film analyze essay

Part one lecture transcript

Hey, welcome students. >> Welcome everybody. Everybody grab your seats. >> Everybody get a drink? >> Yes, I went out. >> It's heavily covered. Don't worry. >> Oh, am I muted? I don't know. >> I know you're not unit. >> Oh, okay. All right. Thank you. Everybody. >> Join up. Everybody do that. I'll take a second or two. Ramble, get everybody with your audio on it, all of that sort of thing. I know a lot of you are not Animation students. I have to keep continually wrap my head around that because that's what I deal with. >> Usually we have astrophysicists and things like that here. But, but if you get a chance, check out trolls world tour is again, I don't know, but it's for kids clearly, but it looks cool. >> And the first one was kina can't be, would be the right word. Really, really sticky. >> I can really kind of, you know, in beautiful in some ways. >> So the new and the trailer looks that way. I was bringing up kind of as a joke, but it's sort of a weird experiment for the movie industry that better trolls World Tour. It has nothing to do with the film itself. It has to do with, you know, marketing and releasing a new movie online. Not that it hasn't been done before, but this is a film that was going to be in movie theaters this week. And because of this situation, there are no movie theaters. And so their release newly online. >> And everybody in the industry is curious to see if it'll do the kind of business they expect that kind of movie to do this weekend. >> You know, I don't know what they expected, but probably $30 million or $20 million or something like that, maybe even higher. So I'd be curious to see if they can gross that or more or a lot more online. >> And if so, if they hit those magic numbers or higher, then that could actually be a bad thing for the movie theater business. >> I believe when we go back to normal and movie theaters or open again and we're all gonna go out and see the turtles or something. >> And it, I'm, we're all going to go back to the movies way we used to, I think. >> But the smaller films, maybe they won't release them. They'll just released them via the internet because they can make the same money in theory. That's again, if the experiment works, if they can make the same money without putting it into a movie theater, they would probably do that. So probably the big event pictures, you know, the I don't know anymore what would that would be, but the Marvel movies and the fast and furious and whatever the, you know, the big event pictures, they'll probably that'll probably always plan theaters. But the smaller movies that made it made it could be a game changing. Turned to the movie industry. >> Because if this anyway, that's my warm up lecture before we start the actual lecture, but we'll start that right around now. >> And somebody Gilruth, tragically ironic that the movies subtitles world toward a time again when they can do anything. >> But yeah, I didn't think about that. >> That's a good line. >> I might steal that and put it on Facebook. >> Alright, let's see if I can start the proceedings here. I've had lots of trouble with some of my other schools on the PowerPoint. >> And we'll see if it works. If it doesn't, we will figure it out and you guys can see that. >> All right, we're going to pick up from where we left off and here's where we go. >> Alright, so just to recap, first two lessons. Animation, the beginnings, the beginnings of a film, experimenting trick films, artists, and additions like male gaze in the movie Hugo Martin Scorsese film highly recommend you check that out. Or J. >> Stuart black, then cartoonist who was working at the Edison labs experimenting with stop-motion moving drawings. >> And then Rayleigh, real cartoonists who knows perspective and neutralinos out a raw life drawing. Winsor McKay, who also does a vaudeville show, decides to actually make an animated film and animated cartoon, and that's a big hit. >> And it starts making people think, a lot of cartoonists, at least, this is a way to a new, a new business for us. >> This is a new thing. I can't sell my comic strip. >> Maybe I'll go and I can draw for a living by like animating. First company starts his studio to create animated films to, to show in Vaudeville theaters and other places that, that would really promote. >> The Hearst Newspapers suddenly make animation based on the comic strips, like Felix cat, I mean, excuse me, crazy cat. >> Suddenly other animators get involved who don't own famous name characters. And you create new characters like Felix the Cat, who becomes a quite the sensation, the first animated superstar in the 19 twenties, as I probably said that week, two weeks last week, that Felix Chevrolet in downtown LA from the 19 twenties of, of how popular Felix the Cat was during that period. >> The, so then there are a lot of interesting innovators in animation during that time. >> But animation just stays sort of in this, I call black and white silent line art kind of thing. And but Max Fleischer emerges and starts doing the row to scope, tracing live action to make it an interesting, odd combination of live action and animation, at which he does, which is out of the inkwell, Koko the clown series, having a animated character come into the live world. That real-world than a young guy in Kansas City in the middle of nowhere, Walt Disney comes up the, tries to make an aim, tries to get in on the business, and comes up with the flip of that, which is to put a little girl into a cartoon world, does this series of Alice cartoons. So Disney gets a contract, moves instead, instead to New York where the other animation is being done, but moves up California because that's where the movie studios are being built in the mid-twenties, MGM, while those kinda things, or albeit their well-being, they're building these big studios, Universal Pictures. So, and Walt has harbors ambitions to be a live action film maker as well, and that's great for him and his live action animation series. He creates another series, Oswald the Rabbit, unfortunately, and read the contract fine print. >> And the, his New York producer, you know, really kind of screws and overt signs away is sides up his artists, makes him makes it clear that he doesn't own the character and Disney figures. >> I ain't working for this guy. I gotta figure out a way to do this on my own. It's making some Mickey Mouse cartoons that are equivalent to what he was doing with the Oswald's series. >> But, and no one wants those. >> He makes a third one that's synchronize to sound, which was just coming in at that time and gets it shown at a theater in New York because no one will pick that up either. Strangely enough, it gets shown on this, this unusual all talking film program in New York. And as you can get, is reviewed by The New York Times and all the Pate press of New York, which is a big deal. >> And the next thing you know, literally overnight while disease famous, Mickey Mouse is famous, every studio in town wants Walt Disney and Mickey Mouse. >> Every theater in the country wants a cartoon with every movie program. And they change movie programmes more than once a week in regular movie theaters, maybe big Broadway theater, a big first run house in a downtown of some city might play a movie for a week or two with a cartoon, of course, but, but ABE, and suddenly by 19291930, and for the next, well into the 19 seventies, the next few decades, a cartoon is part of the movie program. >> When you go to the movies, it was just a thing. >> So the next couple of lessons here is going to follow the chronology of the Hollywood cartoon into the late sixties or so. And then we're going to win. >> Then we're going to talk about other aspects of animation, including stop motion. >> We're going to talk about animating, we're going to talk about other dt >> The disciplines and artists. >> We're going to talk about foreign animation. I'm not looking at the syllabus right now, but we're going to go all over the place so you get the big picture of the history of animation and how he got there. >> But for the first few lessons next week or so, we're going to look at this phrenology and we'll have a little unwanted tunes while if we do that. So we're going to start here. >> Okay, so last week we looked at Disney and we looked at the evolution of Disney movies into the 19 forties that Disney cartoons and how Disney went into feature films, how he progressed the feel, how he's cartoons got better and better and better at striving to not only become legitimate in the eyes of Hollywood and the public. With Carter tunes, again, it was not as big as Disney's, even by 193032. And all that. Cartoons were still just short subjects on the big picture of things. >> You're really going to make some money in this big risks racket. >> You gotta, you gotta be doing more than, than just shorts. You gotta, you gotta, you gotta, there's gotta be some other way to do that. Disney figured every angle he had merchandising yet the song rights, I mean, his characters were just so popular, but the quality was there, the storytelling, the artwork, the appeal. And that's one thing you may or may not notice on some of these other studios, and I'm going to show you is they just don't have it. >> And I don't want to spend time on cartoons that aren't that good, but, but I'm giving you the big picture of what was going on and animation and you'll see some, I'm trying to pick out the best