DOCSLIB.ORG

Monsters in the Bookshelf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Monsters in the Bookshelf ABOUT USF DESTINATIONS GATEWAYS SEARCH Information Sign up to receive our email newsletter with Current Exhibition updates on exhibitions and events: Exhibition Calendar Rooftop Sculpture NEWSLETTER Terrace Previous Shows Gallery Map (pdf) August 21 – December 16, 2011 Join the University of San Francisco’s Thacher Gallery for a dynamic exhibition of animation, book illustrations, and fine art that will be memorable for all ages. “Monsters in the Bookshelf” highlights Studio 5, a collective of children’s book illustrators and animators that includes the creator of Scooby- Doo, a master toymaker, and a Caldecott winner. Through the art of illustration and how-to books, these artists not only tell stories, but teach their craft. Designed with young children in mind, “Monsters in the Bookshelf” introduces the art of illustration in a Kidquake at USF / Oct 15 variety of modes—from childhood Poster Workshop / Sep 22 sketchbooks to life-size canvases, from animation storyboards to book Poster Contest Form galleys, from whimsical dioramas to Exhibition Flyer educational videos—reminding Exhibition Teacher Resources viewers of the creative exploration, fine art practices and dramatic Art Projects as Pre-Writing Activities structures behind visual storytelling. “Monsters in the Bookshelf” will include a tour and State-standardized curriculum for early elementary classes. A lineup of fun, free public events will include an artist lecture/demonstration on Wednesday, September 21, 4-5 p.m. (McLaren 252, USF) followed by a gallery reception; an after-school program at Park Library (1833 Page St.), and Presidio Library (3150 Sacramento St.) on Thursday, September 22; a poster contest, and “Kidquake at USF,” a morning of storytelling, demonstrations and art making with the artists in collaboration with Litquake, on October 15, 10 a.m. to 1 p.m. (Thacher Gallery). School tours can be scheduled on Mondays, Wednesdays, and Thursdays. The artists at Studio 5 span several generations and represent a range of children’s illustrators. Artists: Kim Dwinell Animator Kim Dwinell has brought characters to life in movies such as Disney’s Mulan and Hercules. Currently Dwinell is working toward a MFA degree in Illustration and an upcoming graphic novel, “Surfer Girls.” J.H. Everett J.H. Everett is a visual storyteller and writer. He is a co-creator of the middle grade series HAUNTED HISTORIES, forthcoming from Henry Holt (Spring, 2012). He illustrated the picture book IZZY AND THE CANDY PALACE, for the MMJ Foundation, 2010 and has worked with the Jim Henson Company. JR Johnson As a cartoonist/satirist/ illustrator, JR Johnson’s long passion has been gag comic writing. Currently, he writes a human interest/humor column for RV Journal and an online comic, SurfDudes.Net. Katie McDee Katie McDee is a children’s illustrator working in both traditional and digital illustration. In addition to creating printed works, her art can also be found in video games. Andrew Mitchell The first cartoonist in the world to be published on cell phones, Andrew Mitchell is an award-winning author and illustrator whose works have appeared in newspapers, magazines, books, video games, and movies. Alice Provensen Caldecott-winner Alice Provensen has enjoyed more than forty years of writing and illustrating children’s books. Along with her husband, Martin, Alice Provensen has illustrated everything from The Iliad and the Odyssey to The Mother Goose Book. Marilyn Scott-Waters Marilyn Scott-Waters is a toymaker and paper-craft master, and the creator of THE TOYMAKER'S WORKSHOP (Sterling, 2011) and THE TOYMAKER'S CHRISTMAS (Sterling, 2010). She is also co-creator of the middle grade series HAUNTED HISTORIES, forthcoming in Spring 2012 from Henry Holt and the illustrator of The Search For Vile Things. (Scholastic, 2008) She creates a new paper toy each week, available free of charge on her website. Bob Singer Longtime Hanna-Barbera and Marvel animator, Bob Singer is best known for his work on Scooby-Doo, Yogi Bear, and The Flintstones. "Monsters" Artist Guest Appearances with the Schulz Museum Saturday, September 24, 10am – 4pm Come visit us at the Sonoma County Book Festival Learn to draw Scooby Doo and Tom and Jerry with Hanna-Barbera artist Bob Singer. Draw princesses with former Disney animator Kim Dwinell. Also, create comic strips and cartoons with artists J.H. Everett, JR Johnson, and Marilyn Scott-Waters. Sunday, September 25, 1pm From Snoopy to Scooby Doo Learn about animation and cartooning from Bob Singer (Hanna Barbera), J.H. Everett (Henry Holt and MacMillan Press), Kim Dwinell (Disney), JR Johnson, and Marilyn Scott- Waters (The Toymaker), all part of Studio 5. Sunday, October 16, 10am – 2:30pm Girl Scout Day at the Schulz Museum Have fun with hands-on art and cartooning activities in support of the new Artists Badges for Brownies, Juniors and Cadettes. Also, learn to draw princesses with former Disney animator Kim Dwinell. Make your own book and paper crafts with Marilyn Scott- Waters, The Toymaker. And learn character design with children's book illustrator, Katie McDee. Enjoy ice skating, too at Snoopy’s Home Ice. Reservations required. Call for fees and reservation at: 707-524-9203. Saturday, December 17 Paper Toy-Making Workshops Make your own paper toys with the internationally renowned Toymaker, Marilyn Scott- Waters. Scott-Waters has published two paper toy books,The Toymaker's Christmas and The Toymaker's Workshop. Her award winning website receives 3,000 to 7,000 visitors each day, who have downloaded more than five million of her easy-to- make paper toys. 2130 Fulton Street | San Francisco, CA 94117-1080 | (415) 422-5555 Map & Directions Contact USF Web Feedback About This Site .
