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Author: Karl F. Cohen Publisher: McFarland ISBN: 1476607257 Category : Performing Arts Languages : en Pages : 242
Book Description
Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.
Author: Karl F. Cohen Publisher: McFarland ISBN: 1476607257 Category : Performing Arts Languages : en Pages : 242
Book Description
Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.
Author: John Lloyd Publisher: Faber & Faber ISBN: 0571301703 Category : Humor Languages : en Pages : 147
Book Description
A liff is a familiar object or experience that English has no word for. Afterliff, its long-awaited sequel, corrects this disgraceful oversight by recycling the names found on signposts. This brilliant successor to Douglas Adams' and John Lloyd's 1983 classic The Meaning of Liff features over 900 essential new definitions, including: Anglesey n. Hypothetical object at which a lazy eye is looking. Badlesmeare n. One who dishonestly ticks the 'I have read and agree to the Terms and Conditions' box. Caterham n. An overwhelming desire to use the Pope's hat as an oven glove. Clavering ptcpl v. Pretending to text when alone and feeling vulnerable in public. Eworthy adj. Of a person: worth emailing but not worth phoning or meeting. Kanumbra n. The sense that someone is standing behind you. Ljubljana interj. What people say to the dentist on the way out. Loughborough n. The false gusto with which children eat vegetables in adverts. Sorrento n. The thing that goes round and round as a YouTube video loads. Uralla n. A towel used as a bathmat. In 1983, John Lloyd and Douglas Adams authored The Meaning of Liff, a bestselling humour classic which went on to sell hundreds of thousands of copies. John Lloyd's other books include 1,411 QI Facts To Knock You Sideways and The Book of General Ignorance.
Author: Carol Stabile Publisher: Routledge ISBN: 1136481710 Category : Performing Arts Languages : en Pages : 272
Book Description
In September 1960 a television show emerged from the mists of prehistoric time to take its place as the mother of all animated sitcoms. The Flintstones spawned dozens of imitations, just as, two decades later, The Simpsons sparked a renaissance of primetime animation. This fascinating book explores the landscape of television animation, from Bedrock to Springfield, and beyond. The contributors critically examine the key issues and questions, including: How do we explain the animation explosion of the 1960s? Why did it take nearly twenty years following the cancellation of The Flintstones for animation to find its feet again as primetime fare? In addressing these questions, as well as many others, essays examine the relation between earlier, made-for-cinema animated production (such as the Warner Looney Toons shorts) and television-based animation; the role of animation in the economies of broadcast and cable television; and the links between animation production and brand image. Contributors also examine specific programmes like The Powerpuff Girls, Daria, Ren and Stimpy and South Park from the perspective of fans, exploring fan cybercommunities, investigating how ideas of 'class' and 'taste' apply to recent TV animation, and addressing themes such as irony, alienation, and representations of the family.
Author: Karl F. Cohen
Author: Karl F. Cohen
Author: John Lloyd
Author: William Shakespeare
Author: Carol Stabile