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Looney Tunes Friend Arrives in a Different Way
TURNING OFF THE SOUND TURNING OFF VOICE ACTIVATION 1)Press MODE to enter CLOCK MODE. 1) Press MODE to enter CLOCK MODE. 2) Press LEFT to turn the sound off-- the SOUND ( ) will disappear. 2) Press RIGHT to turn the voice activation off-- the VOICE ACTIVATION ICON 3)Press LEFT again to turn the sound on-- the SOUND ( ) will appear again. ( ) will disappear. 3) Press RIGHT again to turn the voice activation on-- the VOICE ACTIVATION ICON ( ) will appear again. Press MODE again to return to GAME mode. Press MODE again to return to GAME MODE. THE HAPPY ARRIVAL When you enter GAME MODE for the first time, you will see the arrival of your new FEED ( ) Virtual Friend! Every Looney Tunes friend arrives in a different way. Each character will break through a curtain announcing their arrival. When you select this activity, you will be given a choice of foods for your Looney Tunes character. Use the LEFT or RIGHT key to select either healthy food or treats. The healthy RETURNING TO CLOCK MODE food is shown on the left side of the screen and the treats Once the game begins in GAME MODE, you can return to CLOCK MODE by pressing are shown on the right side. Each Looney Tunes character MODE. likes different kinds of food. Your Friend needs Healthy food to stay healthy and treats to stay happy. 1)If you wish to adjust the clock, press ENTER. The clock will start flashing. 2)After you set the time, then you re-enter your name. Press ENTER twice after you You can check how hungry You can check how hungry your Looney Tunes character finish. -
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 -
Dukal Looney Tunes
Looney Tunes Adhesive Bandages Item # Description Packaging 1073737 Bugs Bunny & Tasmanian Devil, 100/bx, 12 bx/cs Featuring kid’s favorite characters including Bugs Bunny, Stat Strip®, ¾” x 3” Tazmanian Devil, Tweety, Daffy Duck, Wile E. Coyote, Road 1074737 Tweety, Spot*, 7/8” 100/bx, 24 bx/cs Runner and Sylvester. Long-lasting adhesive helps ban- dage stay on, to keep cuts clean. The unique, easy-open- 1075737 Bugs Bunny & Daffy Duck, 100/bx, 12 bx/cs ing Stat Strip® wrapper allows for aseptic Stat Strip®, ¾” x 3” application. 1076737 Wile E. Coyote & Road Runner, 100/bx, 12 bx/cs Stat Strip®, ¾” x 3” • Perforated, breathable bandage 1079797 Tweety and Taz, Spot*, 7/8” 100/bx, 24 bx/cs • Absorbent, non-stick pad for easy removal 1083737 Tweety Assortment, Stat 100/bx, 12 bx/cs • Multi-purpose family protection for cuts and scrapes Strip®, ¾” x 3” • Not made with natural rubber latex 1084737 Assorted Characters*, 2” x 3” 50/bx, 12 bx/cs • Sterile Patch 1085737 Bugs Bunny & Assorted 100/bx, 12 bx/cs Characters, Stat Strip®, ¾” x 3” Stat Strip® Opening Technology 1086737 Bugs Bunny and Sylvester, 100/bx, 12 bx/cs Stat Strip®, ¾” x 3” • Unique Stat Strip LOONEY TUNES and all related characters and elements are wrapper opening trademarks and © Warner Bros. Entertainment Inc. (s21). technology • Patented, easy opening process Find our full line of products at www.Dukal.com Dukal Corporation Phone: 1 631 656 3800 Email: [email protected] 2 Fleetwood Ct, Ronkonkoma, NY 11779 Toll Free: 1 800 243 0741 To Place Orders: [email protected] ART-00100-DOC Rev 1 Effective Date: 05/14/2021 1073737 1074737 1075737 Bugs Bunny & Tasmanian Devil Tweety Spot* Bugs Bunny & Daffy Duck ¾” x 3” 7/8” ¾” x 3” 100/bx, 12 bx/cs 100/bx, 24 bx/cs 100/bx, 12 bx/cs 1076737 1076737 1083737 Wile E. -
Ethan De Seife
