6. 1930: Betty Boop Gets Sexed Up (and Shot Down)
During the early days of animation, Disney’s studio wasn’t the only one having trouble defining its characters’ personalities. Max Fleischer (creator of Popeye) also had a giant hit on his hands with the seductive, garter-wearing flapper Betty Boop. However, some theater managers began reporting that their conservative audiences found the pint-size coquette too risqué, and in 1935, Betty became the first cartoon character to be censored by the Hays Office. Forced to make a change, Fleischer responded by transforming her into a more wholesome and domesticated lady. Sadly, the makeover proved fatal. By the end of the decade, Betty had fallen into her own Great Depression, never to be heard boop-boopy-dooping again.
7. 1933: Toons Get Looney
Four of the most original and creative artists ever to come along—Tex Avery, Chuck Jones, Friz Freling, and Robert McKimson—had a different philosophy when it came to their animated creations: the zanier, the better. As the minds behind such classic characters as Daffy Duck, the Tasmanian Devil, Elmer Fudd, and Bugs Bunny, the animators made sure their stars ran wild, shouted at the top of their lungs, and killed, maimed, blew up, slugged, shot, and destroyed their foes. They even dressed ’em up in drag when the occasion called for it. As the Warner Brothers slogan promised at the beginning of each film, these were, indeed, Looney Tunes.
But it wasn’t just their wackiness that made the Looney Tunes the largest collection of animated stars any studio had ever created. It was their animators’ inventiveness. Bugs and Daffy were two of the first characters aware of their own cartoon-ness, which meant they were not only characters, but actors, as well. And while Felix the Cat may have been able to turn his tail into a baseball bat, Bugs Bunny could play pitcher, catcher, umpire, and himself all at the same time.
8. 1941: Animators Strike Back
Snow White and the Seven Dwarfs might have had a happy ending, but for the animators working behind the scenes, things were less than fairytale. Cramming to meet the film’s deadline, many artists worked well into the night with the understanding that they’d get bonuses once the film earned back its money. The film grossed oodles, but instead of doling out bonuses, Disney earmarked his handsome profits for a new studio he wanted built in Burbank. Fighting back, the Screen Cartoonists Guild went up against the Disney powerhouse in 1941. The ensuing strike lasted more than two months, and it took a White House intervention to halt it. The dispute was only settled when F.D.R. sent in mediators and forced Walt to cave.
Although the strike served as a disappointing reality check in the animation world, it ultimately sparked a series of positive changes in the industry. Artists were finally given on-screen credit for their work, and wages for 40-hour weeks doubled.
9. 1942: X Marks the Rating
At times, the Warner Brothers’ lunacy knew no bounds. During World War II, they created racy cartoons solely for American soldiers stationed in Europe. Full of expletives, X-rated images, and the occasional scatological humor, these animated shorts featured an inept trainee named Private Snafu. Amazingly, one of Snafu’s writers was Ted Geisel, better known as Dr. Seuss.
Other wartime WB cartoons created for regular civilian consumption featured edgy characterizations of Hitler and Mussolini that would never pass military muster today. For instance, in “Bugs Bunny Nips the Nips,” Bugs sells ice cream bars stuffed with hand grenades to Japanese soldiers he affectionately calls “Slant Eyes.” Not exactly politically correct by modern standards.
10. 1956: Cartoons Go Prime Time
Following the disillusionment of the Disney strike in 1941, hundreds of animators were motivated to set out on their own. Zachary Schwartz, David Hilberman, and Stephen Bosustow were three of the most notable Disney artists to take the opportunity to head in a new direction. The result was United Productions of America, better known as UPA.
Whereas every year Disney pushed its cartooning style further toward realism and literalism, UPA pushed its style toward contemporary art. Disney’s characters were soft and cuddly, while UPA’s were angular and almost cold. And while Disney was mainly interested in animating animals, UPA made humans the stars of its films—and it paid off.
One of its first big hits was Gerald McBoing-Boing (the brainchild of Dr. Seuss, who collaborated with UPA on the series), which beat out both Tom & Jerry and Mr. Magoo for the 1951 Oscar. In 1956, CBS turned the film short into a Sunday afternoon TV series. And although the show didn’t last nearly as long as later animated series such as The Flintstones, McBoing-Boing—and the UPA animators—have had a huge impact on the world of animation. From the minimalist backgrounds of Spongebob Squarepants to the flat, cutout look of South Park, the studio has influenced more than a half-century of cartoons by showing animators that it’s OK to avoid realism altogether.