possible films for you so you get the full idea of who was out there and, and, and why we should even pay attention to them. There might be a few people you shouldn't pay attention to. But right away we'll start right here with, with flip the frog. >> And as you may see, it says a couple of things I may have mentioned some of this last week. Okay, first of all, who's a BI worked? Well, to remind us of AI works, is was or is was, was Walt Disney's right hand man, literally, he's the guy. He was Disney's loyalist friend from Kansas City, came out with him. He was the sole animator of the very first Mickey Mouse cartoons, plain crazy, and he was the main animator of, of the subsequent Mickey Mouse cartoons, and not to mention the silly symphony series of cartoons, even drew the comic strip when everybody else was signed off. Didn't do it until he talked to Walt. And that's why he didn't sign that the invisible to work with Walt on that first cartoon. >> In fact, it's beyond said that he designed Mickey Mouse is much documentary evidence of that that still exists. >> And but Walt was a producer. What was the boss? And Walt was that the main driving engine? That actually nothing illustrates that more than to look at the series of cartoons that amoebae works made without wall. Now what happened? >> As I mentioned, probably lastly, MGM, the Tiffany studio, the biggest, the most, the biggest stars, and Hollywood the biggest budgets for movies in the silent era. >> The sound era. We all know them for later releases like Gone With the Wind, The Wizard of Oz, all the Gene Kelly musicals. I mean, there's so much that they're movies were the biggest movies and lavishly done and with the biggest stars. And so when Walt burst onto the scene with Mickey Mouse, Well, first of all, cartoons were beneath the dignity of MGM, even in the silent era. But everyone had to have cartoons. It's literally a law. And the law was decreed by the theater owners. They had to have animation and they got it that theater owners could get from other studios. >> Um, but MGM was placed in the position of having to have cartoons. And if they're going to have cartoons, they had to have the best cartoons and they had the biggest stars they needed. >> They wanted Walt Disney, they wanted Mickey Mouse, but they couldn't get it. >> Wall had his ambitions. >> He had, he didn't want to just do Mickey Mouse, you wanted to do more than that. >> Anyway, MGM, frustrated in their attempts to get Walt Disney went to somebody, had the bright idea to go to his right hand, most loyal employee of eye works. And they did, they met with him. >> Luckily for them, after 1930, which is two years after Mickey Mouse started two years, Zeno was beginning to feel he had some ideas and some things he thought he could do. And he was being, was budding, had heads with Walt at that point in 1930, wasn't a major thing and wasn't a major argument or anything. >> But they weren't seeing eye to eye on how to do a few things. And so MGM came by coincidentally and made eye works an offer he literally could not refuse. >> And since he was kinda feeling whatever the word is about Walt at that time, he was just sort of, he felt like, well, let me hear what they have to say. >> What they had to say was, give us a Mickey Mouse will give you a cartoon series, will give you enough money to set up a studio. And Beverly Hills, which they did. >> We'll, we'll give you we'll pay you a fortune. >> Okay. >> I don't know the figures, but clearly it was enough for him to say goodbye to Walt and start his own cartoon studio, which he did. >> And his, they left him alone to create a character. >> And character came up with was this frog, flip the frog. Needless to say, let's see what I've got in my next images here works, or there is slip the frog to jumps ahead and sound cartoons drawn by eye works, world-famous codes. This is the trade ad. It's actually drawn by a by works because he signed it. >> And you can see that character looks a little different than he does in this first poster. That was the way he originally looked in the first cartoon or to an MGM said, no, no, no, no, we want Mickey Mouse. >> You not hearing us. >> We want Mickey, but not making. So he had to modify that design that below more rounded and look a little more in the style that was like probably the first example. >> If any of you are Hollywood screenwriters are thinking about it, or you read about the industry. That's probably the first Note that I'm maybe, maybe that was given to the animation Universe Studio. A studio giving a note to the, the, the creative, which is no, no, no, no, no. We want Mickey Mouse here. >> We don't we don't exactly want that. We'll get to that in a minute to sorry about them. >> Just a little sensitive on the tapping. >> Their this is looks like this. >> It's like a year into it. And he's really, really rounded. >> And I love it's the perfect 19 thirties cartoon style, which I works really, really established. >> This was iWork style, but they started doing this in the Oswald cartoons and it's certainly into Mickey wants. Mickey was popular. Everybody was copying style of Mickey Mouse. When I said copying the South previously, they were copying Felix the Cat. >> That was the other popular cartoon of the 19 twenties. >> But he was, he wasn't his round, Although I guess you could say he was, but he wasn't as round as as as flip. >> I loved, I like this because I'm the best. And those, those little signals in comic strip language indicate dirty words, meaning I'm the best f-in cartoon on the screen. >> That's what he's telling the world. >> They're friends of mine have joked that he's called Flip the fog. >> And this could be true for all I know, he's called Flip the frog because he's often flipping other characters off, meaning he's, I know it's hard to believe. You won't see it in the cartoon I'm going to show you. >> I don't think, but, but it's, it's, it's in a lot of the cartoons. >> In fact, the Flip the frog series from 19331930, I think 32 is the most pretty code of any of the cartoons I can think of. Meaning there's more things in them that you won't see in later cartoons, because these are not aimed at kids. They're aimed at the full movie-going audience. They're aimed really in sometimes at adults. I know it's a little hard to believe about cartoons in general. The old theatrical cartoons they knew the audience was not just kids, it was, everybody was grown-up. >> So there's, there's, there's things in them, things that are rude, naughty. >> In cartoons they're a little less so in features. They had this, and that's why around 1934 without getting into it, but I'm sure I'm going to repeat this again. >> The Production Code, Canaan, meaning was Hollywood self-policing itself against material? Yes question. Yeah. So the, what I'm going to do right now is going to run one of the flipped the frog cartoons from MGM from the early thirties To give you an example of the series. >> And you'll notice in this one it's all about running around a hotel. And look, I have to tell you, I can't remember this particular one, but look for women in diaphanous gowns where you can see through them, look for them saying Heller **** words that they would later not be able to say in a cartoon. >> Not not dimension live action feature >> And there might even be I'm not sure if this is the one that might even be some nudity, female nudity, lecherous actions that bite by Flip. Totally politically incorrect me to like things that he may do himself in this cartoon. But I mean, again, now I'm giving you too much to think about because it's, it sounds like it's really a really rude cartoon. It's really quite an innocent cartoon, but, but it's reflecting the feelings of time and the, and the what I call the open era of the time where the animators could kind of do anything they wanted. And but it's simplistic. >> But Here's what I work around. >> Circa 193132 letters. >> Okay. >> The opener. Oh, oh, oh, oh, okay. Yeah. Okay. Okay. And Walter Winchell. Oh, yeah. Hello. Yeah. It for yo hello. Oh, all right. Go don't know or ID will get streamed back to me. >> I think you guys are seeing seeing me. >> Are you seeing the PowerPoint? We see. Okay, so in that case, we will see if we get you back that nicely. The PowerPoint, yes, we did. >> I that's an example of of a flip the frog cartoon that I works did when he left Disney, and that's what he was doing. He did a series of cartoons like that. >> Let's quickly, let me think if I had some notes about that cartoon. >> As you saw in this one example, there was female nudity, there was voyeurism, there was cursing, There was a spit tune, which is a thing it's using a lot cartoons, which was that, you know, people to spit into. I mean, these are things that there's a lot of stuff like that, that when the code came in, they said you can't show that anymore, you can't do that anymore. And cartoons and live movies all cleaned up their act after that. >> So it's very appropriate that flip is cursing in this trade at, for this cartoon. Now unfortunately, flip the frog did not set the world on fire, and MGM paid, paid a pretty penny for Mr. eye works to come over there and start making cartoons. >> So after about a year or so that they gave me enough to give enough rope. You gotta do another series. You gotta come up with something else. So second series that started around 1932, I believe 3233 was Willie whopper, which was a little boy, told a tall tales, told