Load more

Recommended publications
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • In This Episode of the Flintstones, the Main Characters Are Shown to Seek Martial Arts Lessons
    In this episode of the Flintstones, the main characters are shown to seek martial arts lessons. The judo master in the scene is depicted as a Japanese man who wears a sinister-looking smile throughout the scene. He offers the characters lessons at supposedly good prices. As he rattles off the offers by ensuring them that they could get "silver medal lessons" for "[a] big bargain, big bargain" and "for a few more measly dollars ... gold medals, diamond medals...," his pronunciations are exaggeratedly shown to be wrong by a mix up between r's and l's and by an obvious difference in the emphasis on syllables. The man's speech is set apart from the other characters' by juxtaposing his differently accented words to the others' SAE pronunciation. Also, the Flintstones and their friends bowed while imitating his accent as if attempting to fit that man's mannerisms. However, this can be seen as making light of the man's characteristics and manners as if they are silly. In this scene, the judo master portrays prevalent stereotypes about Asians. The man's inability to enunciate r's and l's reflect the struggle that many people face in differentiating between r's and l's in English because their native tongues do not make the same distinction. More importantly, the judo master's speech is used to indicate a lack of intelligence, as evidence by Fred's comment, "What does 'et cetera, et cetera' mean in Japanese? Sucker?" which is followed by Barney's response in a tone mocking the Japanese man's, "Oh, that's for sure!" Furthermore, prior to that, Fred had thrown in an unintelligible word in an attempt to imitate the man's Japanese accent.
    [Show full text]
  • Retrofuture Hauntings on the Jetsons
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past.
    [Show full text]
  • Tom and Jerry
    Tom and Jerry Tom of Tom and Jerry fame must be one of the all time favorite cartoon cats. This cat and mouse cartoon series kicked of on February 20, 1940 with the short "Puss Gets the Boot". Distributed by MGM, directed by Bill Hanna and Joe Barbera and produced by Rudolf Ising, this Academy Award nominee ran for just over 9 mins. Apart from the cat being referred to as "Jasper" and not Tom, and the mouse not having a name, this first adventure pretty much established the Tom and Jerry format. Cat views mouse as a tasty snack. Cat chases mouse but is usually outwitted. Plenty of violence, mayhem and destruction. Lots of visual gags, little dialogue. This basically is the formula for every successful cat and mouse animated cartoon, and no other feline and rodent pair were better performers of the formula than Tom and Jerry. The first series of Tom and Jerry pictures, directed by Hanna and Barbera for MGM, 1940 -1957, were absolute masterpieces of animation. Beautifully drawn, very fast paced action all the way and lovable, likable characters. Tom nearly always came off the worst in any encounter with cute little Jerry mouse. The cat would often be gullible enough to accept a lighted stick of dynamite from the rodent, stand there admiring it until it exploded, leaving him nothing but a black smudge with a pair of blinking, disbelieving eyes. Hilariously impossible things happened in these early T&J shorts, the duo would hit each other with anything they could lay their hands on, push each other of off buildings, shoot each other and commit every conceivable (and inconceivable) act of violence to their opponent.
