Mar 10, 2010

Cover ups- Stephen Bevilacqua


Last week, our discussed how Disney has tried never broke the censorship laws or has never pushed the boundaries so they can keep the image of family oriented programs. However if you look closely at films like Lion King and Little Mermaid, you can find subliminal messages in them. Take for example, The Lion King, in the shot where Simba collapses on the edge of the cliff, you see from the dust that it spells out SEX. In the Little Mermaid at the alter scene, If you look closely you find that priest has an erection. Now, years after, the films subliminal messages are covered up digitally in the remastered cuts of the films and the Disney company has never released the reasons for these messages.

Mar 7, 2010

Manhattan Madness!-Amelia D.

After last week's lecture I remember thinking about how insanely non-pc cartoons were back in the day (by our modern day standards) and also that there was an episode of The Simpsons that featured an old Itchy and Scratchy cartoon that had a lot of the components of our discussion. It includes a soundtrack that isn't on film, caricatures of a popular political figure, and a stereotype of the Irish. It took me a bit to find a clip of it, and it's in French, but it speaks for itself.
"Manhattan Madness"

Mar 6, 2010

Cartoon Censorship. ANTHONY BEVILACQUA

http://www.youtube.com/watch?v=tYMYv1zsAxE
Even in the 90's, television cartoons, apparently even those with an "ends justifies the means" underlining message to kids, still were not allowed to express themselves to their fullest, unrestrained comedic creativity. For example, in this BANNED/ONCE AIRED episode of the short lived Looney Tune successor known as "Tiny Tunes", Buster Bunny and the gang decide to split a bottle of beer between them, and after one thing leads to another, proceed to get drunk and eventually corrine a stolen cop car off a cliff and die. Of course, seconds before the segment came to a close, the three reveal that their recent attics had all been merely in good fun and the episode had been staged solely to demonstrate the evils of underage drinking. Unfortunately, given the sensitive subject matter coupled with disturbing visual depictions, it eventually seemed to the network that the big reveal at the end was more or less a poor effort on the writers' behalf that was simply too little too late when given the blatant controversy.

Mar 4, 2010

Pretty Boopin' Weird by Ryan

As a kid I never knew why Betty Boop looked the way that she did, a very human body, and yet an alien like head. The reason is that she was originally a female dog, developed to interact with a cartoon dog named Bimbo. Over time she became more human like, but still had a (for lack of a better term) dog-like face, and yet was considered to be the embodiment of attraction.

Like Betty Boop, a lot of cartoon characters' mysterious features are explained by looking back at the early concepts from the artists. Mickey Mouse wears shoes to make it easier to draw for the animators. The Simpsons are yellow with blue hair because Matt Greoning wanted people to think the saturation on their televisions was off. Super Mario has a mustache because the artists couldnt draw a mouth in the small pixel image they had.

At first glance, Betty Boop, and other characters with exagerated body parts seem reasonably logical, but when you actually think about the body structure and gravity, you notice just how messed up their anatomy really is. I came across a site that has images of the skeletons of famous cartoon characters showing how their bone structure gives them their unique shape. This site can also be used to scar children for life.
Enjoy

Mar 3, 2010

Betty Boop VS Olive Oyl-Amanda Bonaiuto



Betty Boop versus Olive Oyl


The Fleischer brothers created Betty Boop as well as Olive Oyl, one of the main characters in Popeye. Both characters can be considered symbols of feminism in two very different forms. Betty Boop is known as one of the most well known sex symbols ever to appear on the animated screen. Her bodacious bod gave all of the guys and gals googly eyes. The Fleischer brothers created her to be just that. Half of her appeal was her naive and helpless nature, while the other half was purely physical sexuality. She was always in need of a man to help her out of a sticky situation. She commanded the male gaze and did not keep her femininity a secret, In fact, she used her feminine sexuality as a tool to get what she wanted.

Though Boop flaunted her hot bod, Olive Oyl was on the other end, fully clothed, still with men drooling all over her, though for very different reasons. Olive Oyl wasn't particularly attractive, actually quite unattractive, lanky, and slightly manly, but she knew how to fend for herself. She was a bad ass biddy and no one wanted to mess with her, which made her so much more attractive since that type of attitude in women was not historically prevalent. She knew how to take care of herself and her man.

Strangely enough, both Betty Boop and Olive Oyl were once played by the same voice actress, Mae Questel. Crazy.


http://www.imdb.com/name/nm0703362/bio

Betty's comeback!- Yael Silverman

Betty Boop seemed to have shaped sexuality in the late 20's to early 30's. Her boop oop ba doop and curvaceous figure made her simple irresistible to watch. Once the Hayes code came in to effect Betty could no longer emulate the flirty girl all the guys loved. Her motherly attitude was a flat out turn off, similar to mickey mouse's new conservative behavior. Both characters sunk while new sassy characters like Donald duck had a rise in fame. Of course, Betty Boop and Mickey mouse are still very well known character names today. How did Betty's name stay so famous ?