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great post
posted by clotho on 2-1-2008 at 8:20 am
I wish they’d make cartoons like in the ol’ days…those were so much fun to watch!
posted by Insolent Minx on 2-1-2008 at 8:40 am
just some observations:
Popeye was created by the great E.C. Segar, not Fleischer. Fleischer and Paramount just bought the rights from Segar and King features to make cartoons using Popeye.
If you’re talking cartooniness in Looney Tunes, you can’t forget Bob Clampett, he was the cartooniest of them all. You can thank Bob for creating Looney Tunes’ first major star, Porky Pig and co-creating Daffy Duck with Tex Avery. Where would Looney Tunes be without those two?
If anyone is interested in Animation history and live in the L.A. area, please do yourself a favor and visit the Animation Archive in Burbank. My good friend Steve Worth would be happy to show you around and dispense with some Cartoon knowledge. It is one of the most important resources we have in the animation world as animators and fans, alike. Here is the website, if anyone’s interested just google: Animation Archive and you should get the website.
posted by ArtF on 2-1-2008 at 8:42 am
I loved the story a few years ago, when NBC picked up the Sunday night football package, of how NBC-Universal and Disney-owned ABC made a deal to release Al Michaels from his contract so that Michaels could move to NBC along with John Madden. One of the conditions of that deal — I kid you not — was that Universal give Disney the rights to Oswald the Rabbit. Walt Disney always felt the character was stolen from him at the beginning of his career, and the family had personally asked Disney chair Robert Iger to get the rights to the character, even though they’re of little value today.
posted by John Carney on 2-1-2008 at 9:40 am
Fascinating post! Thanks for the cartoon history lesson – I love this stuff!
posted by Amy on 2-1-2008 at 9:58 am
The Oswald rights are of EXTREME value to Disney if you consider that Oswald was Disney’s 1st popular character and a lot of people have been waiting to see any Oswald material, since it hasn’t been released in decades. Besides, we wouldn’t have Mickey, if it wasn’t for Oswald.
Disney stands to make some dough from releasing all of the old Oswald cartoons on DVD, which they did last year, and from toy/novelty merchandise here and overseas.
The sad reality about a lot of the studios and corporations that own these old properties is that they do not use them and refuse to sell the rights to people who can actually get these films released so we can all enjoy them.
posted by ArtF on 2-1-2008 at 10:48 am
I think we need to up this list to 20 and add more!!
Great post!
posted by beth on 2-1-2008 at 10:54 am
I enjoyed your post. The animation Archive in Burbank IS worth a visit.
posted by Bob Weber Jr. on 2-2-2008 at 1:16 am
I agree with Beth. There are a number of landmark moments in animation that have been left off the list. For example: April 19th, 1987…The Tracey Ullman Show debuts a crudely drawn animated short about a family in middle America. Twenty years, a million episodes and a movie later, many people regard The Simpsons as one of the greatest TV shows in history, animated or not. That’s one event that springs to my mind, and I’m sure there are a bunch of others.
posted by Jim on 2-2-2008 at 2:29 am
Gertie rocks! As does McCay…
posted by Morpheus on 2-4-2008 at 4:20 pm
No mention of Japanese animation at all? It’s had a profound impact on the animation industry (see any animated series airing on television right now) and the film industry (ask Quentin Tarantino and the Wackowski brothers about some of their influences). Granted, it would be hard to pinpoint an exact moment where Japanese animation became relevant, but a mention of Speed Racer or Gigantor being some of the early introductions in the US to Anime or perhaps the introduction of more adult fare such as Akira and Wicked City in the 80′s.
posted by Ben on 2-7-2008 at 12:29 pm
When I think of a famous scene in an animated movie the first scene that comes to mind is Bart skateboard naked in The Simpsons Movie. It still touches my funnybone everytime I see it, I laugh at the very same place, particulary when Ralph said “I like men now” when he saw Bart naked.