all kinds of crazy things about what he's, his adventures wearing. >> Those were the basis of the cartoons. >> Willie looked like this. >> And as usual, MGM said, you know, that's not exciting enough, he's not comical enough. So they had to redesign them again. And this time they, they went with the old kind of used a little TBI little boy instead. >> Svelte voice. >> So here's this willie whopper in the autumn of 33 and my dates slightly off. But the, this is the way the character mostly look like in the cartoons. And these cartoons really weren't much better. I'm not even going to show you an example of those. >> So after Willy whopper didn't work MGM, it's gotta get it. >> I don't want to get too complicated with all the distributions stuff that's going on. But I may just say it anyway and hope you'll be following. But MGM kinda gave up on a mister I works. I Works continued at his own animation studio for the next seven or eight years. >> And bear with me, I'm having a connection law. >> So there we go. >> Okay, he started doing independent cartoons. >> Color allow the silliest symphonies that Disney who is doing well, this one's really cool, called balloon land, that we're all different subjects, lot of fairy tales. >> Think I have another picture. >> There we go. Jack Frost, here's another one, classic 130s style that he basically innovated. >> These are great little cartoons. >> They're independently released. >> He also did work for Warner Brothers and Columbia Pictures studios in doing independent cartoons, kind of along these lines until, until about 19391940, he went back talk to Roy Disney and Walt Disney accepted him back at the Disney studio is actually, I should have had a picture of the book here, but there's a brand new book on what I'm good at the Disney studio from 1940 to the rest of his life. He died in the early seventies. In he was one of the main innovators as special effects optical printing. The whole combination of live action and animation that really perfected I works is the one who really did that, did all that technical stuff behind the scenes. And later, by the 19 fifties and sixties, Walt moved them over to the imagineering and he'd developed all the cool stuff that you still see today at Disneyland. You know, the, the, the ghosts and haunted mansion. The, the I don't know if it's still there, but the circle Rama theater, where it's filmed in around 360 degrees, all kinds of stuff. I mean, just the audio, ADA Medtronic's, which are the robots like the Hall of presidents and things like that. I mean that in the Tiki room, so I'll buy works is behind the technical guy who actually invented how to do that for wall all along from the very beginning to all. And yet except for that little 10-year period where he's Thursdays where he's making all these little cartoons like this. But that's what happens to walk to buy works. >> Let's move on to another studio. >> We're going to look at each studio, although inaccuracy cartoons from everybody. Just going to give you an overview. Ok. Now this is a biggie. This is a biggie because this is the beginning of the Warner Brothers cartoons. You've all heard of the Looney Tunes. You all know about Bugs Bunny. >> We'll talk more about that next week. >> But this is the Thursday's. And how did that all start? Well, it started right here. >> This Pacific title in art studio. >> This is an ad >> Trade add meanings in the motion picture magazines that were basically distributed here in LA to the movie studios. And me, we went out to the, well, not in this cases would have been like variety or in the Hollywood Reporter back in the twenties would've had an ad like this. >> And this was a Pacific title in art. Lian Schlesinger, proprietor was a studio setup to do the titles. >> You know, we've all seen silent movies and probably some of the ones we ran a week ago that had to tell you the dialog they call an inter titles. What does it say here? >> Hand lettered, animated, printed, all kinds of stuff. >> Story. >> They made their own. >> They could provide the titles. >> You give us what the dialogue is, and we'll create the film that you can then insert into your negative so that you'll have your titles on your silent movie. Leon Schlesinger was the guy who started that company and had it and he kind of panic. He was good friends with Warner Brothers, the actual Warner Brothers. He did all the titles for that studio and others, Warner Brothers and put out The Jazz Singer, the famous film that changed everything where that began the whole revolution and talkie movies. And Schlesinger was, was a good friend of theirs. You would sometimes money in productions, they would do anything to actually invested money in The Jazz Singer was looked like a good idea. Except they realized that once everybody was suddenly now in love with the idea of sound movies, that might be the end of his business. His business depended on silent. >> So he went to Warner Brothers. >> Sins like, help me out here. I, I've been helping you guys out here on the last ten years. What can I do for you? I said, well, you know, Leon, you know, we, we have, we are one of our, one of the biggest things mourners did in the early talky era was shorts, lot of Schwartz called vita phone, divide a phone varieties. It was all, all the biggest stars and even the smallest stars anybody went a vaudeville act. They recorded it on film and released as a short subject. Could Leon come up with something for that? >> Well, Leon daddy came up with a few things utilizing his art studio, came up with the idea of a, of a film that was just music with graphics that his art studio could provide. >> But he yeah, he was on the eaves. He had his years openings. >> I wasn't looking to steal any animators like MGM did, but, but he was open and coincidentally, oops, these guys whew Harmon and Rudolph Ising of harmonizing production. >> Get it? >> Harmonizing, harmonizing. >> Anyway, you Harmon and Rudolph Ising were two of these nice friends from Kansas City who came out with this needed do the Alice cartoons and the Oswald cartoons. But they were two guys who signed with the producer Charles myths, I think unknowingly, but they didn't realize what they were doing. But they signed the way they were. Two of the animators that weren't that close to Wall terpenes, that they had to continue working on the Oswald cartoons when, when walk was having great success with Mickey Mouse Well, they saw what what was doing. He was there pal, from Kansas City and they, they thought to themselves, well, even, and they were, they were directing their, actually directing 70 Oswald cartoons. >> And they said, well we could do but waltz doing. >> We know how to make these thing lists. >> What's, while doing that? We don't know how to do. We've been doing it for him. >> We were working under him. We know we're doing so. >> They started out, they came up with a character named Bosco, was very much a Mickey Mouse derivative. >> The pie cut iss the gloves the whole bit, and Bosco, and they think they called him Bosco the talk ink, kid. >> Talk because talking pictures ink because he's a drawing. >> And they went around trying to sell Bosco cart talk, talking cartoons to whoever might be interested. >> They've knocked on the door of Mr. Leon's Schlesinger at 1. And that was exactly what Leon was looking for. And heat them up to make cartoons for him, who Leon would then turn around and sell those cartoons to Warner Brothers. They came up, they, meaning Leon's Schlesinger and harmonizing. Beyonce's messenger particularly came up with the Looney Tunes. It was a take-off of, of course, the silly symphonies title, Looney Tunes and Moscow was going to be there. >> Mickey Mouse star in those cartoons as a trade ad. >> I love finding these things. >> Leon Schlesinger, now producing for Warner Brothers a series of Looney Tunes, Hugh Harmon, Rudolph Ising, musical cartoon with musical score. >> And you can see at the bottom of the ad, it's still just in case he not the hedges bet here. >> He's also promoting his Pacific Art and title studio, which still exists and he's still running. >> So that happens. They make the sorry that Alice. >> Here's another two page trade, the new animated cartoon series Lalit, as if only they knew, as we all know now, it's still a title today. >> The action of each one. >> Real subjects concerned about SCO and his sweetie honey, like, like, like Mickey and Minnie. And unprecedented, unprecedented exploitation tie up with radio, phonograph and songs. And looked, this very first one was playing with the thumb in New York City that Warner Brothers b, if the first near to cash in on as well. >> But they had one advantage they had at Warner Brothers, and this series was that Warner Brothers was now in the music business. They were buying and songs from new songwriters and owning them that they would put in their early musical movies. >> Feature length live action movies like think 42nd Street, right? >> And gold diggers of 33 variables, seen those on TCM. >> Well now Leon Festinger, because of his hook up with Warner Brothers was allowed, not only allowed, they said, We want you to put these songs in the cartoons because we own them and we want to sell the sheet music. We wanted people to buy the records. >> And, you know, plus he was a popular tunes at the time. >> So people >> Knew the songs. So it was really a, a really good marriage made in heaven. In some ways, these, these Looney Tunes for at least the first ten years were really almost what we call today. We'd call them music videos. >> They're not quite, but they're seven minute little cartoons and they're pretty much, their sole reason for existence is to promote a song. >> The first year was very, very successful for Warner Brothers and for this. So he was, it wasn't game changing, you know, set the world on fire, Mickey Mouse like thing. And Bosco was just what it was is derivative. In fact, let me state here, and I'm going to say this a few times. >> Everybody wanted Mickey Mouse so bad, so badly that pretty much, no matter what studio I show you, every one of them is either doing something Mickey Mouse derivative, Disney derivative, where you will see even including Mickey Mouse in the film itself, whether it's coal is Mickey Mouse or it isn't. Uh, you'll see what I mean, it's really crazy. >> Mickey was really a mania. >> And every one of these studios and cartoons. >> Disney was yet, not yet the Sioux crazy lawsuit driven company that it became. But this is how they started being that way, because people were ripping off Mickey Mouse quite boldly. Now, Moscow isn't exactly a rip off of Mickey Mouse, but we'll see. >> So I love this. This is an old movie theaters somewhere. >> Looks a little bit like the captain in Hollywood Boulevard, but it isn't where has the box office there and the right under the marquee and and on the right there, and if my if you can see my arrow cursor, but there's a bill posts and it says Mary melodies. And it says one more time. And it features a looking at it. If you can see that it looks like Mickey Mouse, doesn't it? >> It really looks like Mickey Mouse. >> That's actually a character named Foxy. And foxy was one of the lead characters of a second series. The, the Looney Tunes were so popular that they so popular that pretty much the doubled their output the next year and created a second silly symphonies rip off the kinda thing called Mary melodies. Great comedy, Pepe tuned, zippy action, very generic song, cartoon. It says on the postfix, that's, yes, that's the point. >> They were, they were songs. And so my next cartoon, you all know the song. If you've seen the movie Roger Rabbit, who frame Roger Rabbit at the very end of that film, when all of them, when they break though the brick wall and all the denizens of tune out and calm and the characters do all walked off into the unsaid. >> They're all singing a song called, I think that's, I think this is where that song isn't the movie. Maybe I'm wrong, I think. Anyway, it's smile, darn you smile. It's, it's, it, it's either there or it's when Eddie valiant first gets into two example, one on one or the other, it's a song called smiled on your smile. >> It was a big hit in 1931. >> The title and the song that's being plugged in this cartoon. The lead character is this character foxy. >> Any resemblance to Mickey Mouse is purely coincidental. >> And I also want to say, I don't know if everybody was commenting on the image. >> I hope some of you sound like Stuart, currently mine. >> My n was extremely choppy, but I still think it's worth watching, even just for the graphics. You should all know that the cartoons are, I will have the links to them on, on CCLE of 70K and explain more why we have the links are there's ways you can see the cartoons on your own screen when it perfect motion as you would like later on. But right now we'll Watson in whatever format. >> Let's take a look at mile 31 yet back. Bop, bop, bop, bop, yes. Right. >> Mining burden, but my only like maybe I don't know, oh, a robot does and one bad day riding bar should be able to go. >> Thank you. Hopefully it was zombies, but yeah, so that's, that is a typical Mary melody from that period and say, If it's pretty primitive, but, but if the thought is choppy as I did or, or, and you want to see it more correctly, please look into it and look at is, is pretty primitive. Everybody was trying to catch up with Disney in this early period. This is like 1932, I believe 31. >> And Disney was already ahead with the sort of things he was doing everybody from this point on for the next few years while the other just try and catch up, play catch up with, you know, but that was state-of-the-art At that point. >> Alright. >> Oh yeah. >> So just to give you some continuity on this. Alright, now what's this? This is that character Bosco. I didn't show you any his cartoons, but, and it says harmonizing. Wait a minute, gerry, didn't you just tell us they were an honest less injure at Warner Brothers. But it's this, it says a metro Goldwyn mayor picture on the poster. When MGM, the Tiffany studio decided to give up on Hubei works, they still needed cartoons. And unbelievably at that, that year, that 1934. So harmonizing, who were really hadron studio, but they were releasing the cartoons through Leon's Schlesinger at Warner Brothers. They wanted more money and they wanted to continue competing with Disney. More lavish way. Disney's silly symphonies, Three Little Pigs, color, all these things that layoffs doesn't she wasn't doing at Warner Brothers And so they they made a pitch to MGM and got the harm and assuming the b of i Works Deal, which was they can continue making cartoons at their studio at higher budgets. And Leon himself did not think to procure his star character Bosco, under his wing. So Bosco, they took Bosco with them too, and that these characters into color cartoons. Amongst other things, we started doing more of the elaborate fairy tale kinda thing that Disney was doing with the silly symphonies. Meanwhile at Warner Brothers, and we'll talk more about that next week actually, and later, later today. But at Warner Brothers with, with Leon Schlesinger, just so you can button up that part of the story, he was now left with only the words Mary melodies and Looney Tunes. And that's all folks that, that character says the end. That's all he had. But he ended up recruiting other maters and started his own studio to continue making cartoons for Warner Brothers. They did, and I'll probably talk more about that later and or next week, but we will leave that part of the story there. Hope I'm not confusing anybody, but so much is going on here in the 19 thirties GM. So they made some wonderful things and I'm not showing you any of them today because they're very much derivative of the silly symphonies I probably will show one for this course is over. But strangely enough, there's maybe only one or so or two that are particularly noteworthy in the rest of them are kind of bland. They're kind of pale, pale comparisons to the silly symphony says, really, I don't want to spend time showing you one of those, especially if it's old, choppy, try to conserve when I show you two real things that really should be illustrated well, here's, here's a little bit more about Warner Brothers, I guess before I go on, I'm not sure how far got this slides. They didn't have Bosco anymore. So they create a character named Buddy. And you're thinking, I never heard a buddy. And that's exactly the sorry, it was a bland nothing, a little guy and he only less than cartoons about a year, year and a half just because they needed to continue doing these score debit card. >> And he made way for another character, but we'll get to that later. >> Okay, let's move over to Universal, Universal Studio, that actually had the rights that actually that the Disney signed away. >> Universal was the actual owner of those. >> They now did not have Walt Disney, and so thus they disney staff. And they didn't have really anybody running anything at 1, after about a year, they installed a director right from New York. The director's name is listed there. It says, drawn by Walter Lance. Walter Lance was a kind of a second ranked New York animator who did kinda knock off our tunes with he had a character, I may have shown an image, do this blast or last week, or we could go into cartooning dinky doodle. And it was, it was pretty much a rip off of, of Coco the cloud, meaning was a cartoon character in a live action world. That sort of thing. I mean, that's what Walter land steady that is kind of knock off second rank kinda cartoons and is budgets at Universal for doing these Oswald cartoons is extremely low. In fact, these are very, very poorly animated and poorly drawn. This poster is kind of funky, but don't judge a cartoon by its posts. That's one thing I've learned and I'm debating up, I'm actually here. >> I the, the cartoon, these cartoons are looking so funky. >> It's like I have to really think about, do I really want you to see it? So I want to spend time on it. >> The, This is what Oswald look. >> And by the 19 thirties, of course, looking more like Mickey Mouse ears. I mean, considering Walt Disney created the character by Rx designed the original character. This is, this is now a few years later, and it's the Walter lances having his way with, with the character. I loved that sideway shot at large, the large image where he looks like a cyclops or something. Anyway, Oswald rabid was, was universals version of Mickey Mouse. Did they released during the thirties? I will show you this cartoon. It's called confidence. And remember, this is the depression era. And a lot of cartoons, especially in the early thirties, are reflective of the times. I mean, there I save me, I'm gonna say there I save. Cartoons were like this. Now we'd be seeing all kinds of cartoons about the pandemic. And I'm, I'm sure we will. Actually, I'm sure