Disney during World War II

During World War II the pressure for the allied forces to fight off the axis powers was at its height. But just as vital as it was to fend off the enemy, the military was also under extreme pressure to gain support from the people to continue the war. We all know of the bogus “Duck and Cover” campaign the military used during the 50’s to make people feel protected under the circumstances of any eventuality (despite that if a nuclear weapon is dropped, anything within a quarter of a mile of ground zero of the explosion would be completely vaporized, making “ducking and covering” a useless gesture). But the military wasn’t spreading propaganda alone, many cartoonists, writers, and animators were hired by the military to create anti-Nazi propaganda to influence the people to continue this fight against the enemy.

Walt Disney’s contribution began after the release of Fantasia, and the studio began to face bankruptcy. The military offered a contract to Disney for 32 short propaganda films for $4,500 each, considering Disney’s financial status, he took the job, and began producing films one after another. One example would be “Der Fuehrer’s Face”, which was released on January 1^st 1943, featuring Donald Duck. The film took place in a stylized version of Nazi Germany, where everything looked like a swastika, and where everything you would do and think would be determined entirely by the fuehrer, and the needs of the military. Throughout the cartoon Donald Duck is forced to salute Hitler, march with an oom-pah band composed of Mussolini, Hirohito, Goring, and Goebbels while saluting Hitler, and work in a factory, screwing noses onto warheads – all the while saluting Hitler. In the end, Donald loses his sanity and wakes up, relieved to find himself home in America, and that his whole ordeal was only a nightmare.

After it’s release, the cartoon won the 1943 Academy Award for Animated Short Film, and was to become the first Donald Duck Cartoon to win an Oscar. Of course this film was not entirely directed by Walt Disney, American animator Jack Kinney took part in the directing as well. But the next film to be released 14 days later was entirely directed by Disney. This next film was called “Education for Death, Making of the Nazi”, and was based on a book written by Gregor Zeimer with the same name. The cartoon showed the life of a little German boy named Hans, and his slow development into a Nazi soldier. References to things described in the book are used throughout the film, for example when Hans is at school, being taught how only the strong survive and how there is no room in this world for the weak. This scene is based on a chapter in the book. The German youth are taken on a camping trip chaperoned by a Nazi storm trooper, who educates the children that it is there duty to preserve the “purity of the human race” and that all those who oppose them will be destroyed. Though this, and other films are rarely shown today, they can still be found on certain Walt Disney DVDs, for example “Walt Disney Treasures: on the front lines”.   

-Jon 

image is a clip from "Der Fuehrer's Face", and was downloaded from Wikipedia

Business American = Not Evil.

A lot of what was watched in History of Animation last week can be compartmentalized by placing it in context of the times. I can understand that during war times and pre-civil rights people thought and acted differently to their fellow humans.. I hope that most people today do not condone the use of stereotypes to create antagonists, otherness, or like Larry the Cable Guy comedy. The use of stereotypes and accented speech to create a difference between hero and villain is still in use. Disney took advantage of it in their 1992 hit Aladdin where the main protagonists spoke business American and any evil-doer spoke with an accent, while Disney might have become more attuned to this to prevent other unsavory legal attention, other major motion pictures still use accented speech in similar manners. Like the Viceroy and Jar-Jar in the recent prequels of Star Wars. Even though as a nation we have move forward since the Japanese interment camps and the civil rights movement. It is clear that there are still people in media making decisions to use sound to separate how non-business American speakers are good and ethnicity is less desirable.

-Ben

Private Snafu

In the final years of World War II, Colonel Frank Capra, along with Ted Geisel (Dr. Suess) created a character named Private Snafu (Snafu in military terms stands for "Situation Normal, All F***ed Up"). Private Snafu was intended to be shown to all branches of the armed forces and provide entertainment as well as inform soldiers to remain weary of their efforts. Snafu was always used to show soldiers how not to act, or what not to do. There are twenty-eight Snafu shorts released between 1943 and 1945. You can get an idea of what the U.S. Military found important to educate soldiers about just by some of the titles of "Snafu Shorts". In the short "Three Brothers" by Friz Freleng, Private Snafu is assigned the task of organizing boots. Snafu becomes bored and longs for a job like one his brothers hold. He is then visited by Technical Fairy, First Class, who shows him his brother Trafu is then shown caring for carrier pigeons and brother Fabur is the "victim" for training attack dogs. After seeing his brothers jobs, Snafu becomes delighted for his job. The short was meant to show soldiers that every job is important and that there could be another job that might be worse.