Thank VHS! After 50 long years, Betty came back in 1988, cute as ever!

Once VHS became a household staple, Betty was released in an 8 volume cartoon collection for all to enjoy. Her form was celebrated in it's original sexy nature; the Hayes code was no longer very relevant or effective at this point. Sexuality had opened it's door, and now it seems, for good. Betty dolls, household items , and accessories have since become available to the public and well received at that !

we missed you Betty.

Why Popeye?

In 1933, Popeye the Sailor was acquired by the Fleischer Brothers and became the beloved role model for cartoon-loving children nationwide. But why was Popeye so well received by his American viewers? And what could have possibly motivated his production in the immediate wake of the scantily-clad flapper, Betty Boop? Through a lens of historical context, Popeye’s significance in American culture comes into focus.

The year 1933 finds the United States in a state of economic unbalance. While the U.S. basks in the glow of military dominance after WWI, and various new industries, including the film industry, gain capital to no end, the pre-industrial populations of the U.S. struggle to climb out of what would later be known as The Great Depression. Just one year into F.D.R.’s “New Deal”, there is still no guarantee of recovery for the agricultural industry and those impoverished in the wake of its collapse. Thus, the children of America (or at least those wealthy enough to attend the cinema) are introduced to a character who “fights to the finish,” a character of unfaltering moral righteousness, a character opposed by the womanizing, gloating, anger-fueled fiend, Bluto. Popeye, at this time, is exactly what the U.S. needs, a modern day Hercules to lead and inspire. He is even followed by his side-kick, Wimpy, an overweight exaggeration of sedentary Americans. The message could not be clearer with these characters- Join the Navy, work tirelessly, avoid megalomania, and do not fall subject to the vices of lethargy.

And what of Popeye’s girlfriend, Olive? She’s the antithesis of sexy. Her skirt covers her legs, she’s skinny as a rail, she ties her hair in a bun, and on top of that, she acts like a total dude. Olive Oyl is the Fleischer’s answer to the Hay’s Code. Betty Boop, by 1933, has become a relic of flapper era morals, on which sexuality and jazz once thrived. So, who better to take her place than a gangly tomboy, monogamous and modest.

Finally, let’s ponder on Popeye’s never-ending hunger for spinach. As was stated before, the early 1930’s marked an era of recovery for farmer’s across America. What better way to advertise the consumption and trade of vegetables than through the bulging biceps of a childhood hero? Also, sailors are (or at least were) notorious heavy drinkers. 1933 marks the dissolution of Prohibition, but Popeye’s character was developed long before 1933. One would expect a sailor to take long draws from a bottle of whiskey before engaging in fisticuffs; Spinach may very well just be a creative alternative.

Indeed, whether his creation was truly motivated by these events or not, one can not argue that Popeye was simply right for his time. No parent or child of 1933 could possibly object to his positivity, work ethic, morality, and humble nature.

(Sorry for writing this in the present tense. And for being too lazy to go back and change it.)

"Mr. Bug Goes to Town" & the Downfall of Fleischer Studios

With the unfortunate fact that the Fleischer brothers were not even speaking to each other during the production of Mr. Bug Goes to Town, the film was surrounded with an undeserving negativity that grew worse as time progressed. After moving from New York to Miami to create a new but expensive studio, the Fleischer's goals were to make feature films like Gulliver's Travels to compete with the success of Disney's Snow White. While Gulliver's Travels did well in theaters, Mr. Bug Goes to Town would soon suffer from terrible, unpredicted circumstances. Due to the expense of not only the Miami studio, but the cost of Mr. Bug Goes to Town and the Superman shorts, the Fleischers were forced to sell their studio to Paramount mid way through production. While Fleischer Studios had planned to release the film in November of 1941, Disney released the highly successful Dumbo weeks before Mr. Bug was planned to come out, so the release date was pushed back to December of that year. Unfortunately, two days after Mr. Bug Goes to Town's release, the attack on Pearl Harbor occurred and not only ruined any success that the film could have had, but eliminated Max and Dave Fleischer from their own studio to be renamed by Paramount as "Famous Studios." Even when Paramount later rereleased Mr. Bug as Hoppity Goes to Town, it was still unable to earn back half of the finances it took to make the picture in the first place. It's extremely unfortunate that many do not know of this film, as it is a really beautifully animated and enjoyable feature film that surely deserves more recognition and appreciation.