I'm sure South Park or Simpsons or somebody's going to have some gags or jokes or situational comedy related to what's going on now. But that's the way the cartoons were back then. Keep in mind these work at femoral. Nobody thought of the, of these cartoonist as something that would last at all. They were just of that week, that month that they were made. And they didn't know about all of these in the future or any future use of these cartoons. And as time goes by when color came in, character design got more sophisticated. You know, these old cartoon or just looked like looked at is just old cartoons and had no commercial future value. And that's one reason you don't see a lot of them around. I put some I've had an opportunity to put these on some DVDs that came out a few years ago with universal did but that's another story though. What I'm gonna show you right now is a cartoon called confidence from 1933. It's an Oswald. It's very similar in the funky style of, of both flip the frog and the cartoon I just showed you. I guess the reason I'm showing it to you is, well, what you can notice that it's even funkier than the other studios. But I liked the fact that it really reflects the, the, the, the Depression Era. At 1, Oswald Goes to Washington to lobby our President, FDR, and see if he can give, bring confidence back to his farm and split. The plot of the cartoon is and FDR gives him a hypodermic needle in which to shoot confidence into everybody. And it's got a nice little song in it. This is what Universal was doing, I promise you. I'm not going to show you every studio and what they were doing at this time. >> But I think it's worth >> Taking a look at this depression. >> So let's let's take a look at come on, girl yet to work. Oh, man. Right. >> Wow. Dot, dot, dot. >> You cannot got there. Your doctor, I'm writing kind of remembering Mao breakneck, right way back when. La da da da da da da da da da They cannot brag about that. >> Yes, sadly, sadly, these may become relevant again, cartoons, you'd think that maybe the case right now of all. >> As the years go on in the thirties and Disney is improving the art and making his characters more realistic. I mean, Realistic within reason. The another cartoon animals, so Oswald, oops, I'm so sorry, backwards. >> And I'm hitting forward when there's Oswald look, acuity isn't the model. >> She'd, He doesn't even look that good. >> And the films that it's really, really ties there. I'll type model sheet or the character from the early thirties or he's got that clastic hook up. But that's how has filed look by 1936, a little more or a rabbit like and his character design would continue to evolve as the years go on. And then eventually he'd become forgotten. And then eventually Disney bought the rights back to what we traded for some of the rights to the original, original version of Oswald, which they merchandise today. Now, this next film, I, I've been seeing some of the the, the your notes, your chat back. And it sounds like some of you were seeing these cartoons really, really perfectly, which is great. >> I hope you all are. >> And if you can't, you can see it online later. >> But I'm going to show one that I hope you can all see well, because it's not a cartoon. >> It's especially true, or that it was made by Universal around the time of this cartoon, This particular one that either of this, of this Oswald with the white rabbit there, 1936. And it's one of those behind the scenes on how we make a cartoon short, Which are very rare. A few studios did them. I mean, show them to you because I just kinda love them. Disney did too. But here's a rare one from, from Universal Pictures itself with Walter lands, the producer. The, there's a couple of things about it that are kind of fanciful. For example, the, the end of the film, whether they're showing how they add the soundtrack, that's not necessarily completely true. Some of the sound effects may have been added the way they show, but they, they pretty recorded voices and things like that. Things that they just, they make into the film so it plays better and for the audience, as opposed to what the real life situation is. Also in the film Walter lance, the producer, is shown to do a lot more than he does. He didn't write every story, you know, he didn't edit the film. These are things, they, they make it like Walter Lance itself does most of the work, although he show other animators in it. It's a great little film about behind the scenes. I hope it plays well for you. >> So let's take a look the, at cartoon land mysteries now for the answer to the question that a million people have as our animated cartoons made plausible. >> Rabbit is a little fellow who has a big hole. This is death, and it takes a lot of people. Each has his own placed. Beginning with the story departments, where editor Walter and lamps and his coworkers devise a comic narrative. It's the tail of a ball game in which Tommy turtle will take the star apart, while the villain other pieces, the big gorilla embedding the ball and running the bases. You can't neglect little Johnny groundhog, all set with the ideas. So write this. Grant rela waiting down the plate, but I bet a swinging swing at the ball. Very determined. >> Yeah, that'll wake. >> Okay, but all run thing. >> Walter labs, the creator, begins the picture work with SketchUp, Oswald rabbit and the other characters in the film right here in his casting department. And there are from 40 to 80 independent and completely different scenes and each animated cartoon. And that means a lot of pictures, the character's sketch, the job goes to the animators who put in the animation, the motion. This is the scene where Oswald's payments Lillian score 75 to nothing. >> And as well, it gets worse. >> He doesn't know what to do. >> So he gets an idea into a causal atomic turtle. A little catchy title comes in your puppet of petabytes level, not too fast. Keep a nice till the life of an inch. >> Yeah, I'll make up a niche space. The drawing to an eight Belichick into August. Okay, little tiny comes in, so as well cause them over close. >> And he whispered to little tiny bangs up this or that flaw. They get reachable for a loop till we could calculate it. Because a lot of that theme has to do. The story over. >> Our hero, Oswald rabbit is drawn with suitable expression. The expression is the important part of it. How does the animator get it? He has a mirror in front of him and he makes grimaces, watching his own face to get the expression that he wants for Oswald, 12 animators work steadily for three weeks to put emotion into one moving tart dough. It's a long patient process. So many and many pictures have to be. May he puts in the motion by drawing on transparent paper over a screen of round. Glad that figure has advanced a 16th of an inch at a time. That's what makes it move across the sea. The pages are held in register by metal, paid run through them hurriedly like this. And you see how Oswald calls Tommy turtle for either a crisis of action in the coming ballgame. Next, each drawing is traced on transparent tell you live work is done by a force of 30 girls, good artists, graduates of art school. The tracing must be done accurately so that the figures will not lose character. The purpose of these celluloid tracings, our cells, as they are called, is to enable the figures to be placed on the proper background. Because Oswald and these powers have to be brought out on the battlefield. But cellulitis, transparent, the fingers must be made opaque. That's done by painting with ink, which light will not pass lacking first. So now we're getting an opaque figure on transparents tell you lie all the time. The drawings are held in precise position by those accurate register pages. So you can see the amount of long, painstaking work that goes into one of those coming switch flipped so smoothly and swiftly across your screen. Scores and scores and scores of figures drawn on paper and then transported to cellular. After the black paint comes the white paint, also opaque. Next comes the background artist, who works with a watercolor wash and provides the baseball park in which these ball players are going to line out home run. Here the scenes are made to take the place of settings. You see the reason for the opaque figure on the transparent satellite. It so that fake year can be placed on the scene without the background drawing showing through already for the photographing the huge stack of cellular object to be photographed one at a time by an intricate and cutting camera. It's a motion picture camera with stop motion, you can take as separate individual picture every time you push down the lever. The drawings are held flat, flat glass lid, which has a pressure of 400 pound. And each drawing is photographed several time, some more, some less. The more pictures are snapped of one drawing, the slower the action well-being. And it takes some 15 thousand drawings and all to make a cartoon that blitz my on the screen. And a little more than eight minutes. So Oswald is photograph time and again to put him into motion on the film. >> And then while I'm metronome, keeps the time precise, a composer is writing music that chap can write melodies and harmonies as rapidly as you and I can sign our names. The musical score for the borrower game between Oswald and his pals, with editor Landes himself at the reminder that music recorded on a soundtrack is now being matched accurately to the pictures. >> And