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FAVORITE LOONEY TUNES CHARACTERS - 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 1 Daffy Duck 58 70 Bugs Bunny 1 Daffy Duck 60 67Bugs Bunny 16 Clyde Bunny 13 1 Gruesome Gorilla 16 Daffy Duck 73 79Bugs Bunny 8 Charlie Dog 38 35 Rocky and Mugsy 8 Charlie Dog 10 3 Rocky and Mugsy 9 Henery Hawk 31 34 Slowpoke Rodriguez 9 Daffy Duck 48 56 Bugs Bunny 5 Barnyard Dawg 48 54 Penelope Pussycat 5 Barnyard Dawg 44 41 Penelope Pussycat 12 Drunken Stork 23 15 Blacque Jacque Shellacque 12 Barnyard Dawg 11 5 Penelope Pussycat 4 Pussyfoot 33 49 Marc Antony 4 Miss Prissy 24 28 Marc Antony 13 Miss Prissy 37 18 Babbit and Catstello 13 Division One Daffy Duck 28 67 Bugs Bunny Division Two 6 Granny 57 9 Weasel 6 Granny 29 17 Egghead Jr. 11 Hippety Hopper 14 61 Egghead Jr. 11 Porky Pig 41 41 Yosemite Sam 3 Porky Pig 61 65 Yosemite Sam 3 Porky Pig 41 53 Yosemite Sam 14 Claude Cat 10 6 The Dodo 14 Pepé Le Pew 26Wile E. Coyote 25 20 Taz 7 Spike the Bulldog 59 28 Chester the Terrier 7 Spike the Bulldog 17 9Lola Bunny 10 The Three Bears 12 39 Lola Bunny 10 Pepé Le Pew 44 43 Taz 2 Pepé Le Pew 64 66 Taz 2 Pepé Le Pew 53 60 Taz 15 The Gremlin 7 4 Nasty Canasta 15 CHAMPION Bugs Bunny 1 Wile E. Coyote 67 69 Sylvester the Cat 1 Wile E. Coyote 63 59 Sylvester the Cat 16 Willoughby 3 2 Petunia Pig 16 Wile E. Coyote 60 49 Sylvester the Cat 8 Hugo the Abominable Snowman 37 31 Goofy Gophers Mac & Tosh 8 Hugo the Abominable Snowman 7 10 K-9 9 Cecil Turtle 32 38 K-9 9 Wile E. Coyote 41 47Bugs Bunny 35 Sylvester the Cat 5 Michigan J. Frog 57 60 Sam Sheepdog 5 Michigan J. Frog 28 26 Sam Sheepdog 12 Sniffles 13 8 Instant Martian 12 Tweety 24 35 Foghorn Leghorn 4 Tweety 64 65 Foghorn Leghorn 4 Tweety 43 43 Foghorn Leghorn 13 Big Bad Wolf 7 5 Little Red Riding Hood 13 Division Three Wile E. Coyote 57 19 Elmer Fudd Division Four 6 Hector the Bulldog 48 39 Ralph Wolf 6 Hector the Bulldog 8 15 Ralph Wolf 11 Three Little Bops 21 28 Hubie and Bertie 11 Road Runner 37 33 Speedy Gonzales 3 Road Runner 64 57 Speedy Gonzales 3 Road Runner 61 55 Speedy Gonzales 14 Pete Puma 7 15 Playboy Penguin 14 Marvin the Martian 35 39 Elmer Fudd 7 Witch Hazel 44 44 Gossamer 7 Witch Hazel 16 18 Gossamer 10 Sylvester Jr. 26 23 Beaky Buzzard 10 Marvin the Martian 47 50 Elmer Fudd 2 Marvin the Martian 66 54 Elmer Fudd 2 Marvin the Martian 53 51 Elmer Fudd 15 The Crusher 3 16 Giovanni Jones 15.

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Rethinking Cinco De Mayo | Zinn Education Project
Rethinking Cinco de Mayo | Zinn Education Project zinnedproject.org/2012/05/rethinking-cinco-de-mayo May 4, 2012 May 4, 2018: As the president of the United States continues to fan the flames of bigotry toward Mexicans, here comes Cinco de Mayo. It’s a holiday that has too often allowed people to indulge in racist stereotypes —- not to mention inaccurate history. We encourage you to read Sudie Hofmann’s “If We Knew Our History” column, “Rethinking Cinco de Mayo,” to learn a more truthful, and useful history. By Sudie Hofmann I recently came across a flier in an old backpack of my daughter’s: Wanted: Committee Chairs for this Spring’s Cinco de Mayo All School Celebration. The flier was replete with cultural props including a sombrero, cactus tree, donkey, taco, maracas, and chili peppers. Seeing this again brought back the moment when, years earlier, my daughter had handed the flier to me, and I’d thought, “Oh, no.” The local K-6 elementary school’s Parent Teacher Student Association (PTSA) was sponsoring a stereotypical Mexican American event. There were no Chicana/o students, parents, or staff members who I was aware of in the school community and I was concerned about the event’s authenticity. I presumed the PTSA meant well, and was attempting 1901 poster for Cinco de Mayo: “May 5, 1862 and the siege of to provide a multicultural experience for Puebla” by Jose Guadalupe Posada. students and families, but it seemed they were likely to get it wrong. After making some inquiries, I was told the school wanted to celebrate Cinco de Mayo because it was Mexico’s Independence Day.
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Newsletter 14/12 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 14/12 DIGITAL EDITION Nr. 318 - August 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 14/12 (Nr. 318) August 2012 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Mit ein paar Impressionen von der Premiere des Kinofilms DIE KIR- CHE BLEIBT IM DORF, zu der wir am vergangenen Mittwoch ein- geladen waren, möchten wir uns in den Sommerurlaub verabschieden. S ist wie fast jedes Jahr: erst wenn alle Anderen ihren Urlaub schon absolviert haben, sind wir dran. Aber so ein richtiger Urlaub ist das eigentlich gar nicht. Nichts von we- gen faul am Strand liegen und sich Filme in HD auf dem Smartphone reinziehen! Das Fantasy Filmfest Fotos (c) 2012 by Wolfram Hannemann steht bereits vor der Tür und wird uns wieder eine ganze Woche lang von morgens bis spät in die Nacht hinein mit aktueller Filmware ver- sorgen. Wie immer werden wir be- müht sein, möglichst viele der prä- sentierten Filme auch tatsächlich zu sehen. Schließlich wird eine Groß- zahl der Produktionen bereits kurze Zeit nach Ende des Festivals auf DVD und BD verfügbar sein. Und da möchte man natürlich schon vor- her wissen, ob sich ein Kauf lohnen wird. Nach unserer Sommerpause werden wir in einem der Newsletter wieder ein Resümee des Festivals ziehen. Es wird sich also lohnen weiter am Ball zu blei- ben. Ab Montag, den 17.
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Printable Ornament List for Robert Chad
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Muffled Voices in Animation. Gender Roles and Black Stereotypes in Warner Bros
Bulletin of the Transilvania University of Bra şov • Vol. 4 (53) No.2. - 2011 • Series IV Series IV: Philology and Cultural Studies MUFFLED VOICES IN ANIMATION. GENDER ROLES AND BLACK STEREOTYPES IN WARNER BROS. CARTOONS: FROM HONEY TO BABS BUNNY Xavier FUSTER BURGUERA 1 Abstract: This essay will use a Tiny Toons episode, “Fields of Honey”, as an excuse to survey stereotypical female and racial roles depicted in the most representative cartoons of the 20 th century. It is particularly relevant to go back to a 1990s cartoon series since, in that decade, Western animation was undergoing crucial changes in its conception which would determine significantly the upcoming animated instalments of the new millennium. Moreover, contemporary cartoonists are now those grown-up children that watched the earlier American cartoons whose allegedly unconscious female discrimination and “innocent” racism might somehow have been fossilised among its audience and become thus perpetuated in the culture and imaginary of the globalised world. Finally, it is also important to be acquainted with the contents of cartoons understood as children’s products, especially in a period where television is taking over most of the parental duties and guidance in children’s development into adulthood. Key words: popular culture, media and animation studies, gender roles, black stereotypes, Warner Bros., Tiny Toons. 1. Introduction: All this and rabbit stew Animation, as well as real-image featurettes, became an extension of the Cartoons were born at the beginning of theatrical ritual. Cartoons started to be th the 20 century, thanks to the projected before a theatrical performance technological revolution that was changing or as interludial pieces as soon as 1911.
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Momaexh 1405 Masterchecklist
\ . The Museum of Modern Art CHECKLIST Officeof the Registrar November 4, 1985 112-700 96.34 "That's Not All Folks! Warner Brothers Animation" September 10, 1985 - January 7, 1986 85.1336 - 85.1342 DUCK SOUP TO NUTS, 1944 Directed by Friz Freleng Animation drawings by Richard Bickenbach MoMAExh_1405_MasterChecklist 85.1343 - 85.1344 DUCK SOUP TO NUTS, 1944 Directed by Friz Freleng Animation drawings by Herman Cohen 85 .1345 DUCK AMUCK, 1953 Directed by Chuck Jones Character layout drawing by Chuck Jones 85.1346 DAFFY DUCK HUNT, 1949 Directed by Robert McKimson Preliminary model poses by John Carey 85.1347 YOU OUGHT TO BE IN PICTURES, 1940 Directed by Friz Freleng Preliminary model poses 85.1348 - 85.1352 THE OLD GREY HARE, 1944 Directed by Bob Clampett Character layout drawings by Michael Sasanoff 85.1353 BUGS BUNNY NIPS THE NIPS, 1944 Directed by Friz Freleng Animation drawing 85.1354 WHAT'S COOKIN', DOC? Directed by Bob Clampett Animation drawing .. 11 West 53 Street, New York, N Y 10019-5486Tel 212-700 94()()Coble MOOERNARI Telex. 62370MOOA�l -2- 85 .1355 BUGS BUNNY AND THE THREE BEARS, 1944 Directed by Chuck Jones Animation drawing 85.1356 THE WACKY WABBIT, 1942 Directed by Bob Clampett Animation drawing 85.1357 A WILD HARE, 1940 Directed by Tex Avery Size chart by Robert Givens 85.1358 THE HARE BRAINED HYPNOTIST, 1942 MoMAExh_1405_MasterChecklist Directed by Friz Freleng Animation drawing by Phil Monroe 85.1359 - 85.1362 HARE RIBBIN' , 1944 Directed by Bob Clampett Animation drawing by Robert McKimson 85.1363 HARE CONDITIONED, 1945
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Lots, Stalls, and Markets of Mexico City Were Rented by Their Owners And
Notes on Material Art Fair Material Art Fair 2014: version 0.0.0 lots, stalls, and markets of Mexico City were rented by their in new and stronger timber in their places, insomuch that 10. A weapon. The predicament in which Phil Connors (Groundhog Material Art Fair 2015: version 1.0.0 9. owners and placed on a red carpet around a series of this ship became a standing example among the philoso- Day) fnds himself is known in science fction circles as a time 1. Frontón México. Teodoro Kunhardt and joaquín Capilla desig- Material Art Fair 2016: version 2.0.0 planter-tables. This exercise generated an ephemeral phers, for the logical question of things that grow; one side loop, a plot device in which “typically, periods of time are repeated ned the Frontón México between 1921 and 1928. The frst stone Material Art Fair 2017: version 3.0.0 environment for visitors to interact. In addition, it allowed us holding that the ship remained the same, and the other and re-experienced by a character’s consciousness: there is often was placed in 1928, and President Emilio Portes Gil offcially Material Art Fair 2018: version 4.0.0 to start an inventory of typologies of peculiar chairs. contending that it was not the same.” some hope of breaking out of the useless cycle of repetition.”20 inaugurated it on May 10, 1929. In 1939, the conservative Parti- Material Art Fair 2019: version 4.1.0 Plutarch. “Theseus (23.1)”. The Internet Classics Archive. do Acción Nacional (National Action Party) was founded there1.
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Cartoon Noir: a Comparative Study of Visual Parody
CARTOON NOIR: A COMPARATIVE STUDY OF VISUAL PARODY A Thesis by BHUVANA DEVIGERE MALLIKARJUNAIAH Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE December 2010 Major Subject: Visualization Sciences CARTOON NOIR: A COMPARATIVE STUDY OF VISUAL PARODY A Thesis by BHUVANA DEVIGERE MALLIKARJUNAIAH Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved by: Chair of Committee, Louis G. Tassinary Committee Members, Michael L. Greenwald R. Yauger Williams Head of Department, Timothy McLaughlin December 2010 Major Subject: Visualization Sciences iii ABSTRACT Cartoon Noir: A Comparative Study of Visual Parody. (December 2010) Bhuvana Devigere Mallikarjunaiah, B.E., Visveswaraiah Technological University, India Chair of Advisory Committee: Dr. Louis G. Tassinary American film parody can be characterized as a distorted, comical and yet affectionate imitation of a given genre or specific work. Film noir as a genre with its distinct visual styles has been an easy target for such “creative criticism.” Mel Brooks, famous for his series of successful parody films, has exhorted that the situation alone must be absurd while the actors must be serious, not funny to make a comedy funnier. He also said that funny is in the writing and not in the performance itself. Film noir through its unconventional visual styles and convoluted story lines engenders feelings of anxiety and paranoia in the audience, providing rich fodder for parody. The animated theatrical series Looney Tunes with its trademark slapstick style is well suited for making serious situations look absurd, affording “creative criticism”.
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The Man of a Thousand Voices”
Brother Mel Blanc: “The Man of a Thousand Voices” By Sir Knight Ivan Tribe lthough the name of Mel Blanc in 1925. He held the group in high es- may not be widely known, over teem for the rest of his life. In 1966, he A the last seventy-five years un- received the Legion of Honor. On April told millions, especially children, have 27, 1987, Blanc was inducted into their heard his voice in one of its numer- Hall of Fame commenting at the time, ous forms. Virtually anyone who has “I have been a member of DeMolay for watched a Warner Brothers cartoon has sixty-three years. I thank God and De- heard his voice as that of Bugs Bunny, Molay for helping me become kind and Foghorn Leghorn, Porky Pig, and numer- thoughtful to my parents and all my ous other Warner characters. Blanc did friends. I had many opportunities to do numerous other voices and sounds dur- the wrong things, and I might have done ing the “Golden Age of Radio” and other them if it had not been for DeMolay. cartoon voices as well. A lesser-known God bless them.” fact concerning Blanc is his long affili- Intrigued by show business, Melvin ation with the Order of DeMolay, blue watched vaudeville performances when- lodge Masonry (fifty-eight years), the ever he could and also saw opportuni- Scottish Rite, and Shrine. Entertaining ties in the new medium of radio. Station children at Shrine hospitals became one KGW went on the air in 1922, and Blanc of his principal causes in life.
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Download 21 Looneytunescirclebackground Babylooneytunesbackgroundgooglesearchbabylooneyjpg
1 / 3 Download 21 Looney-tunes-circle-background Baby-looney-tunes- background-Google-Search-Baby-looney-.jpg Vinilos Jaulas Y Pajaros Png Image With Transparent Background ... Daffy Duck Cartoon Character, Daffy Duck Characters, - Looney Tunes Daffy Duck Png ... Imprimibles Fiesta, Lazos, Buscar Con Google, Buscando, - Baby Blue Ribbon ... Jpg Download Eyes Clip Art At Clker Com Vector - Red Eyes Clip Art Png Image .... Discover and share Looney Tunes Martian Quotes. Explore our ... Subscribe. PatchL-LooneyTunes-MarvinTheMartian.jpg ... Found on franklinframesaltoona.com. Follow us.Follow ... Marvin the martian baby Marvin The Martian, Baby Marvin, Baby Looney . ... MARVIN THE MARTIAN looney tunes fa wallpaper background.. See more ideas about looney tunes, looney, cartoon wallpaper. ... Looney Toons, Baby Looney Tunes, Looney Tunes Cartoons, Bird Drawings, Doodle .... Serie Tv Baby Looney Tunes 19 Coloring Page Free Baby Looney Tunes. Explore properties. Jun 21, 2015 - how to draw looney tunes step by step - Google Search. ... Download and print Looney Tunes Characters coloring pages for kids! ... It is a very clean transparent background image and its resolution is 1163x1200 .... Jun 17, 2019 — I find it hard to explain why exactly, and I'm sure Swift would, too: Somehow, this ... the musical equivalent of pulling a Looney Tunes gag on the listener. ... “Santa Baby,” The Taylor Swift Holiday Collection (2007): Before Ariana ... bluegrass of Swift's Christmas tunes, this gentle rendition sees Swift's vocals .... Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.. Website, chuckjones.com. Charles Martin "Chuck" Jones (September 21, 1912 – February 22, 2002) was an American animator, filmmaker and voice actor, best known for his work with Warner Bros.
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A Discourse Analysis of Pigs in Motion Pictures
Cinematic “Pigness”: A Discourse Analysis of Pigs in Motion Pictures By Mark von Schlemmer Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Catherine Preston ____________________________ Chairperson Chuck Berg ______________________________ Tamara Falicov ______________________________ Kevin Willmott ______________________________ Barbara Barnett ______________________________ Date defended: July 2, 2010 Acceptance Page This Dissertation Committee for Mark von Schlemmer certifies that this is the approved version of the following dissertation: Cinematic “Pigness”: A Discourse Analysis of Pigs in Motion Pictures Catherine Preston ____________________________ Chairperson Chuck Berg ______________________________ Tamara Falicov ______________________________ Kevin Willmott ______________________________ Barbara Barnett ______________________________ Date Approved: July 28, 2010 ii Abstract The representations of “others” in film have been contentious since filmmaking began. Fraught with misrepresentations, cinema has been held responsible, and occasionally credited, for influencing cultural practices and helping to shape discourses in American society. This study suggests that the media representations of nonhuman animals also have a profound effect on how Americans think about animals and that these representations warrant examination to uncover the naturalized messages and assumptions that are presented about animals. Explored here are the extent to which these images depict animal-ness – moments of authentic nonhuman behavior or experience that are not simply a reflection of humanity but have meaning for the animals themselves. This study highlights the case of “food animals” – specifically pigs. The disjunction between how we represent them – the narratological roles they fill in animal films – and the way that actual pigs are used in American society is vast and disturbing.
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Norwalk Senior Center
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