By David Perlmutter
Animation has been a part of tv because the commence of the medium however it has not often got impartial attractiveness from media students. extra usually, it's been ridiculed for supposedly terrible technical caliber, accused of trafficking in violence geared toward childrens, and ignored for indulging in vulgar habit. those accusations are frequently made categorically, out of prejudice or lack of know-how, with little try and comprehend the significance of every software by itself phrases. This booklet takes a major examine the total style of tv animation, from the early subject matters and practices in the course of the evolution of the paintings to the current day. analyzing the productions of person studios and manufacturers, the writer establishes a method of realizing their paintings in new methods, whilst discussing the ways that the style has frequently been unfairly marginalized by means of critics, and the way, particularly in recent times, manufacturers have either challenged and embraced this "marginality" as an integral part in their paintings. via taking heavily anything usually considered frivolous, the e-book offers a framework for figuring out the chronic presence of tv animation within the American media--and how unusually influential it's been.
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Extra info for America Toons in: A History of Television Animation
WALTER L ANTZ Unlike Disney and Fleischer, Walter Lantz’s aims and achievements as a theatrical animation producer were more modest, but, in many ways, they were also more subtle. Lantz broke no new ground artistically, as he tended to follow the models set by others that were popular elsewhere. Likewise, he did not exploit the technology available to him, even though he was affiliated throughout his career with a major ﬁlm studio—Universal—that could have provided him with these opportunities.
A key reason television was seen as a threat was the fact that, by importing outside views and ideas into the home, it was violating the traditionally “feminine” atmosphere of the home through its presentation of “masculine” value systems. 8 This separation of “feminine” and “masculine” entertainments was a key stimulus for the negative views toward many forms of entertainment taking place outside of the home in the late–19th and early–20th centuries, such as the circus, vaudeville, and, ultimately, the movies.
He began producing new series in color in imitation of Disney, the majority of which were failures. But the studio was much more adversely affected by Paramount’s insistence on its commencing feature ﬁlm production à la Disney, an area it was ill-equipped to handle. Not surprisingly, the two feature ﬁlms it produced—1939’s Gulliver’s Travels and 1941’s Mr. Bug Goes to Town (later retitled Hoppity Goes to Town)—were far less successful artistically and commercially than Disney’s features. An emerging rift between Max and Dave Fleischer did little to stem the problems.