so he had just sound films to picture. Fell Cutting and trimming and making splices. Motion pictures, pleasure as a machine of refined precision TO with depth and simple mechanism. It cut the film, brings the edges together and clamps them down so that the cement can set the music and the pictures having been adjusted, there's a trial on the movie all elaborate in it. You can see the picture through a peephole. You see it against a light. It's magnified by Erlang. And all the while that sound is reproduced complicated, isn't it? I should say? >> So the music has been put on the picture, but there still remain the sound effects, baseball sound effects. >> They're rehearsing the Mao, just practicing before putting the sound on film. And then there are the voices for the dialogue. The final job is in the recording Rome with the grand ensemble. The picture is run with the music, sound effects, and dialogue all played and recorded on a soundtrack. So as they say in Hollywood, turn them over. >> I have a watch closely so that every word clatter and whoop. >> It's time to perfection. It has the precision of an orchestra concert, or it's the last act and the biggest Act in the making of an animated cartoon. Remember one thing, it had been twitter than its enemy. Take a bow. >> Okay, alrighty. >> So there you go. >> Hope that played well. Four, you see the interesting thing here is that the, during the thirties, the advancements in animation, that film was very interesting because obviously I will say, I don't even know what percentage, 75% of that isn't valid anyway. It's all valid. It's just we don't do that anymore that way. And so a lot of the computers and digital technology has changed the way animation is done, even for hands on films. But it's great to see this. For a 100 years. It was done the way that's pictured in that, in that film. So it's most of the films that I talked about, that's the way it was done. >> Alright, oh yeah. >> We're going to look at other things. Well, actually we're going to go through the studios were not going to run the cartoons from everybody, because that would be ridiculous. >> We're going to talk about one particular studio. >> And this isn't it. This is the Charles mints, the guy who told Walt Disney they stole his character. He luckily, about a year later, had just just desserts when universal reminded him that they actually own Oswald. And they turned over their studio to Walter Lance mince, luckily for him, held onto the rights to Krazy Kat from the silent era and continued making cartoons for Columbia Pictures all through the 19 thirties. He died around 1940 minutes. But ie, he made a series of Krazy Kat partisan. As you can see from this poster. Crazy like every other character in Hollywood, suddenly looks more like Mickey Mouse than even a cat. So that was a thing that happened. Colombia, who initially picked up the Mickey Mouse cartoons, but then lost them to other distributors. Not only had the Krazy Kat franchise, they had aesthetic series called scrapie. >> Oops, can't do it. >> I can't, it won't. >> Let me go in there and scrap is another pi i little Nino feller from the 19 thirties. And again, I guess the point is they all did the same thing. Everybody was doing the same thing. I guess one thing I wanted to say before though, is that the, the difference of Oswald by the later thirties, it's true for all these studios second away, get us back to where we were, that the, I'm not even touching the thing which is move thing. And so I got, so the bi, the, they all started off with this Mickey Mouse thing. And by the, by the later thirties, They're all doing this more semi realistic eat kind of cartoon again, all in an effort to keep up with Disney. Sorry about the pictures popping everywhere. Just this thing is out of control. Here's a studio we don't talk about because nobody's ever heard of it. They RKO Studio before Walt Disney was being distributed by RKO In 1930. X are KOs, distributing cartoons by a small studio in New York. >> Aesop's Fables, duty lay the speeds, are very popular sprays of cartoons. >> Then named a guy named Ken, pronounces firstname Amity MAD Van Buren ran the studio, was an old-time Marie, distributed lots of things, yet made lots of films. And he had little animation studio doing these Aesop's Fables. And these were in New York, vary the 130s, they're again, they're all derivative of Disney's doing. Here's something Van Buren. >> Later Thursdays, he started his colors series that ripped off Disney silly symphonies. >> His series was called The Rainbow parade cartoons. Now this particular one, picnic panic, might look familiar to some people out there because pretty much these are the character designs that were kind of ripped off for the famous, now famous Cup Ed video game. Everything in Cup head, if you know what I'm talking about, that video game is, is a take off of something from the 19 thirties, whether it's these obscure Van Buren cartoons or I works or Disney or the Max Fleischer studio. But they acknowledge that there's a brand new book on the art of the cup had game and a totally confess taking everything from these old cartoons that makes me happy. For some reason, that's what Van Buren was doing. >> They also had a series featuring some characters you've, you've heard of, but I'll bet you never saw Tom and Jerry, huh? >> Yeah, this was the original. It's very Before the cat and mouse. In fact, Joe Barbera, one of the creators of the cat and mouse, Tom and Jerry worked on these fact, I would almost say that he took the name with them. Tom and Jerry was the name of a drink, and I think it still is an alcoholic beverage and it was a well known expression. You can go into a tavern and order a Tom and Jerry. So they obviously thought that would be a clever name for this kind of MAC EGF. Kind of a lot of comic strips like Mutt and Jeff were featured a tall character and a short character, and they get it. And that's exactly what this is. Now, V, if you're listening, I'm not going to run the next cartoon, which is I'm not going to run. So the trick we're going to go, I'm going to show the one after that because it's, it was one of these Tom and Jerry Cartoons. And if you want to see it, v has put it onto the CCLE and you can look at that for extra, extra, whatever extra curricular activity. You can see one of these cartoons, very primitive, very New York kinda doing its own thing. But And completely obscure. We will move on. Let's just take a peek at some other things. >> Terry tunes. >> These were the cartoons produced by Paul Terry, Animation pioneer from the mid teens, who was one of the early cartoonists to get involved with animation very, very early on he had one, he did a lot of cartoons during the 19 twenties in 1930 when sound came and he started his own studio called Terry tunes. >> And they are the laws of love. >> If Disney is the high, if there's these at the top of the studio and Thursdays, they're pretty good and even in the early forties there watchable. But by the later forties and all that they became, they just did not even think or care to, couldn't compete with Walt Disney. They would just, you know, I think Terry had a bit of an ego in disbelieve that, that people just loved what he did. And no matter what it was. We'll talk more about Terry tunes in a future class because they did create some characters that are still well-known today. Well, that's, that's later on in the thirties, they were just doing lot of miscellaneous, low rent to posterior from the mid thirties, or at least originally by a small studio called educational pictures. But you'll see at the bottom of this poster that they were distributed in the USA by Fox film works. >> And so that was 20th Century Fox's studio. >> Independent Paul Terry, Terry tunes were, that's the cartoons, every studio, every single studio, and the old Hollywood system distributed in cartoons, paramount locally for them. Before sound, Amen. When that was the thing. 1927, the year before steamboat, Willie Anthony and Mickey Mouse, they picked up the rights to the student, the cartoons coming out of the Max Fleischer studio. And at the time in the twenties, that meant the out of the ink, well, Koko the clown cartoons. It also meant the screen songs. It says at the top of this little trade at screen songs were the Fleischer came up with this technique on following the bouncing ball. You've all heard of that that's still famous today. The bouncing ball that follow the, the words on the screen, kind of like karaoke in a movie theater. And very popular series continued into the 19 thirties and some waves of continued into the 19 fifties and so but, but for the most part, and continued into the 19 thirties, usually with a celebrity. But it's a great idea for a cartoon surgery. They have a live action celebrity like cat Callaway. Ethel Merman Try some of the ones who was still well-known today. But mainly there were people who were famous in their day and they would be in their live action and ask the audience to follow along. The other series, their ego was to talk cartoons. Let me go back for a split second where it says bottom there, talk cartoons. That was the name because they immediately ceased the cocoa The Clown out of the inkwell cartoons. They make. Coco is supporting player in these talk cartoons. >> And they introduce their version of a Mickey Mouse like character that was bimbo. >> Bimbo is nothing you can say about bimbo. He's a little