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“Freaking Out:” An Examination o fFreakazoid! and Children’s Culture by Amy Ratelle, B.RA. (Ryerson) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment for the degree of Master of Arts in Him Studies Carleton University OTTAWA, Ontario (22 September 2006) © 2006 Amy Ratelle Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 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The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be includedBien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. i * i Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT This thesis examines the animated television program Freakazoid! in the contexts of animation history, television history, and children’s culture. As the symbolic figures of Adult and Child are given as fixed and oppositional polarities, it is necessary to question whether these oppositions are, in fact, as fixed as they are perceived to be. This thesis accomplishes this by analysingFreakazoid! in terms of its position as a Warner Bros, cultural product; how the ‘new’ medium of the Internet is crucial to understanding Freakazoid as a character, as well as how technology changes the face of household power and politics; and how the figure of the (adult) fan of (children’s) animation subverts concepts of taste and social hierarchies. This thesis contends that the address of these symbolic spaces between the alleged polarities of Adult and Child are what make Freakazoid! an important text in understanding the functions of power and taste, especially in a conservative media climate. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Page Removed TABLE OF CONTENTS Abstract ii Acknowledgements Hi Chapter 1 - Introduction 1 Chapter 2 - “Unless something better’s on TV” - Freakazoid! and Television 20 Chapter 3 - “Zapped to cyberspace” - Freakazoid! and the Internet 44 Chapter 4 - “You really have no life, do you?” - Freakazoid! and Friends, er, Fans _ 59 Chapter 5 - ‘That’s it from the Lawn Gnomes” - A Conclusion, of Sorts 81 Works Cited 87 Appendix A - Episodes 91 Appendix B - Characters 99 Appendix C - Song Lyrics 102 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. "Members of any society carry within themselves a working definition of childhood, its nature, limitations and duration. They may not explicitly discuss this definition, write about it or even consciously conceive of it as an issue, but they act upon their assumptions in all their dealing with, fears for, and expectations of their children.” Karin Calvert, Children in the House: The Material Culture of Early Childhood 1600-1900 "The television generation only essentially understood animation as ‘the cartoon’ as it had been produced for television, and the children’s demographic.” Paul Wells, Animationand America This thesis stems from my love of all things Warner Bros. In the mid-1990s, though I was already in high school, I would rush home every afternoon for a daily dose of Anim aniacs (1993-1998) andFreakazoid! (1995-1997). Hash forward ten years, and I still look forward to that daily dose of comic anarchy, now on DVD. My objective is to address a wrong I feel has been committed - even in analyses of other Warner Bros, cultural products. Endless Internet searches of "Warner Bros, animation” revealed a spectrum of materials about the Looney Tunes cartoons and characters from the 1940s and 50s focusing on Bugs Bunny, Daffy Duck, Sylvester and Tweety, Yosemite Sam, Coyote and Roadrunner, etc. Very little is available beyond fan sites and fan fiction for the Warner Bros, programs and characters created in the 1990s. The literature I was able to find included a range of how-to-draw guides, and Steve Schneider’s That's All Folks!: The Art o f Warner Bros. Animation, published before these new cartoons were broadcast. Even Kevin Sandler’s anthology, Reading the Rabbit: Explorations in Warner Bros. Anim ation, focuses primarily on the history ofLooney Tunes, or the ‘Termite Terrace” animation studio on the Warners lot, save for Bill Mikulak’s article on fan culture, as pertaining to Tiny Toon Adventures (1990-1992), which is framed in terms of intellectual property rights. The only other mention of any Warner Bros, animation from the 1990s is Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The A rt o ‘Space f Jam,' the abysmal feature-length advertisement for Michael Jordan and Nike footwear.1 Scourings of journal article indexes and databases, including the Library of Congress, Lexus/Nexus, and the Mass Media Articles Index revealed nothing, when searching for Freakazoid. The only scholarly2 reference to Freakazoid! comes from Bill Mikiilak, who notes, in the context of Tiny Toon Adventures, that “[t]hree subsequent shows - Taz-Mama, Animaniacs, and Freakazoid! - further fueled adult fan interest.”3 One sentence was gleaned from months of research. As a film scholar, I am in a privileged position to redress what I feel are grievous wrongs done to television shows so unfairly dismissed. “And now vou know the rest of the back story - good dav!” The history of animation in its latter years, is also the history of children’s entertainment. It can be argued that, in fact, the two are nearly synonymous. Initial forays into the cinematic, such as the Zoetrope, the Praxinoscope, etc. were animated, as they were segments of action rendered by hand, frame-by-frame. Optical illusion and persistence of vision allowed for these discrete images to have the appearance of continuous action. In 1896, the Lumiere Brothers began to shoot live-action footage. Animation complimented live-action nicely in the ‘trick’ film genre, whose foremost filmmakers included James Stuart Blackton and Emile Cohl. Blackton’s Humorous Phases o f Funny Faces (1906) featured Blackton drawing faces on a blackboard, changing their expressions as they flirt with each other, and Cohl mixed cartoons and live action footage for a series of comedies.4 Such films were a small part of an evening of live vaudeville entertainment. Gradually, animation lost its novelty and began to take a back seat, as the live-action film became the viewing standard. Though Winsor McCay Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. contributed a great deal to changing the face of animation from camera tricks to an actual method of filming (though his films were still exhibited as part of a vaudeville evening), it was Walt Disney who championed the cause of animation in the name of both art and children’s entertainment It is not my intention to trivialize the artistic contributions from the Fleischer Brothers (“Out of the Inkwell” series), or Pat Sullivan and Otto Messmer (“Felix the Cat”), and other extraordinarily gifted animators working in the 1920s and 30s to advance the art of animation. I am condensing history in order to focus on how animation, an already marginalized form, became entangled and synonymous with children’s entertainment. Whatever other things may be said of Disney, the man or the company, the fact remains that he revolutionized the (cel) animation process by introducing ‘model sheets’ to ensure the standardization of character representations, and was among the first to document principles of animation like ‘stretch and squash.’5 Perhaps, more important than his technological innovations was Disney’s focus on “believable characters who behaved in believable ways in believable environments,”6 and the privileging story and character over the “inherent plasticity”7 of the form. I use the term ‘plasticity’ in this instance to refer to the inherent artifice of the medium - physics and bodies are not contstrained by any of the natural laws, such as gravity. It is entirely possible, in the medium of animation, for Wile E. Coyote to paint a tunnel on a wall and have the Roadranner pass through it as though it were real; or for Yosemite Sam to walk off a diving platform into thin air and not fall, at least, until he notices he has done so.

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