No animated scene before or after has ever been as memorable as Bart skateboarding naked.
posted by Homer on 3-21-2009 at 8:43 am
Cool post, too bd I’m a little young to have seen the original cartoons.
posted by Carli on 5-6-2009 at 6:28 pm
Cracked is a liberal website and all things being liberal you have a noted disgust for Disney. It doesn’t surpirse e that you would not include the use of the multiplane camera – made famous – by Disney in Snow White but you would include Gerald McBOING BOING? Influencing SPONGE BOB? You know you’re right, the artistry that created effing Sponge Bob will be around long after Disney
posted by Rick on 5-12-2009 at 11:47 am
Bill Ward’s Crusader Rabbit from the early 1950′s made a considerable impression on me, even though I doubt I understood all of it. I did realize it was not your typical animated cartoon. I remember the dragons who heated the king’s palace–Arson and Sterno, and Crusader’s buddy, Rags the tiger. I think I knew right about then that it was a play on words. CR later reappeared as Rocky and Bullwinkle, known for it’s offbeat sense of humor and outrageous puns (the Kerwood Derby? Derwood Kerby of Candid Camera almost sued over that).
I’m sure it warped my childhood.
posted by firstofnormalin on 7-11-2009 at 11:30 pm
Before primetimers The Simpsons, King of The Hill, American Dad, et al — Anyone else remember “Wait Till Your Father Gets Home” from the early 70s? Or is that showing one’s esteemed age too much…LOL!!
posted by DixonSteele1on1 on 7-12-2009 at 12:58 pm
Cool post! I found Gertie on YouTube… click my name if you want to check her out!
ReCaptcha = toto spaeth?
posted by Roger on 7-15-2009 at 2:57 pm
Love the post. Fun and informative. But please, can someone tell me if there is any avenue of getting my hands on those Looney Tunes that were made specifically for GIs in WWII? Have they ever been rereleased as a set or would they be too risque for Warner Bro.’s reputation? How dare I be denied such treasures?!!
posted by ACtualWizard on 7-22-2009 at 4:13 pm
@DixonSteele1on1
I remember that show! I had to beg to to stay up to watch it, “But Mooooooooom it’s a cartoon!” I can still sing the chorus to the theme song. :D
posted by Bunnymuffin on 8-11-2009 at 2:13 am
Great Post!
I’m a veteran animation artist and now I teach animation history on the college level and this is the first half of the quarter in a nutshell.:)
One thing I would add tho’, about the ’41 strike: Many of the lead animators were getting paid very nicely thank you and the big building in Burbank had already been built when the strike happened. The worst off were the “ink and paint ladies” who were paid dirt and got no benefits or overtime pay — so some of the “star” animators — like Art Babbitt (look him up) went to bat for the Ink and Paint department. (The Disney company relegated all women who applied with their company to the ink and paint department ’til WW2.)
Sometimes YouTube has a great documentary about Art Babbitt and the strike…
Oh, and yes, I want to put in my recommendation for the Animation Archives too…
posted by Lee on 8-27-2009 at 8:57 pm
I second the idea that this list should be expanded to 20. Things that should not be overlooked are: First animated show in primetime (the Flintstones). Other storied animators like Joseph Hanna and William Barbera, Jay Ward, and Don Bluth (“All Dogs Go To Heaven”, “The Land Before Time”). Other seminal shows such as Bozo the Clown (which I think might have been the first cartoon to animate a living person on a regular basis). Psychedelic animation (Ralph Bakshi, “Wizards”). First X-rated animated feature (Bakshi again, with “Fritz the Cat”). Computer-assist animation which first started making inroads in the 1990s; and of course full CG animation in cartoons by Pixar.
This list only scratched the surface.
-”BB”-
posted by Bicycle Bill on 9-21-2009 at 3:21 am
“10 Landmark Moments in Animation History” – not THE ten landmark moments, not the TOP ten moments, not ALL ten moments. Just ten of the landmark moments of this subject. Diction, peeps. Don’t get upset when all moments of importance aren’t included in a list which in no way claims to be comprehensive. :)
That said, this was really fun to read! Good stuff indeed. Also it’s somehow really funny that even this spawned a political comment from someone.
posted by Laura on 9-22-2009 at 1:54 pm
i would kill to see the original uncut warner stuff from the war. i have seen some clips of the more racial stuff, but i have never seen the hardcore snafu stuff….
also you never mention the early hanna-barbara stuff that had racial elements that couldnt be shown today….
posted by barf on 10-22-2009 at 11:00 pm
I read somewhere else that Lindberg had a Felix the cat DOLL, not picture. And don’t forget that Felix was the first copyrighted character to appear in baloon form in the Macy’s Day parade.
posted by Sara in AL on 10-29-2009 at 5:43 pm
No mention of Hanna Barbara? They brought cartoons to the TV masses.
