, they did parities, barricades, parodies of travel logs. >> Those were other shorts that took you around the world. Travel logs of newsreels, trouble logs, parodies of feature films they were doing, they were doing those Mad magazine like parities. There's stuff in their own style when they weren't doing a port picker Bugs Bunny cartoon. So Jones's first cartoon when he isn't doing a fairy tale, is the pairing something that was near and dear to his heart? There were these novels called the rover boys. Back in the early part of the last century that when you were a kid, you read them. They, which has something of a young adult fiction at that time. But they were very much dated from the 18 hundreds. And Jones had it in his head to do a parody of those because they were so corny to m, And to do it in a stylized way, very, very heightened. No, it wasn't, you know, it wasn't traditional cartooning of that time. Everything was very caricatured. >> Everything is, the movements are stylized that the girl here, Dora, it'll jump to that in a minute. >> There we go. The is the villain, the evil villain is the hero. You know, these are the two sidekicks. >> It's it, it, it's, it's seven. Dirac parity. >> Isn't that kind of 18 hundreds, 19 hundreds fiction. And it's very good for what that is. But what's interesting is he did things like he does some interesting things here out of the blue. After he was doing his elaborate disney like animation with intricate, almost realistic like Disney was going for it that time. >> Here he's doing the complete opposite. >> He's stylized, he's caricaturing, he's, he's even doing minimal, minimalist backgrounds. The backgrounds are suddenly not the usual realistic trees and forests like you just saw in a wild hair. He's doing like impressionistic kind of things. So on the one hand, this is kind of a amazing little achievement in this little cartoon, especially this is coming out of nowhere. For Chuck Jones on the other hand, an Leon, his boss is like, no, no, no, no, no, stop. We don't want you to go that far. >> Pulls pulls them back. >> I'll tell you more about Jones and his styles afterward, but let's take a look at this really interesting cartoon. Oh, one more thing I want to mention, which had, again, I wish I had some slides on this. There's a thing he doesn't this cartoon that hadn't been done before. >> That's a big deal. It's called, it's called if I, normally I'm talking to animators and animations students from a key, but it's called smear animation >> And most of my animators know what that means. I'm so sorry, I don't have the images to show it. That is what it is is it's a way to quickly have a character bounced from one pose to another pose. And in the middle of a frame, in the middle has this wild smear drawing. >> And that hadn't been done. >> But not only does he do it here, it's something at Warner Brothers cartoons picks up and starts using pretty much from this point on, it's a great way to move characters quicker, quicker, quicker, faster, faster, faster. The opposite of what Disney was doing, which was really slow and more realistic. >> This was complete cartoon caricature. >> I don't know if my introduction lives up to the guardians. Let's watch the Dover boys and take my word for it. >> Component_4, pimento, Goodall, read piu di, fragrant science, the parks. Ah, ooh, ooh, ooh, ooh, my college was underway. >> The most popular fellows out and away, the most popular fellows at all, you are the three dopa boy, Tom and fun loving map laboratorio, ****, a serious lad, away team's hours plus a window. Florida as related Madaba boys in the Everglades. >> And the youngest of the three. >> Joke brother's gay outing at the park has been primed by the trio and they're off to fetch the He also DMT dollars at MSU Shadows female Academy close by round with the usual punctuality, the boys arrive at the appointed hour of three. Soon rollicking way was Sasaki public house unsavory or a pupil or young crimes stressing situation with our usual compromising Morrow, Most of you even know where they must have a blank slide for farmers Oh boy, Koch, MMA Oba, Nobel boys one respect dove. Our boys shrank the double track. >> They are escorting Dora standpipe, rich Dora standpipe, father's money, dollar, dollar bias, right? Catch them. >> But let us draw the cut. A lot of us saw the CB and turned them all pleasant throughout, what we find are young grams engage, they spin at a game. >> Might go see it up here, low, low, Woah, here, over here, here, here, here, here, here. >> Hover area. >> Sorry. Here. Know that dove, a boy is o, must be alone and not bread. A run about lab right now maybe >> Dot product of a bulldog. What's this? It looks like an alert young sculpt. And that just gives you a lot. >> My own telegram for a double boys, but she stomped the cutlery caraway. >> What's happened up a bottleneck that we