    [Show full text]
  • The Flintstones (1960-1966), About a “Modern Stone-Age Family,” Was The
    Columbia Pictures) to develop a prime-time animated series. They worked out the concept of parodying current situation comedies, especially The Honeymooners and Father Knows Best, with the twist of setting them in a different historical era. Cartoonists Dan Gordon and Bill Benedict had the idea to use a Stone Age setting (although the Fleischer Studios pro- duced a similar series of Stone Age Cartoons back in 1940). The concept was bought by ABC, and premiered Sept. 30, 1960. Voiced by Alan Reed, Jr. (Fred Flintstone), Mel Blanc (Barney Rubble), Jean VanderPyl (Wilma Flintstone) and veteran actress Bea Benaderet (Betty Rubble), The Flintstones finished the season in the Nielsen ratings’ top 20, and won a number of industry awards, including the Golden Globe, and an [email protected] Emmy nomination for best comedy series of 1960-61. A clear appeal of the series lays in its parody of sitcom for- mula plots, and there are elements of satire in the way modern consumer conveniences are turned into sight gags. One of the show’s favorite gags was to have cameos by Stone Age versions of modern celebrities (Ann Margrock, Stony Curtis, etc.). The most popular gimmick was Wilma’s pregnancy, ending with the February 1963 “birth” of their little girl, Pebbles. The next season the Rubbles adopted Bamm-Bamm, a little boy of incredible strength and a one- word vocabulary. By the fifth and sixth seasons, the show began to use more storylines aimed at kids, with new neighbors the Grue- somes (a spin on The Munsters and The Addams Family), and magical space alien The Great Gazoo (Harvey Korman).
    [Show full text]
  • Teaching the Media with Mouse Woman: Adventures in Imaginative Education
    Teaching the Media with Mouse Woman: Adventures in Imaginative Education by Kymberley Stewart M.A., Simon Fraser University, 2004 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Curriculum Theory & Implementation Program Faculty of Education Kymberley Stewart 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Kymberley Stewart Degree: Doctor of Philosophy (Education) Title: Teaching the Media with Mouse Woman: Adventures in Imaginative Education Examining Committee: Chair: Allan MacKinnon Associate Professor Mark Fettes Senior Supervisor Associate Professor Kieran Egan Supervisor Professor Michael Ling Supervisor Senior Lecturer Lynn Fels Internal/External Examiner Associate Professor Faculty of Education David Jardine External Examiner Professor Faculty of Education University of Calgary Date Defended: August 20, 2014 ii Partial Copyright Licence iii Ethics Statement iv Abstract Concerns have been expressed for decades over the impact of an increasingly media-saturated environment on young children. Media education, however, occupies a somewhat marginal place in compulsory schooling, and its theorists and practitioners have given relatively little attention to the question of how to teach the media to elementary school children. This question is explored through an auto-ethnography and métissage spanning more than twenty years of media use, media studies, and media education. Three shifts in emphasis are particularly central to the thesis. The first is a shift from a protectionist to a more open, albeit critical stance with respect to children‘s media use. The second is a shift from conceiving of media education in terms of a pre-packaged curriculum towards the co-construction of learning experiences with the students, guided by Egan‘s theory of imaginative education.
    [Show full text]
  • Teachers Guide
    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
    [Show full text]
  • Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001
    http://oac.cdlib.org/findaid/ark:/13030/c8nc66v5 No online items Guide to the Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection 2018.001 Ann Galvan Historic Collections, J. Paul Leonard Library 2018 1630 Holloway Ave San Francisco, California 94132-1722 URL: http://library.sfsu.edu/historic-collections asc.2018.001 1 Contributing Institution: Historic Collections, J. Paul Leonard Library Title: Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection Source: Rue, Thomas Bentley, 1937-2016 Accession number: asc.2018.001 Extent: 18 Cubic Feet (17 boxes, 1 oversize box) Date (inclusive): 1938-1956 Abstract: The Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Collection features comics and adventure strips ranging from the 1930s to the 1950s. Language of Material: English Conditions Governing Access Collection is open for research. Preferred Citation [Title], Thomas Bentley Rue Platinum and Golden Age Comic Book and Adventure Strips Archive, Historic Collections, J. Paul Leonard Library. Separated Materials A number of comic book reprints and compilations have been added to the J. Paul Leonard Library's general collection. A collection of Big Little Books are housed in Historic Collections within Special Collections. Immediate Source of Acquisition Gift of Virginia D.H. Rue In Memory of Thomas Bentley Rue, Accession number 2018/001. Conditions Governing Use Copyrighted. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owner. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks.
    [Show full text]
  • Looking Back at the Creative Process
    IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains.
    [Show full text]
  • Dual Audio Television; an Experiment in Saturday Morning Broadcast and a Summary Report
    el, DOCUMENT RESUME ED 118 123 IR 003 028 AUTHOR Borton, Terry; And Others TITLE Dual Audio Television; an Experiment in Saturday Morning Broadcast and a Summary Report. INSTITUTION Philadelphia School District, Pa. Office of -Curriculum and Instruction. PUB DATE 1 75 NOTE 21p.; For related documents see Ed 094 753 and IR 003 027-030 EDRS PRICE MF -$0.83 HC-$1.67 Plus Postage DESCRIPTORS ' Audiovisual Instruction; *Commercial Television; *Educational Radio; *Educational Research; Elementary 'Education; *Experimental Programs; Instructional, Innovation; Instructional Technology; Programing (Broadcast); Research Methodology; Statistical Analysis; Statistical Data; Television; *Television Research; Television Viewing; Vocabulary; Vocabulary Development IDENTIFIERS *Dual Audio Television; Flintstones; Gilligans Island; Philadelphia City Schools; Scooby Doo ABSTRACT'. The Philadelp hia City Schools engaged in a four-year program to develop and test dual audio television, a way to help' children learn more from the massive amounts of time they spend watching commercial television.Ache format consisted of an instructional radio broadcasthich accompanied popular television shows and attempted to clarify and amplify the vocabu#ry concepts that were presented. Supplsentary audio broadcasts were developed for"Gilligan's Island," "'Me Flintstones," and "Scooby Doo," and studies were conducted to measure their levels of utilization and their effects on vocabulary development': Results shoved that the audience size was insufficient to justify-national
    [Show full text]
  • Cartoon Shows Brackets.Xlsx
    FAVORITE CHILDREN'S CARTOON SHOWS - VOTING BRACKETS First Round Second Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes 1 Jonny Quest 79 122 Looney Tunes 1 Jonny Quest 24 79 Looney Tunes 32 Jabberjaw 37 1 Clutch Cargo 32 Jetsons 71 71 Looney Tunes 16 Jetsons 105 King27 Leonardo & his Short Subjects 16 Jetsons 58 4 Heckle & Jeckle 17 Quick Draw McGraw 18 83 Heckle & Jeckle 17 Jetsons 74 89 Looney Tunes 8 Space Ghost 61 44 GI Joe 8 Space Ghost 47 18 Fat Albert 25 Captain Caveman 51 70 Fat Albert 25 Space Ghost 18 18 Rocky & Bullwinkle 9 Great Grape Ape 69 118 Rocky & Bullwinkle 9 Great Grape Ape 29 63 Rocky & Bullwinkle 24 Perils of Penelope Pitstop 43 2 Roger Ramjet 24 Jetsons 37 63Looney Tunes 5 Herculoids 64 36 Tennessee Tuxedo 5 Herculoids 22 56 Alvin & the Chipmunks 28 Help! It's the Hair Bear Bunch! 48 86 Alvin & the Chipmunks 28 Smurfs 50 45 Alvin & the Chipmunks 12 Smurfs 69 25 Battle of the Planets 12 Smurfs 59 27 Speed Racer 21 Huckleberry Hound 53 85 Speed Racer 21 Smurfs 26 12 Alvin & the Chipmunks 4 Wacky Races 55 38 Voltron 4 Josie & the Pussycats 48 34 Inspector Gadget 29 Josie & the Pussycats 61 82 Inspector Gadget 29 Josie & the Pussycats 36 43 Peabody's Improbable History 13 Top Cat 59 77 Peabody's Improbable History 13 Top Cat 31 48 Peabody's Improbable History 20 Auggie Doggie 58 42 Woody Woodpecker 20 Hanna-Barbera Flintstones Looney Tunes Early TV Networks (to mid
    [Show full text]
  • Biographical Elements in the Animated Cartoon Tom and Jerry
    Lapis Lazuli -An International Literary Journal (LLILJ) Vol.2/ NO.2/Autumn 2012 (Auto)/Biographical elements in the Animated Cartoon Tom and Jerry Aju Aravind ______________________________________________________________________________ “A large part of any book is written not by its author but by the world its author lives in” and a large part of a text is determined by the age, gender and the socio-cultural background of its creator (Hollindale, 23). For instance, it is suggested that Jerry Siegel and Joe Shuster’s, Superman is a Jew. This question ofcourse is open to debate. It is interesting to note that Superman was created by two Jewish men in “Depression-era Cleveland,” at a time and place that stood between earlier periods of immigration and the impending Holocaust (Horn,42). In the two volume graphic novel Maus, Art Spiegelman narrates the story of his parents and their experiences during the Holocaust. The elimination of true parents, especially the mother, from the comics has a great personal meaning for Disney, as is evident from his animated cartoons like Bambi, Snow White, Mickey Mouse, Donald Duck and Dumbo (Dorfman, 225). Similarly, the Italian influence of Tom and Jerry, reminds us of the Italian origin of Joseph Barbera. There are also other arguable references in the Tom and Jerry series that hint at the life and relations of its creators—the directors William Hanna and Joseph Barbera, and the producer Fred Quimby. There was no doubt about the future of the cat and the mouse, as they had already gained a place for themselves in the hearts of millions of people, especially children around the globe.
    [Show full text]