posted by Frank on 11-12-2009 at 2:35 pm
Concerning Betty Boop: I’m sure that as a kid, I once saw a split-second scene in one of her cartoons where she had a Janet Jackson “wardrobe malfunction”! I mean, her bodice fell down and she flashed! I know I didn’t imagine it, and I also remember that the TV screen went blank for a minute or so afterwards. I think I was watching on the old Channel 13, KTRK in Houston, early 60s. Had they inadvertently gotten hold of one of those early, risque B.B. cartoons that hadn’t yet been scrubbed thoroughly and got bounced off the air by the censors? I don’t know, but I remember my sister and I laughing our butts off over it and running to tell our mom, who also thought it was funny.
posted by Lynn on 11-30-2009 at 11:32 pm
No love for Terry Gilliam’s animation influence?
posted by something on 2-4-2010 at 4:14 am
You forgot to mention Robert Clampett, who probably made some of the most creative work coming out of Warner Bros. in the 1930s and ’40s. Great Piggy Bank Robbery and Porky In Wackyland are landmark cartoons…and funny as (w)hell.
posted by Greg on 2-12-2010 at 2:13 am
I am old enough to remember my parents getting a babysitter to go to the movies one night. Of course they didn’t tell me then what they went to see, but I found out later that it was “Fritz the Cat”. They ran into my aunt and uncle…I also remember “Wait Till Your Father Gets Home”. Both of these weren’t on your list, but maybe should have been. Great article though!
posted by shirleyfeeney on 2-15-2010 at 7:38 pm
If you want to learn more about all the artists mentioned, I know a great book called OF MICE AND MAGIC…just great…
posted by REally?didn't kno that on 3-12-2010 at 4:37 pm
@barf & @ACtualWizard
They have GREAT stuff on DVD through Something Weird Video.
Google it.
posted by Valerie on 5-7-2010 at 12:45 pm
Gotta love Tex Avery!
posted by Tex on 5-30-2010 at 3:05 pm
Some other fascinating, very early successes in animation include:
J. Stuart Blackton was possibly the first American filmmaker to use the techniques of stop-motion and hand-drawn animation. Introduced to filmmaking by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing (1900) http://www.youtube.com/watch?v=pe7HSnZotbU and Humorous Phases of Funny Faces (1906) http://www.youtube.com/watch?v=wGh6maN4l2I&feature=channel were film versions of Blackton’s “lightning artist” routine, and utilized modified versions of Méliès’ early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. ‘Humorous Phases of Funny Faces’ is regularly cited as the first true animated film, and Blackton is considered the first true animator. (SOURCE: WIKIPEDIA)
McCay also experimented quite a bit before Gertie the Dinosaur graced the screen: the first I found of him was this very creative short of an anthropomorphic mosquito. http://www.youtube.com/watch?v=yvzAJouHh7k The fluidity of this animation, for the period, is pretty damn incredible. Remarkale.
Before animation became primarily a childrens’ medium of entertainment, early animators of the turn of the century penned numerous oddball (and often truly bizarre or disturbing) shorts. Some other examples of note:
http://www.youtube.com/watch?v=6FQCESiyqaM&feature=fvw
http://www.youtube.com/watch?v=DfOmxAtI00Q&feature=related
posted by Araxie on 6-20-2010 at 1:58 pm
Some other landmark moments could include the premieres of South Park (the best satire on TV, imho) and Beavis & Butt-Head on the show AEON FLUX on MTV back in the 1990s, plus the Ren & Stimpy Show (and all other nickelodeon shows — Nickelodeon network shows may warrant an article in and of themselves).
posted by Richard Y on 10-11-2010 at 8:30 pm
I concur, a great list. Here is something to add to the McCay entry. Why was Gertie drawn? Well, McCay made a cartoon of Little Nemo and audiences said, “Why that’s a little boy on the screen!”, so he (as one of the responses mentioned) drew the Mosquito cartoon and then people accused him of attaching a real mosquito to a wire and calling it animation.
When he drew a dinosaur, people FINALLY realized they were looking at a series of drawings. I know this sounds incredible, but remember, the audiences of that era were dealing with a technolgy that had very little history, which is to say film, let alone animation.
There is a DVD of Winsor McCay’s work and it is nothing short of amazing and very well-preserved.
posted by Brian Phillips on 1-8-2011 at 8:17 pm