quote, unquote, sign Dora, thirty-five cents collect. >> Oh sweet DOM. Or do you keep carried out bench and thereby the US dollar won't be, you lie here at hand to do and I PUT a wood opera, you know, Ananda, than backslid on hand or Dan backslid on hand. Her Dan backslide. >> We're getting in Iraq. >> Stand up and fight. Oh, you haven't been prized enough yet. >> A, but now it is time to say goodbye. Goodbye already couple of soccer. >> Let's go back a notch. Couple of notes. >> First of all, I'm I'm not seeing it as nicely as I'm hearing you guys are seeing it. And it's, which was actually cool in the case of that cartoon because I got to see a lot of the smear animation because it's so choppy and still picture II that it allowed me to look at a lot of oddball frames on that cartoon. One could see what I was talking about. Don't forget that the CCLE We have the links in case you're seeing it the way I'm seeing them, cartoons aren't running smoothly. >> Recheck them. >> The CCLE. >> We have the links for all of them there. >> I also wanted to mention, I forgot to mention after the Bugs Bunny cartoon. >> I just want to talk about that for a second and think about Bugs Bunny and the thing about a wild hair, that cartoon, oops, wrong way. There is one. The, I want to talk a little bit about the aftermath of this character in this cartoon. >> The What's up doc line that's introduced in this film. As I mentioned before, it was a little in gag. It was part of that wise guy personality that was kind of emerging in pop culture. It comes out of it, I believe it comes out of dead end. There was a play on Broadway called dead and featured these wise guy urchin, depression error, poor kids who are in their, in their early teens, mid teens, and they're, you know, they're just, you know, they're not going to take any GF from the, from the government or was the world's just fallen apart. >> It's to depression and they're tough kids of the street. And that was made into a Broadway play, was made into a movie called dead end with Humphrey Bogart and the kids. >> And it became the debt in kids. Maybe they've started appearing in movies as the debt in kids, later, the East Side kids, and then even further later, the fifties, there were the Bowery boys. But the, that attitude was part that was in the culture that point, late thirties. And I think that's what Avery was applying to Bugs Bunny was that, that tough culture that was, that had emerged. But what's interesting is that it fit this character really, really well. And Bell blanks voices and things like that. But the, the, the timing, timing is really part of it. It's always part of it. >> It's, there's luck, timing, all sorts of things that have to go into something. It becomes popular or well known. >> We were about to enter World War two. We didn't do was another year and a half or so since this cartoon came out. But, but we're about to enter World War Two. And the popular culture the country was not interested in suddenly lost interest in fairy tales. >> They lost interest in what had been during the depression. >> Now there was a war and now everybody can get a job, whether it was in the military or covering or the person who went to the Miller military. Suddenly there was 100% employment in 1941 and we had enemies. We had the, the Axis powers. We're going to talk more about World War Two next week. I'll show you what happened in animation with World War two, but we'll talk about that. >> But Bugs Bunny came to represent suddenly pop. >> I'd been to some extent, but Pop, I even assuming Bugs Bunny even more so because by subject Papa Bugs Bunny was more of a, but it was brand new at that time. And he was a fighter. He was a he was a like, like we talked about with The Three Little Pigs or even with pop by Bugs Bunny, was the character that was defying authority and defying those that would try to strike them down. Bugs Bunny became To represent America, kind of an editorial cartoon like way. And his foes were those who were against America or against the people of that time. And so that, I think also loaned itself to the popularity of Bugs Bunny, especially in the subsequent years during the war that really does come forward. >> Alright, now back to Chuck Jones. So it goes from the looked at the background on this picture, you can see the visit cute little worm there. >> And everything's very gentle and dizzy looking in. >> And that's the kind of thing he did. >> These guys are angular. There, there were a whole different ballgame. >> Cartoons didn't not look exactly like this. >> It may not look like anything to us in some ways, but it was shocking actually back in those days was like, what's the deal with that cartoon? >> That was an unusual one. >> So Jones had to be pulled back and make some normal cartoons for awhile. And later we're not going to show, we don't have time to show everything we could