The fear of spies in the U.S. at the time was high and can be seen in the shortcalled "Spies", Snafu has learned a secret. He claims to be able to keep this secret and has every intention to do so. However, slowly throughout the short, the secret comes out. The enemies have been listening and pass his secret on to their leader, Hitler. Snafu, on his way to Africa by ship, watches as the Nazis close in and end up firing a torpedo at him. He then ends up in hell, questioning who had told his secret. The devil (Hitler) then reveals it was he who had given away his secret. The lesson from this short is not to speak to anyone about any military plans.



Source

|-Kelly-|

The Appropriation of Icons, and Propaganda

Growing off my post last week, mainly about how Betty Boop is such an icon in mainstream American culture that her image still appears frequently decades after her apparent height of popularity, I got to thinking about other pop culture (and specifically cartoon) characters that are still appropriated for various marketing and appeal purposes. If one goes to any large indoor mall, or major city bazaar, you wouldn't be hard pressed to find spray-brush t-shirt and accessory kiosks that sell re-appropriated images of cartoon and comic book characters. The characters are often re-dressed and styled to appeal to various demographics, usually straying from what they were originally intended for, at least tonally. Betty Boop is a frequent victim of these booths, her image constantly re-appropriated and exploited for her sex appeal. Amongst others are Looney Tunes, Tinkerbell, and Spongebob Squarepants.

Then comes the tender issue of indoctrination-- Disney no doubt used their beloved and widely known characters to tell children and adults alike whatever was important, like how indoctrination is bad (Oh, the delicious irony). However, one can clearly see the immorality of indoctrination when we see the other guy using beloved characters to appeal to the impressionable, such as Farfour and such other eerily familiar characters from the show Tomorrow's Pioneers.

Farfour was the Mickey Mouse-like character used by this Palestinian TV show aimed at children to preach the values of Islamic Extremism and anti-semitism. Later in the show, the co-host changed to a large bee, and then a Bugs Bunny-esque rabbit. All the co-host animals spoke of the evils of the west and the joys of martyrdom. If you wanna talk inappropriate appropriation, look no further.

Source

-Lily.

The Lusitania

This large vessel was designed by Leonard Peskett for the Cunard Line in 1907. The name"Lusitania" comes from an ancient Roman province. The ship was designed with the latest technology in mind in order to help Cunard compete with other companies involved in the trans-Atlantic passenger trade. The Lusitania with the assistance of another ship, The Mauritania, was able to create a convenient transportation system from Britain to America. These two ships were the first to sport Parsons' Turbine Propulsion, technology which made them more fuel efficient, faster, and reduced sound and vibration. They were the biggest ships ever created, and boasted 50% greater passenger capacity in comparison with their closest competitor.
The ships were designed to be capable of conversion to armed vessels for warfare, but were not suitable for armed service due to size and fuel guzzling. They continued to carry passengers and be available for the transport of government items. Though The Lusitania was sunk by torpedoes shot from a German sub, The Mauritania continued to serve in the same manner. The controversy as to the exact motivation for the sinking of the ship is still active today.

Info:

http://en.wikipedia.org/wiki/RMS_Lusitania

Image:

http://www.lusitania.net/lastrestingplace.html

Post by Luke

Diagnosing Popeye

The Fleischer Brothers created a number of memorable and iconic cartoons that retain a historical relevancy even until today. Characters ilke Betty Boop and Popeye, some of their most famous original characters, were made popular by the social commentary utilized in their creation, utilization or characterization. Betty Boop was a hyper-sexualized femme who, throughout her misadventures, is notably comfortable and happy her sexuality. Her characterization was modern and relevant to the urban audiences of the early 1930's aware and perhaps even supporting the early feminist movement within the United States. Meanwhile, Popeye, a hyper-musculatured, short-statured sailor, was a character "of the people". Strong, not traditionally attractive, and working class, Popeye was a cartoon based strongly in a reality many knew.

