America toons in : a history of television animation by David Perlmutter

By David Perlmutter

Animation has been a part of tv because the begin of the medium however it has not often bought independent acceptance from media students. extra usually, it's been ridiculed for supposedly terrible technical caliber, accused of trafficking in violence geared toward young ones, and overlooked for indulging in vulgar habit. those accusations are frequently made categorically, out of prejudice or lack of knowledge, with little try to comprehend the significance of every application by itself phrases. This e-book takes a significant examine the total style of tv animation, from the early subject matters and practices throughout the evolution of the artwork to the current day. reading the productions of person studios and manufacturers, the writer establishes a way of realizing their paintings in new methods, whilst discussing the ways that the style has usually been unfairly marginalized via critics, and the way, in particular in recent times, manufacturers have either challenged and embraced this "marginality" as an essential component in their paintings. by way of taking heavily anything usually considered frivolous, the publication offers a framework for knowing the chronic presence of tv animation within the American media--and how unusually influential it's been

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As Leonard Maltin notes, the series was likely “the most cinematically sophisticated” series produced by the Fleischers—or perhaps any other studio— in the theatrical era: The camera angles are indeed dramatic, and thoughtfully chosen. Each shot flows into the next, with a variety of pans, dissolves and other linking devices. 59 With this series, the Fleischers substantially expanded the storytelling vocabulary of the animated film, and introduced a sub-genre of the form—the animated superhero—that would substantially enrich the medium (particularly in television animation) in its later years.

The enduring presence of the characters in television compilation programs, VHS and DVD issues, and the odd original special or film, has made it hard for subsequent generations of animators to fully escape their shadow. By firmly setting in place the idea of what “cartoons” were supposed to “be” in the eye of the public, the Warner studio set, in many respects, standards that were impossible for the more modestly budgeted world of television animation to recapture or surpass until recently. As a consequence of its regular presence as an attraction on television, this studio inadvertently created a major ideological obstacle to the independent study of television animation apart from its theatrical counterpart.

An emerging rift between Max and Dave Fleischer did little to stem the problems. Consequently, in 1942, in “what was possibly, and even probably, an illegal maneuver,”60 Paramount removed the brothers from control of their own studio and re-established it in New York under its own terms. In spite of what had to be a humiliating end for the Fleischer brothers, the greatest productions of their studio have stood the test of time and remain as joyous and entertaining as when they were first conceived.

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