dog, I guess. And in the, in the, in the Mickey Mouse style, the new rounded style of 19301931. In 1931 of the cartoons they made with bimbo BE he played a waiter in a restaurant and did a lot of gags around being a waiter in a restaurant because I guess it was a nightclub really. There was a singer in the night club that was a parody of a popular singer at contemporary singer, The Lady Gaga for time. Her name was Helen cane, completely forgotten today. But she had an act and a look, ket, a particular look. She had a particular act with a very high voicing that say, boop, boop Hadoop. And they, they spoke Fleischer, kind of in a mimic of that. >> Oops, and that, that character was named Betty boop. >> And here's a trait at a new kind of star. >> And suddenly competing with Mickey Mouse was suddenly this. >> They lumped into this betty boop, this caricature of this real life person was suddenly more popular than the real life person. The real life person, Helen cane, actually sued the Fleischer studio and Paramount Pictures for ripping her off. But amazingly, they were able to in court demonstrate that her Act was a rip off of several other people and they brought those people into into court. And there's, I think, newsreel footage of this. And it's very funny actually because, well, these women who are kind of like what we think of as Betty. >> Whoo. >> But anyway, this was just another big, big seed seller. Impairments 193132, huge for Paramount and for the Fleisher Studios. Betty, Who character, you can see her earrings. They're a little long because when she debuted in that first cartoon, she's, she's, well, all the characters are animal characters. >> So she's supposed to be a dog of some sorts. >> So the first couple of bitty group cartoons, she's got long ears like a dog. Then they turn those tears into earrings. And they made or a human for a lot of the other later cartoons. >> And of course, this is that pre code era. >> And they did a lot of naughty and sexy and sexist things with this character. But that said, as you may know, if you go into a hot topic or or you know why I don't know. Another stores these days you can still find, oh, go online. You can still find tons of Betty boop merchandise, brand newly produced Betty merchandise. Most people or the younger generation, even even younger than than a lot younger than me. But I'm sorry. >> Yeah, younger than me, for sure. >> You know, I don't know that this character is even from cartoons of any type because they're black and white 130s cartoons and there aren't run anywhere. So most people just like the image and that in, and she's kinda considered an hollywood icon up there with the carrot photographs of, of Humphrey Bogart and Marlon Brando, and Marilyn Monroe and Judy Garland. Baby book is sort of part of that. >> So let's see what I've got here. Oops. So they had malaria bed before you knew it. >> Became the czar the cartoons bimbo, our original eight, Betty sorta eclipse their cocoa. Still in the picture. There was a model sheets from that period. So I am going to run for you in the time that we have a lot at a fee or a few of the Fleischer cartoons. And I'm not sure how many I can get in, but I'm going to try my best. I kinda went well. There were important in their way. Maybe I'll even talk about some of them right now and then we'll run them maybe back to back. And not sure if that's a good idea, but I think I'm going to try it. So it's so we're going to see a bimbo cartoon, but been bows initiation. And the reason I'm writing that one is because it's 1931. It's a good example of the Fleischer surrealism. That's the thing about the Fleischer studio. The reality is they're just trying to compete with Disney and they're just not quite up to it. And yet they've got their own weird point of view and their own weird style going on. And people didn't mind that back in 1931, they just like watching a magic, it's magic watching a cartoon come to life. Music, crazy again, we only call him today cartoony, surrealistic kind of gags. Most other studios were trying too hard, like even Walter Lance with that confidence cartoon. This Fleisher Studios little more laid back. They just had a little bit of a premised, they added a bunch of jokes on top of the premise. And these cartoons pretty much held up, no matter, no matter what year, they hold up pretty well because they're there, they're funny. They're funny in a strange way. And they're funny in a funny way. Ha way. Bib association, it's just surreal. It's just he's being recruited to join a secret club of some sort. And you put them through a whole initiation routine. It just full craziness as you will see. And that's, believe it or not, sometimes they say, this is not typical, This one's typical. This is a typical Fleischer cartoon. >> Seriously? >> Next cartoon I'm going to show is a betty boop cartoon, which is called boop boop Hadoop. And that was to say this is one where she's the star. I don't think Bilbo's in it, but only a bimbo isn't. It actually plays a spectator in a circus. And of course, cocoa plays a cloud in the SIR is and it's a circus picture. And but it's also interesting because it's about, it's, it's, it's a, it's a, an example of how they use Betty loop as a sex object and talk about the whole meat to the thing in the whole Harvey Weinstein thing, if you're familiar with that. I mean, this is she's being humbled and googled. And I'd go so far as to say there's an attempted rape in this cartoon, but I'll leave you guys to look at it. Very odd, very odd. Not done. Pretty humor, but it was done for they were actually try and we're trying. But any boop and hurt when she sings a song about boop boop Hadoop, it's almost a euphemism for her, her virginity. I mean, you'll see what I mean when you say it. Maybe I'm reading too much into it. I don't think so. In then I'm going to try to show you a few in a row. The third one would be, as we move into the mid-thirties, again, like every other Studio, Max Fleischer studio tried to keep up with the Joneses and created their own silly symphonies series called color classics. And you'll notice it's a three color Technicolor. So that muses and full paw, This is after that Disney had an exclusive on technical or this is this is like for 19 33rd Dimensional Effects. >> What does that mean? >> Three-dimensional effects, but what does that mean? Max was an inventor, invented the row to scope. It did a lot of stuff, even made a sound cartoon in the mid-twenties. It's not worth showing, it's very primitive. But he did BY disney to it. It's just that the people that he did for, didn't promoted. It was a little ahead of its time and that was before The Jazz Singer, so didn't go anywhere. But flagship did a lot of stuff that Disney gets credit for is being the first. Fletcher actually did it first. One of those things is three-dimensional effects. What does that mean? Disney in Sleeping Beauty, in that film I showed last week, the old mill, they built this crazy multi plane camera that had many, many layers. And you could, you'd get a demand shouldn't all of back in the first few different way you can build a crazy camera. >> You build three-dimensional sets I buy if you're into COP head, they mimic this game. >> It's been scenes, but it still firing today and I watch them back. How did they do that? Warmer in Greenland is really the first cartoon they didn't color in Technicolor. We don't have a great copy of. >> It. >> Hasn't been restored yet by the studios. So it's, it's a little washed out, so you're losing the color element, them as loads there. The other thing about, so you're going to see that these little kids dream about being in a candy land. And all the Candyland is a big three-dimensional thing. It's the sets are built on this giant turntable. And not going to explain that. Maybe I'm, maybe I will. Maybe I'd duets and images alone. >> We're going to go back to that in the three-dimensional sets of pacing. >> And then also when you see this guy, there's nothing. We're pathetic and sad. And there's little, little kids in this cartoon at the very beginning of it, it's makeBeat it, you'd be hard-pressed to, to do this. >> It's almost, it's almost cruel in the way how does how poor and they make these kids, they pop? By comparing, we do need a fly shoppers, really luck that they are. >> The most popular character in comics starting in 1929, is the scepter pop by the sailor who appeared in a comic strip called symbol theater, a comic strip that already existed for ten years. And one day the lead characters in the strip was a continued comedy strip, needed a sailor to go on a mission. And they found one, an old grizzled sailor with one eye closed because he was in so many fights. Any smokes? And he talks like his vocal chords are gone. Try selling this to Nickelodeon today. >> You're not going to, but this character coming, being born at the, at the beginning of the chin or extra for a bigger deal than they are today. >> People read them and they were in the newspapers. And the newspapers was the internet at the time. So pupae represent, came to represent the person, the downtrodden, the poor. >> He was the guy who would fight back a lot of the three little pigs. >> So the flashers got the screen writes to that comic strip, did one on one with their crazy cookie style that you will see. >> And then bows initiation, something magical happened. >> It worked. >> They added the voice that wasn't in the comic strip. They added the