Popeye's physical depiction suggests not only the nature of his profession, but also the toll a life of poverty, malnutrition and hard labor can take. He is short, much shorter than the other characters, and his face is noticeably distorted by a musculature deformity. His speech patterns, eye sight and pipe-smoking are definitely and noticeably affected by this facial deformity. His shorter legs and longer torso suggest proportions of one perhaps with dwarfism, or a childhood bout with polio. As a sailor, Popeye would have started working as a child. A dangerous workplace could have facilitated a accident, and a broken limbs would also explain Popeye's disproportionate body shape. A life-long smoking habit would explain Popeye's gravelly voice, and the level to which spinach affects his performance suggests either a severe protein deficiency, or a life-long spinach allergy.

Although it appears a little silly to be diagnosing a cartoon, it is extremely important to remember, especially in the case of a reality-based studio like the Fleischer Brothers, that cartoons success is based on their ability to relate to things people know. A life of poverty and illness was well known to the world of the early 20th century, and a character like Popeye only exemplifies it.

~Katrina~

David Oreilly is a contemporary English animator who has been collecting awards in film festivals around the globe for his work. Davids animations explore a spectrum of styles ranging from 2d-3d influenced and building on visuals found throughout animation history. The content is often an explosion of both violent and sexual concepts explored through cute characters a smart color palette and an exquisite sense of design. Davids short suggestive narratives are compiled in a hyper edited treatment that is growing in popularity due to advances in internet culture to engage an audience with the lowest of attention spans. The result is often the sense that you have been brought through something completely abstract and meditative. David Oreilly's work is beautify depressing and inspiring. Please have a go at his web presence

http://www.davidoreilly.com/

The External World from David OReilly on Vimeo.

(* O*) tim

"I am what I am and that's all that I am!"

 

'Gobs' of Work, the first appearance of Popeye

Popeye the Sailor Man! He fights to the finish, cause he eats his spinach, and Bluto doesn’t stand a chance! But, he wasn’t always a cartoon, or even the main character! In fact Popeye was once a comic strip for Thimble Theatre, and wasn’t even a character at all until his first appearance in 1929. Now before I get into too much detail about his first appearance, lets discuss who were the original main characters in the Thimble comic strip series before Popeye showed up. First there was a character we’re all familiar with, Olive Oyl, and her original boyfriend Harold Hamgravy. As time went on Harold Hamgravy eventually evolved into just Ham Gravy. Following this, more characters began to appear into the series, such as Olive Oyl’s family members. But still there was no Popeye, but on January 17^th 1929, Popeye made his first appearance in the comic strip “Gobs’ of Work”, where he worked for Ham Gravy, and Olive’s brother Castor Oyl on a boat. Of course in this first appearance, Popeye still played a minor part in the plot. But, just as quickly as Popeye left the strip, he instantly returned in the next one. Apparently Popeye had gained popularity amongst the readers of Thimble comics, and soon began to overshadow almost of the other characters. As the comic strip saga continued to feature Popeye, slowly all of the original main characters began to drop out of the comic series one by one. Ham Gravy disappeared from the comic series after Olive Oyl leaves him for Popeye. Castor Oyl managed to stay in the series for a long time, still playing the same main character, only now including Popeye in many of his profit gaining misadventures. But soon Castor Oyl left the series as well, after he decides to become a detective and moves to a ranch out in the west. With Ham and Castor gone, only one Character managed to stay through the series alongside Popeye, and that was Olive Oyl. In 1932, Thimble comics caught the attention of Fleischer studios, and from there Popeye became an animated cartoon. In 1933, the first Popeye cartoon series was officially released by Paramount Pictures, and would continue to be shown for the next 25 years.   