should, I could probably do 15 weeks just on Warner Brothers cartoons, UCLA. If you're listening, I'll take you up on that offer. >> But Jones created the Road Runner. And yes, the Road Runner was based on thinking That's the mother time and some other plates but Roadrunner character that would not fit in well in today's me to movement Pepe loop. You see Jones's style and these Marvin Martian in several cartoons. >> Here's with the later. This is 1948 and it's, and there's many, many more, many, many classes. We're going to look at some of those classics. In a moment. I do want to talk about Bob plant, that he's sort of my favorite director from this period. >> And there are so many other great directors like tax day, Chuck Jones, Bob clamp it. To me. It's just lived in. >> Breathe the Looney. And I love the versions of his character's, his that Bugs Bunny in this trade at, let me see what he's got going here. >> Okay, is that Bugs Bunny? >> And this is the publicity photo is to me the perfect Bugs Bunny. That's, that's the character right there. >> That's the way clamp it that him, This is this is obviously a trade ad from a, from the fifties or something, because it is now in production. >> The first commercial cartoon ever made for television. This is probably the late forties or early fifties. And clamp, it was a pioneer of television, but not Television Animation. He had a very pioneering puppet show, Warner Brothers around 194546, and went into television. He thought that was the future. And he had an Emmy winning puppet show called beanie and CSL, which became a cartoon later. But clamp, it was boy, a boy, his late thirties, early forties. >> Cartoons are to me very, very, very good. >> Or you saw one with cocaine wacky land. I'm going to be about at least five or six years later. But in the literal I've, I'm showing it because to me it is a quintessential chase cartoon, a quintessential Warner Brothers cartoon of I think this cartoon from 4443 >> Bringing the Majlis. >> This is me very quintessential Warner Brothers chase humor gags, exactly what they're known for. A 100%, oops, he created tweety, believe it or not, tweety tweety pie or tweety Bird oil Tweedy is technically the character's name, the Grusin to us. And this is a cartoon from the mid forties. I'm not showing you that, but I wanted you to know that he created the character. He left the character when he left the studio behind for his feeling. >> Took, took it over. >> Oops, this fuzzy, out-of-focus photo is the lobby card for the cartoon we're going to look at called The Wise quacking. >> Ok. And if I do nothing else this class, it's to make you see this one cartoon and then we'll see some more. >> So if you're ready, let's look at why it's correcting a key for the right time at Warner Brothers cartoons. >> As far as I said, oops, only to every duck is in this form. >> Oh, oh, oh, oh, oh, oh, I hate to do this, folks, but my wife the vital role that output autofill cook might go. >> I dream of a Jeannie I with a line. Alright, house every key. I'd like to borrow enough gyri, Jeannie, and what? Bob, listen, you're somebody with that thing. Isn't it? >> Blah, blah, blah, blah, blah, blah, blah, blah, blah. >> Goodness, counterpart, insert little baby eyes. Year, slump, water, say, how many lumps does your life usually get yet? >> Well, modern normally game, we wondered, well here are the crane to maybe say like maybe it'll be bringing back that daffy DO your way look, folks, I improved. >> Well, it looks like Sweet plus. Yes. For dinner after all done it Oh, my gosh. You know, perhaps you would like your rent anyway. Now, not twice. >> Did it end? >> Alright. >> Okay. Sorry about that. The alright. So friends, I want to just, uh, one way to do is we're not going to go through the films that reached director, but I want to mention who they are to reference. >> That may come in handy next week too. This is for feeling, who was mainly the Director of any cartoon with Yosemite Sam, the later 20 and Sylvester cartoon. Sylvester forgetting other characters that he created and directed, but he's a significant force. >> Here's one of his Sylvester cartoons. These are cartoons that heat you're hopeless, speedy. And anyone who I mentioned before, this is him in the thirties. This is one of his cartoons on the cover of the magazine called who? >> Yeah, I have no idea what this is. I must have found that on the internet sites. >> Food in here, Tish stash statuses, cartoon name Robert McKenzie, most unsung Director of the, the Looney Tunes and Mary melodies. He was the best animator at the studio. >> Really good with perspective and character and all that. And later when touchstone left duty, it forties Robert McKenzie and took his place. And he ended up creating foghorn leg horn directed cartoons like that, as well as the Tasmanian devil. >> He actually created that character, which