holes in the evening. I'll pop if I eat spinach that because the source of it is magical rate strength. Well, that wasn't in the comic strip. There was one strip with a alluded to that idea, but that wasn't really what was part of the character. The Fleischer has made it part of the character. And it's the combination of their weird, bizarre out there Yammer, the personalities that they put onto the characters themselves. The animation it works. >> Poppy by 1935 was beating out. >> And he Vmax as the most popular character in cartoons. Mickey Mouse was that from 2930 up to 35 or so. Poppa Was it for the next five or six years and remained way up there. They did popularity polls, believe it or not, during the Golden Age of Hollywood that were printed in box office magazine and things like that. So they, we really, we really know this. A so pop I was the big character of the later 19 thirties And with good reason, they're really good. Cartoons actually would actually get better because the Fleischer is get more sophisticated in there. They finally kind of fall into the right pattern by the late, by the mid to late thirties. And they're cartoons are very, very solid. They are not really competing with Walt, what Walt Disney's doing, but, but for what they are there, they're very entertaining. So we're going to look at one of those, one called Whole the wire. So the, let's see if we can try to do four in a row one way or another, I'm going to leave that to you to well, let's take a look at so everybody sit back and take a look at bimbo is initiation, boop, boop Hadoop, 1932, somewhere in dreamland. >> Hold the wire. >> Dot di, di, di, di, di, di, di, di, di, di, di, di, di, di, di, di, di, di, b, i, b, all handball. Rewind on images. No, Rob that kept them. But I want to remember wanted to be a member, but now, wow, wow, wow, wow, wow. >> There's the way out. >> I want to be a member. >> Want to be a member now. >> Oh, oh, oh, oh, oh, oh, oh, my mom. I don't want to be a member. >> Want to be a member. >> Now I'm going to depict, yeah, what I will do. >> Mm-hm. >> How do you deal with ease? All the way to deal. Gamma Betty made a new way that we wait. >> Not so much I want to see. >> Thank you. Don't go big, perhaps. >> Ok. >> Your pardon me? >> You draft your handkerchief. >> I don't know for sure. A complete set. >> Do you like your job? >> But I think if I were you, I know that might be part of your bones. Wow. >> Yeah. Yeah. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. >> Yeah. Right. Yeah. I wanted to weigh those children. Children idle where they live. Yeah. Yeah. Make me now the US shining on me. Mm-hm. Great yeah. All right. >> All right. Are you >> Mm-hm. All olive oil has about me and you know, and pledges. Wow. I don't know. >> Like romantic. Well, that's another yeah, I like cherries, key players. Gee whiz Benny. I think we did something else. >> I'd like to tell. >> Yes, this is the place of romance of Hawaii is a little poem I wrote. >> They elicit relative phase. >> Read dialects is below, makes despite H. I love you. >> I feel like when it comes to beauty yarn at their home, these thin looks like something and he'll tell you, I think less than a minute inflammation. >> I'd been caught up. >> It may not funny, he's getting money. If money is little, day might laugh at me. It's ham. I did it. >> What are your debugging? >> Yeah. Yeah, thank you. Or maybe you land right everybody. >> I hope that songs that were out, check it out. That that again, we're trying >> Pop by huge, big character. >> Here I go with my crazy Poppins screens here that won't keep anything anybody know yak model sheet. Oh, these are so popular that I want to repeat that. >> In the thirties. >> And it's the first half of the thirties, which is the, it's called the Mickey Mouse Sarah, the pre code period, betty boop and the characters with the PI cut iss. >> And then there's the nightly would cartoons. >> And animation is more sophisticated at Disney. And Disney is doing in his studio. And what they're showing in there, silly symphonies and they're cartoons is raising, raising all boats. Everybody's working to be better at the animation industries is, is, is totally improving. >> And again, it wouldn't have happened if that was to try to do it overstate would talk too much. >> Or the big shill a studio and with Walt Disney was dealing, was lifting the whole industry and and brought all of them up to his level as far as they could go. Disney, Sydney, Fleischer pop. I was so popular and he had announced that he was duly IGY a feeder, fell at the spy in black and white into the 19 forties. But they didn't make a couple of color specials. And in Technicolor and an extra length to reals, meaning about 17 or 18 minutes. And the first one they made was called Sinbad sailor is cat nominated for an Academy Award. And this is a, and I used a third three-dimensional tricks in it. In fact, all the cartoons around 19, thirty six, thirty seven, thirty eight, use the three-dimensional depth less pop. >> I one was not one-to-one to v. >> I just want to say we're probably not going to run the last cartoon. That'll probably be it for cartoons today, because I can show that cartoon I can folded into next week's program. One others, starting in that later mid to mid 19 thirties period. They had that character buddy that nobody remembers that didn't do anything, didn't set the world on fire. Next week, I'm going to talk about the development of the Warner Brothers cartoon, why it came to be who the people are. But what happened was to give you a preview. They were really desperate and they had no, they had enough and that no characters. They had the music they could promote in the cartoons, but they had an elite starring character. It just wasn't working for them. They had a, they get a cartoon. I don't know if I have pictured here. >> And the next thing we're going to debug that guard, which I'll mention next week that OK. >> Sorry. >> That featured a whole class full of animal characters. So typical cartoon of that period. And we started hiring some new people over at Warner Brothers, including a guy named Fred Avery. His name is listed in that confidence cartoon in the credits of anybody who's taking notes. And he didn't have to. But there was an animator listed. There's Fred Avery. His nickname was techs and so.txt. Avery, as I will refer to him, was hired along with a bunch of other artists and animators from the Fleischer studio and whoever else wanted to work at this Leon's last year to help them come up with some character ideas. They settled on this pig character that was featured in a particular cartoon. I think I'm gonna try to go out of my way, explain that a little better next week. And they need some very, very funny cartoons with this quirky pig character and that, that worked, that was working. They had something, they had the basis. In fact, they may not have even had the character, but it's a really good new ideas. I'm making humorous cartoons. And that's the beginning of what became the Warner Brothers cartoons, starts around 19351936. With the people that a high error and with the with the barest of a character you can see in booster, which is probably from 36 or so per quite a road time character. It's not the character that we don't murder. He's kind of an ugly character for, for, for real, that actual, you know, a guy they found who stuttered when he couldn't speak, he could only stutter. And, you know, that was an interesting aspect to the character, but it wasn't going to work really. It wasn't going to work in the long run for a lot of reasons. I think I'll explain all that next week. But next week we're gonna look at Warner Brothers cartoon starting from this period, from the 193536 and upward. And because they were the next big thing, and starting around 1940 and into the 19 forties after Mickey Mouse up by the Looney Tunes and characters they created. >> And there came the next thing in this out that next week. >> So I think at this moment being 430 or so, that is our class for this week. If, if I Lester's Other questions, I'm looking at the chatroom stuff. I did see some questions that I got to remind myself to write these things down if I TAs have any things that I should be talking about are issues I should bring up. Please check these cartoons out again. And CCLE, if you feel you want to watch them again at the right speed. >> And we do have a class again this week. >> I'm sorry, I keep saying next week because I'm not used to teaching two classes the same to the same students in one week. I'm used to doing this weekly. So yes, Wednesday. Wednesday, we will back me back here at two o'clock. So that's really it for now. I'm not sure how to say Class dismissed. If you have a question, put it, pop it in here. I'm going to hang around for the next X bunch of minute. We have what we call postmortem. Essentially we're going to talk to the TFA's, but but before everybody leaves, if anybody wants to say anything, rule address it. And I hope you guys have been enjoying this class and I hope you're learning something. You will, it'll all fit together as you will see as things go along. A lot of stuff I'm showing you in the early part, you know, connect to the later part. And a lot of things you're interested in, you, you the non animator, you will find that it will all fit together and make more sense to you as it goes along Anyway. Thank you. Thank you, everybody. We'll see you on Wednesday.