-Jon

Popeye: A Brief History

Popeye started as a comic strip Elzie Segar in 1929. In 1933 Fleischer studios adapted the comic into a cartoon. Popeye became largely more accepted as an animated series than a comic strip, quickly becoming the most popular cartoon charter surpassing Mickey Mouse and Donald duck in ratings. The characters Popeye, Olive Oyl, and Bluto first made there appearance in a Betty Boop short entitled "Popeye the Sailor" the short introduced the classic theme song "I'm Popeye the sailor man". A stand out episode being "Popeye meets Sinbad" demonstrates Great use of the rotoscope as well as color. The episode was actually the only Popeye animation to be nominated for an oscar.
As one can see Popeye was doing very well under the Fleicher studios, however in 1942 Famous studios took over production. During this time Popeye animation officially went technicolor. The characters also got a rounder and softer design as well as new stylish looks. Famous studios produced Popeye cartoons until 1956 when Popeye was sold to Associated Artist productions. Popeyes popularity skyrocketed, over 150 television stations aired the beloved cartoon. The creation of new Popeye cartoons continued well into the 1980s. Popeye was even adapted into alive action film starring Robin williams as Popeye and Shelly Duval as Olive Oyl. It is amusing to watch the cartoon characters "come to life" and see how they translate from animation into live action.

source
-callie

EAT YOUR VEGGIES, KIDS!

Watching Popeye the Sailor when I was younger, I remember wanting to eat spinach, just like him. It's strange because aren't kids supposed to hate spinach? I mean, sure, Popeye eats it too, but is that enough to convince a little kid to eat the gross green stuff? Apparently so, because I still did.

That makes me wonder what an immense impact such product placement can have. It's one thing to have Popeye star in a commercial that advertises spinach, but it's another to have a whole series go with this theme. Every episode built up to that moment when he whips out his can of spinach, eats it, and beats up the enemies. So I'm wondering, was I the only one who bought into this whole spinach thing?

Studies show that between 1931 and 1936, as Popeye gained popularity, spinach consumption in the USA increased by 33% (http://en.wikipedia.org/wiki/Popeye#Spinach). It seems, though, this is not just a generational thing. A recent study from 2010 found that kids who were shown Popeye cartoons increased their vegetable consumption by a significant amount (ibid).

Makes you wonder whether the Veggie Monster--no, pardon me, it's Cookie Monster with a balanced diet--has the same effect on his young audience...

--post by Erik

Wanna be a member?

Back in the late 19th and early 20th century there was a movement towards the occult. Secretive organizations or orders devoted the hidden or forbidden knowledge. Today, people try to find any reason to connect Masons and other societies to politicians, performers and anyone else in the spot light. This tradition of lampooning fringe groups has been around longer than Scientology. There were three things that stuck me upon watching Bimbo's Initiation: a distinct reference to the Hermetic Order of the Golden Dawn, traps that made this animation into a proto-Saw, and the use of sex-appeal to get Bimbo to join.

The Hermetic Order of the Golden Dawn, or Golden Dawn was a group that practiced Theurgy, or the use of rituals with the intent of invoking the will or presence of a higher being. Of course this mode of worship has been around longer than the order. Towards the 1930's and 40's the Golden Dawn were in decline and were an easy target for the times.

I found the traps that kept Bimbo in this cult's lair fantastic and flowed into each other perfectly. All were very devious and used Bimbo's actions against him. It seemed that he could keep on getting away from this torment until the cult used a honey pot to lure him into recruitment. Although, this lead to the non sequitur of a room full of Betty Boops and mutual spanking. At least everyone seemed happy.

-Ben

Mickey's Makeover (1938)

In the year 1938 Mickey Mouse had a drastic makeover. The animators wanted to create characters that had similarities to themselves. Fred Moore was the animator who made changes to Mickey Mouse's head and his body shape. He was small, and had mouse-like features. Moore's design of Mickey Mouse is the classic Mickey Mouse we know today. In 1940, the public viewed the new Mickey Mouse in the sorcerer's-apprentice in Fantasia. In 1941 more changes were added to the animation of Mickey Mouse. Animators, Moore and Kimball removed his tail and added an interior to his ears and they dressed him as a dandy.

-Arianna Quinn

http://articles.sun-sentinel.com/1995-08-10/lifestyle/9508090253_1_animators-mickey-mouse-mouse-makeover/2