is still on tee-shirts today. >> That's actually a robber. And the Kim's in drawing for this one sheet poster for the characters. And this is obviously the poster that were in movie theaters in the mid fifties or late forties and when they were at the height of their popularity. >> Alright, with the time we have left, I'm going to try to cram in a few more cartoons. >> Hope you have no objection to that. First. First what I'd like to do v is electron two in a row. >> And then we'll come back and talk about the last two. >> So we're going to try to run for more cartoons because I think they're important to see. These are all, four of these are by Chuck Jones, and these are all spanning the 19 fifties, which for Jones the 19 fifties, it was his prime time. This is where now Jones, I'm gonna jump ahead and go back to this. I'm gonna jump ahead by telling you that Jones, if you don't know. Later in the sixties, he did the how the Grinch stole Christmas. He did, he did many, many things actually. Um, but I mentioned the future glasses, so I'll leave it at that. But he was very revered as, as a cartoon director. But it's the fifties where he's really making the cartoons that people remember. And I'm only showing you if we can fit a man and if I can speak as succinctly as I can show you four of them. This is the first two are our miscellaneous, meaning they're cartoons that don't feature irregular character. Regular character would be Bugs Bunny and daffy duck and others of his regular group. These are just a one shots cartoons. It's meant to be. They would they would give all the directors and opportunity to one or two every year in addition to the ones that had regular characters. And the thing about giving them the chance to, to do a one-shot is there was an excellent chance that that cartoon would contain a character that might become a future star. And that's exactly what happened on many of these caret characters and many of these cartoons, all these characters I mentioning, you know, whether it's Yosemite Sam or Tasmanian devil or whatever. And these are just characters that were either supporting players or a start and a one-shot cartoon. And then we're graduating, come back and be more cartoons. The other thing that they wouldn't have thought of or known then was that some of these one shots would be absolute bonafide classics, just classic cartoons. And that's what these first two are for sure, even though you may never have heard of them. >> Feed the kitty is the name of this one. >> I get a lot, I guess asked a lot. What's the name of this cartoon is? Nobody knows the name, but it's the one about the big bulldog and That little cute little kitten. These aren't Chuck Jones. >> His actual drawings here that you're looking at right now? >> When he directed He direct the drew the model she'd see did layouts. They really his cartoons? Yes. >> He had a staff. >> Animators at Drew and his style and studio is wrapped around him. The other directors didn't, didn't necessarily work that way. Feeling in particular did not design his own characters yet is assistant director do that. So, but Jones really was into a tour of his films. This one in particular, as you can see from this model sheet, particularly over here on the, on the right, you know, this is one of his traits is expression, facial expression, facial expression, this is really a great showcase for that. >> Most of the film is pantomime fact. >> These characters don't talk at all. >> And oops. And so the, you will see that this perfect example, and again, I'll just say perfect cartooning is what's going on here. >> If you are a big fan of Pixar and Monster's Incorporated that film where he, well, you're going to see as seen in this cartoon that is repeated in Monster's Inc. I give them the benefit of the doubt, Pete, doctor, it was an homage. They're big fans of the, of these cartoons. And there's sequence in here that's actually in that movie. I'm not down, but I'll leave it at that other film, a disease. These, the, this, well, it's a little junior version of Walter Mitty. What I mean by that is Walter Mitty was a story written by James Thurber in the 19 thirties and adapted to movies in the 19 forties. And there was a recent Ben Stiller version of The Secret Life of Walter Mitty. >> And that's about it. >> And it's basically about mild-mannered character that daydreams about being a superhero or being a hero of some sort. And this was Jones is sort of take on that and it's really, really farming. This cartoon is from, these are from the fifties now. And keep in mind where we're jumping ahead a little bit about next week, next Wednesdays lesson, we're going to talk about the 19 fifties. And I'll be mentioning Chuck again because Chuck was a quite the proponent of the stylized cartoons, the fifties aesthetic that came into being in the 19 fifties. But Jones and other animators were experimenting with different ways of doing animation in the 19 forties. >> And this cartoon really, really feels as that beautiful feel of the 19 fifties cartooning, as you will see, very stylized that one I'll show you next later. After we look at these two slits to v, Let's take a look at Feed the kitty. >> And from a to Z, Z. Z >> Oh, that don't always missing my house. Up o UI, Marc Anthony. Now you listen to me. Don't you dare bring one more thing into this house. Do you hear me? One more thing? Not one solitary single thing. >> Oh boy. >> Mark Anthony, I don't know where you got that strange toy, but keep it out of my way. >> I never anthony had built gone insane. >> What have you got in your hand? Give it to me this instant. Now. I have seen everything. Now, what do you want to you look very guilty all right. Into your basket and stay there. I don't want any of your foolishness while I'm making the cookies. Anthony, You greedy thing gets you even. Wait till they're done. Oh dear White Marc Anthony me back chord. >> I'd had enough of this cream. >> That's the last jaw. >> Maybe I can get something accomplished right now. >> I think there have been tarnished in what, a long day? I know. Just the thing for down here. Take it. You can keep that dear little kitten if you want to remember. You've got to take care of him and let him share your paint and clean up after your responsibility. Now you hear me Yes. >> It's like well, daydreaming again. >> Oh, I'm so sorry. You were wide awake. We're going to show us how to do the problem on the blackboard. Hey, quiet children, what you need is a little fresh air, mailbox qualities to them. Thoughts are worrying about your wage. Miss wows me. >> The money for the mortgages gong through state o is o the Ocean submarine has seven outward fathering steep. >> Can you do it? >> Philips, even though I gotta see an arithmetic, you can. I mean, you may depend on the your captain ship, Sir, you are a deep-sea diving suitors. >> Ready me? Brave lad. >> We won't be able to use a suit. >> The plant IS would never hold up, et cetera, depth also, predators dilution as these waters are infested with the French sabertooth tiger shark. While they get it, all right, young man standing will occur. >> Wow. >> Philips, what's the matter? Did engineering the bad? Don't you want to go more? I shall return. >> Alright, with that reference to Douglas MacArthur, the Warner cartoons. And if I haven't already made it clear, I think that poster a bit back there was still asleep. >> My queue for that, this one was basically to emphasize that the Warner cartoons were the most popular cartoons of the 19 forties and fifties and sixties. I mean, in some ways, but the forties with a golden age really, of the Warner cartoon because it wasn't just the characters, it was the style was the not following Disney. And it becomes the thing that all the other studios, anybody making cartoons back then, were now copying and copying Disney anymore. By 19, forty five, forty six, forty seven, they were copying Warner Brothers a little bit lesser. So the MGM cartoons will talk about that next week. >> Next week we're going to look at the 19 forties on Monday, the other studios, what else was going on during that period? >> And on Wednesday, we're going to talk about the 19 fifties, the UPA studio and what was going on during that period, just so you know. >> Okay, so final cartoons or to absolute musts to absolute musts to 150Q clearing DEF B, the other one featuring Bugs Bunny. This is from Jones in the mid-fifties. First one's called Duck amok. >> I should just not tell you much about it and let it be a fun little surprise. But what it is is it's taking the breaking the fourth wall thing to the nth degree. This is not only the character acknowledging he's in a cartoon, but that he's drawn and, you know, is there to entertain us. >> So I'll leave it at that. >> But it's the other thing I guess I could say about it is that each thaw bug, you saw daffy duck before in the park, he paid cartoon, you ought to be in pictures and then in, then in wise quacking ducks. And in the early persona of daffy donkeys, daffy, he's crazy, he's not ease. While Jones changed his personality. You might even be more familiar with that. But by the, by the, by this period, by the fifties, Jones, and not only did he change his cartoons, but everybody followed his lead. He changed the character into an egotistical foil. I guess that's the right term. I mean, he's, he's all for himself. He's frustrated, he's mad a lot. He's not that loony. >> Whoo crazy jumping character that he was earlier is, is he's now more of, you know, he's kind of POD anyway, and he's very period in this particular cartoon, just Jones, Jones version of Jaffe. >> Well, that's an image from the, the next cartoon, which I can't do this class. This is one of those classic ones. I can't do the class