The whole film is available on YouTube:


--Phylicia F.

Toot - Drawn Together


I really enjoyed watching some of the original Betty Boop cartoons. It was fun to see Betty as a flapper and a right out sex symbol. It was very refreshing in a way to see animation that was intended for a grown-up audience.
While watching Betty Boop, I couldn't help but think of Toot on Drawn Together. Toot Braunstein references Betty in many ways: she is portrayed as a sex symbol from the 20's, always in black and white, she flirts, she dances and sings. She sports a hairdo, reminiscent of Betty's bop. However, unlike Betty, Toot is overweight (questionable...), she drinks and cuts herself. (Maybe a little insight into Betty's dark side behind the constant flirting and cheerfulness?) If you don't know the show, it is an animated tv series, that uses cartoon characters as participants in a "reality" show. It had three seasons on Comedy Central. It is a cel animated series (which was news to me as I was certain it was done on the computer). I would put the show in the same category as Family Guy, or South Park. It has been highly controversial. Some of the themes that pop up in the episodes include homosexuality, bisexuality, homophobia, xenophobia, racism, antisemitism, incest, bdsm, etc. There is a lot of explicit imagery, and uncensored dialogue and the show uses many stereotypes in its attempt to be satirical. Sometimes it works, other times they don't take it far enough...(or take it too far, some might argue). Here is a link to a video that used a song from Betty Boop and clips from Drawn Together to create a short montage of Toot.

posted by Eszter

The Sea Hag

I feel like Popeye had like 2 or 3 good years and then was terrible for like 50. 

Over the years, a bunch of sidekicks came and went - Swee'pea, twin sons, Alice the Goon - but for me The Sea-Hag was the most memorable.  

The Sea-Hag appeared rarely in earlier cartoons but was prominent in the later ones.  She was weird and nasty and she scared the hell out of me when I was little.  After a while, though, she and Popeye started to almost become friends. But even then she was weird, like when she tried to imitate Olive Oyl to get Popeye to be her man, which didn't work.



She's pretty much just a crazy old lady in this one.  If anyone can figure out what the hell is up with the music in the opening scene, let me know.




Rotograph (Taylor)

I was a little confused by the concept of a "rotograph" so I used the internet! Apparently it's the combination of a multiplane and a stop motion set. With this set up, they could play with lighting, move various layers at different speeds, and simply place the cel in front of the camera between glass for the actual animation.

The Fleischer Studio utilized the Rotograph for special episodes of their most popular cartoons. By the end of the 1940’s, the studio abandoned the Rotograph, bowing to its expense and changes in the film industry. Regardless, the Rotograph produced animation that is visually arresting even today.

The rotograph was a very interesting and unique solution for more depth and realism, and although I found the terms in which it was used (clean cel animation on top of mediocre sets) visually awkward, I wonder how it might be used by artists in modern times... used by - say - a student at our school? hmmmm....

Cab Calloway is outrageous, and i'm not mad about it- Cat Pastor

Cab Calloway(1907-1994) did a lot of the songs for Betty Boop cartoon, such as Minnie the Moocher and his song "St. James Infirmary Blues" for Snow White, which gave the cartoon a grim tone. Outside of Betty Boop he performed "Reefer Man", a song about a man who smokes marijuana cigarettes, and "Kicking the Gong Around" which was a reference to smoking opium. As if his sing titles weren't wild enough, have you seen him dance(vid below)???? He was the original moonwalker, moonwalking 50 years before Michael Jackson. Really, though, he as, i'm not just saying that or exaggerating. It may not be as smooth, but it is moonwalking. He always had gorgeous omen to dance with in his performances, and he put out a book called "The New Cab Calloway's Hepster Dictionary: Language of Jive" in 1944. Was this guy ahead of his time or what? He owned a club club called The Cotton Club (where he got stabbed in the leg by bandmate Dizzy Gillespie in 1941 after a fight over SPITBALLS) and was basically living the life being the coolest.

The thing I really like about his music is the tone it sets to the Betty Boop cartoons. To be honest, Betty Boop kind of annoys me (a lot) but when there is a Cab Calloway song in the cartoon it changes the whole mood from something more upbeat to something kind of creepy. Everything has to do with people submitting to a dangerous sort of back alley world, it reminds me of the Rolling Stones song "Doo Doo Doo Doo Doo (Heartbreaker)". In fact, it kind of puts me in a trace, and I become not irritated by the cartoon but completely absorbed by it. Calloway is outrageous in possibly the best way ever, and I'm totally reading his autobiography. I hope it doesn't make sense.

Anyway, watch this guy dance! The moonwalk-esque thing comes in a 2min 40sec: