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CARTOON NETWORK November 2020 MON. -FRI. SAT. SUN. 4:00 Grizzy and the Lemmings We Bare Bears 4:00 4:30 The Powerpuff Girls BEN 10 4:30 5:00 Uncle Grandpa The Amazing World of Gumball 5:00 5:30 Sylvester & Tweety Mysteries Oggy & the Cockroaches (season 5) 5:30 6:00 Thomas and Friends 6:00 The Happos Family Season 2 6:30 6:30 Sergeant Keroro（J) Pingu in the City 6:40 7:00 Sergeant Keroro（J) 7:00 Uncle Grandpa 7:30 Uncle Grandpa 7:30 8:00 The Amazing World of Gumball Tom & Jerry series 8:00 8:30 TEEN TiTANS GO! 9:00 Tom & Jerry series The Amazing World of Gumball 9:00 9:30 Grizzy and the Lemmings 10:00 Thomas and Friends 11/7～ 11/1～ 10:30 The Happos Family Season 2 We Bare Bears We Bare Bears 10:00 The New Looney Tunes Show The New Looney Tunes Show 10:40 Pingu in the City Bravest Warriors Bravest Warriors 11:00 Baby Looney Tunes 11:30 Unikitty! 11/15～Eagle Talon ＮＥＯ（J) 11:30 12:00 Thomas and Friends 12:00 12:30 The Happos Family Season 2 12:30 12:40 Pingu in the City 13:00 Baby Looney Tunes Dorothy and the Wizard of Oz Unikitty! 13:00 13:30 Grizzy and the Lemmings Oggy & the Cockroaches (season 5) 13:30 14:00 The Powerpuff Girls 14:00 We Bare Bears The Powerpuff Girls 14:30 Sylvester & Tweety Mysteries 14:30 15:00 Buck & Buddy 15:00 15:15 Uncle Grandpa The New Looney Tunes Show Uncle Grandpa 15:30 15:30 16:00 16:00 Sergeant Keroro（J) Tom & Jerry series 16:30 16:30 17:00 17:00 Adventure Time The Amazing World of Gumball 17:30 17:30 18:00 18:00 The Amazing World of Gumball TEEN TiTANS GO! 18:30 18:30 19:00 19:00 Tom & Jerry series Teen Titans 19:30 19:30 20:00 Taffy 20:00 Sergeant Keroro（J) 20:30 OK KO: Let's Be Heroes! The Powerpuff Girls 20:30 21:00 21:00 The Amazing World of Gumball Oggy & the Cockroaches (season 5) Sylvester & Tweety Mysterie 21:30 21:30 22:00 22:00 Eagle Talon series（J) 11/10～Eagle Talon The ＧＴ（J) My Ordinary Life（J) Bravest Warriors 22:30 22:30 11/1、8 23:00 Utano☆Princesama Revolutions（J) 23:00 Adventure Time Tom & Jerry series / The Bugs Bunny Show / MGM CartoonsEagle 23:30 11/15、22 23:30 Utano☆Princesama Legend Star（J) 0:00 0:00 Utano☆Princesama Legend Star（J) 11/17～Utano☆Princesama Revolutions（J) 11/29 Clarence STARMYU（J) STARMYU（J) 11/4 OVA Starmyu 1（J) 11/5 OVA Starmyu 2（J) 11/6～STARMYU2（J) 0:30 0:30 11/24～STARMYU（J) 1:00 1:00 Adventure Time Bravest Warriors The New Looney Tunes Show 1:30 1:30 2:00 We Bare Bears 2:00 OK KO: Let's Be Heroes! 2:30 The Powerpuff Girls 2:30 The Request Hour 3:00 BEN 10 3:00 Dorothy and the Wizard of Oz 3:30 OK KO: Let's Be Heroes! 3:30 ●（Ｊ）＝Japanese Only ●Programming may change without notice. ●Cartoon Network Special ■3-Powerpuff Girls Total Eclipse Of The Kart Special （8：00－10：30/17：00－19：30） ●Cartoon Network Special ■22、23-The Tom and Jerry Show Special （9：00－12：00/17：00－20：00） ●CINEMA Special ■29-LEGOⓇBatman: The Movie - DC Super Heroes Unite （10：00－11：20） ●CINEMA Special ■29-LEGOⓇ DC COMICS SUPER HEROES: JUSTICE LEAGUE ATTACK OF THE LEGION OF DOOM! （11：20－12：40） ●CINEMA Special ■29-Barbie: Dolphin Magic （12：40－14：00）.

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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
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America Animated: Nationalist Ideology in Warner
AMERICA ANIMATED: NATIONALIST IDEOLOGY IN WARNER BROTHERS’ ANIMANIACS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. ___________________________ Megan Elizabeth Rector Certificate of Approval: ____________________________ ____________________________ Susan Brinson Kristen Hoerl, Chair Professor Assistant Professor Communication and Journalism Communication and Journalism _________________________ ____________________________ George Plasketes George T. Flowers Professor Dean Communication and Journalism Graduate School AMERICA ANIMATED: NATIONALIST IDEOLOGY IN WARNER BROTHERS’ ANIMANIACS Megan Elizabeth Rector A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of the Arts Auburn, Alabama December 19, 2008 AMERICA ANIMATED: NATIONALIST IDEOLOGY IN WARNER BROTHERS’ ANIMANIACS Megan Elizabeth Rector Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions at their expense. The author reserves all publication rights. _____________________________ Signature of Author _____________________________ Date of Graduation iii VITA Megan Elizabeth Rector, daughter of Timothy Lawrence Rector and Susan Andrea Rector, was born June 6, 1984, in Jacksonville, Florida. She graduated from Lewis-Palmer High School with distinction
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2 A View of the World Toward a Photographic Theory of Cel Animation The art of photography has been persistently haunted by the image of human labor. —Allan Sekula1 I like to think of each image—whether it contains accidents or not—as a view of the world. They reveal traces of the humans and technology that produced them. —Andrew Norman Wilson2 THE ART OF PHOTOGRAPHY For most of the twentieth century, to animate was to photograph—and to photo- graph a lot. A theatrical split-reel short produced by an animation studio might involve five to ten thousand separate frames. Like most photographic archives, from microform periodicals to crime galleries to geographical surveys to digitized books, works of cel animation were produced under tightly regulated conditions. Following frame-by-frame instructions enumerated on exposure sheets, camera technicians took picture after picture after picture, and as has been routinely acknowledged, their task was uniquely “tedious,” “mechanical,” “monotonous,” “enervating,” “exact- ing,” and “exhausting.”3 The operator of the animation camera was a “proletarian of creation,” Bernard Edelman’s term for the nineteenth-century photographer who, responsible for “merely deploy[ing] an apparatus,” had no authorial or legal claim to the images he produced.4 He adhered to the sort of “strictly determined routine of distance, camera angle, lighting, and type of lens and apparatus” familiar to police photographers: which cels to add, which to remove, how to position the camera relative to the background, and so on.5 The mechanization of the labor process by which animation’s constitu- tive frames were photographed has led to a curious and perhaps paradoxical 44 A View of the World 45 phenomenon: the complete disavowal of cel animation as photographic cinema.
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Black Representation in American Short Films, 1928-1954
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