without, without you'd have to see this is one of those. You have to see. Cartoons Whether you understand why or not. >> But this one's called What's opera doc. >> And these are layout drawings by Maurice Noble for this particular film. He's Chuck Jones, is designer, color designer, layout guy. His name is more noble. >> And this cartoon is sort of intuitive force. >> Again, you gotta stand. They made these cartoons, and really no one was paying attention back in the 19 fifties. They would just cartoons, people saw them, they liked them with once in a while, especially when a new character and you feel comes in something really, really changes. >> Wild hair was one of those cartoons I'm going to show you on Tuesday. >> We knew that but wants to cartoons got going. It was just another bugs money in the factory system that they made them. This particular one is both a parody of a of opera, which is Jones was very literate and very cultured would be the right word. So he wanted to do a cartoon around making fun of operas. Why not have Bugs Bunny be Elmer Fudd b in an opera? >> And that's really the basis of this cartoon. >> The other thing about it is it's really kind of a take off on what I said before. The cliches of the, of the traditional Bugs Bunny hunting cartoon. The cliche of, of a wild hair bugs is hunting rabbits, that whole thing. But what if it was done in the style of a Wagner, ain't Wagnerian opera. >> And that's what, that's what this is about. >> The art direction, just pretty cool and amazing. Embracing the UPA aesthetic of which Jones was a pioneer in helping to establish. But very much of that period, of that 1950 stylized period. In another frame, film is full goals. >> Graphics, which it's worth looking at them is still frames because they go by so fast. >> And the films that you don't get to appreciate them as art, which they are. >> So let's take a look at deka MAC and what's opera doc? >> That'll be our class for this week. I'll be here on the other end of that and we'll talk that. >> So the take it away, they helped my blade. >> And two, she left. Here's an article, I bite whoever's in charge here. There's a whole sample. My blade. Have it your way far back and add an igloo me. He would it be too much to ask if we could make up our mind? Farewell, farewell worthy Darwin. But I remember a one-way dam break before we say whose master it may come as a complete surprise to you to find that this is an animated cartoon only. Alright, wise guy, who am I? >> But I've never been. >> So you'll know, yeah, getting all my life, What's going on around here? >> Let's get organized. >> Who, how about painter? >> A dandy. >> Whoa, whoa, that's rich, I'll say. Now, how about cell colors? Well, where's the rest of me? It is I haven't lived up to my contract. >> Goodness, no. >> And goodness knows, it isn't as though I haven't kept myself trim. Goodness knows, I've done that. What strains? All of a sudden, I don't quite like myself, who I feel. All right? And I know well, texture, Hey, I always wanted to do a thorough brand. If you will kindly oblige with a little appropriate theory over there. Let's go whichever whichever right off again, >> Site Philae sour. >> But let us have an understanding what the, rather, what a way to run a railroad. Now saying, get this picture started, I tell you what you go your way and how come I live right? Right. Ladies and gentlemen, there will be no further delays. So I shall attempt to entertain you in my own inimitable TO wash What are you doing down here? But if you're like me, you're right. Don't let that bother you. >> Rather, I'm opposed to hit towel silk guy. >> All right, enough is enough. Final bisphenol finance itself thinking. >> Yes. We why I'm on the web, the web Dweck's lab and the lab. >> That lab. He'll Del Webb. Oh, yeah. Oh, yeah. >> Oh, yeah. Great findings line. >> I inquire till as WhatsApp. >> I'm dying. Ally, the contact will be quite how you view we lied. I inquire to ask. >> I will do it with my spiel in my detail that Yasser BMI, magic helmet, male and magic, magic, magic. >> That was the web. >> So the way we eat. >> The inside me. >> I want you. >> I like, ah, some laws. Why not? >> Wow, wow. >> Why have I been? Well, what did an opera Did you expect in a cartoon animation history class? >> A happy ending. So, so there's that these cartoons came and went, you know, wants to allow something. Would recognize that this is not one of those cartoons that sounds really stood, stood out. And it looks like the slideshow. So next week again, I'll repeat much more to say, but classes dismissed for today. This is next week, we'll be looking at the 19 forties, the other studios, the war. And then we'll follow that with the 19 fifties. >> And that's our story. >> Please combine the two classes into a, into a response paper and we'll look forward to reading those in grading those and thank you all.