Ethan de Seife • Assistant Professor of Film Studies • RTVF Department ethandeseife.wordpress.com My recent book, Tashlinesque, investigates the career of Frank Tashlin, an important and overlooked director of very funny and visually inventive American film comedies. I have also written a book on the great film This Is Spinal Tashlin made Looney Tunes cartoons as well as live-action Tap. features with such performers as Bob Hope, Jerry Lewis, and Jayne Mansfield. I like to think that this book goes to 11. All previous studies of Tashlin’s work operate under the assumption that, because he worked in both animation and live-action, Tashlin made cartoons that “anticipate” his live- action features, and that his live-action features are somehow “cartoony.” My book disputes this claim as too simplistic, taking a historical/aesthetic approach to understanding Tashlin’s films. I use several new contexts instead: • Vaudeville history and aesthetics • Economic and censorship policies of the film industry • Performative styles in mid-century Hollywood • Sexual comedy and social satire Within the last 18 months, I have also published articles and delivered talks on a wide range of subjects within film and media studies. The aesthetics of Methocel, the odd (and The peculiar narrative patterns in the The star persona of Neil Young’s The directorial chemically bizarre) ooze used to “play” slime martial-arts films of Hong Kong director rapper/actor Ice Cube. fascinating multi- style of famed in the Ghostbusters films and the oil in There Chang Cheh. media Greendale exploitation Will Be Blood. project. filmmaker William Castle. . -
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. -
July 26, 2013 Bugs Bunny and the NSO Come to Wolf Trap
July 26, 2013 Bugs Bunny and the NSO come to Wolf Trap By Roger Catlin For a generation of Americans, the earliest love of classical music came not through shared family symphony experiences or early childhood music appreciation classes, but through mayhem-laced TV cartoons, often involving a bunny in drag. Walt Disney may have taken the high road to classical music interpretation through some early Silly Symphony cartoons and “Fantasia” (which in its first run was a flop). But it was Warner Bros. and particularly the animators behind Bugs Bunny who may have been the most successful in drumming key classical passages into the heads of impressionable audiences when the studio’s theatrical cartoons of the 1940s and ’50s were incessantly replayed on TV in the ’60s. Warner Bros. - Still image from the 1950's Merrie Melodies short, “What's Opera, Doc?” Even today, the most serious gray-haired music lover, sitting in the world’s most august concert halls, may be listening to the timeless refrains of Rossini or Wagner only to have the phrase “Kill the Wabbit!” come to mind. Conductor George Daugherty has embraced this meld of classical knowledge and pop-culture conditioning and celebrates it in his “Bugs Bunny at the Symphony.” Its first tour, in 1990, was such a success that it spawned, as most successes in Hollywood do, a sequel. “Bugs Bunny at the Symphony II” comes to Wolf Trap on Thursday and Friday, with Daugherty conducting the National Symphony Orchestra. In its honor, we pause to hail the greatest uses of classical music by Warner Bros. -
Precious Metals Catalogue Looney Tunes
Precious Metals Catalogue Looney Tunes Precious Metals Catalogue — Looney Tunes Contents 1.1 Looney Tunes — Merrie Melodies .............................................................. 3 1.2 Looney Tunes — 4 Coin Set ..................................................................... 4 1.3 Looney Tunes — Gold Coin and Watch — Bugs Bunny and Friends ........................ 5 1.4 Looney Tunes — Tweety Bird .................................................................. 6 CONFIDENTIAL | http://www.cibc.com/preciousmetals Precious Metals Catalogue — Looney Tunes 3 Looney Tunes 1.1 Looney Tunes — Merrie Melodies Front Side: Description Faithfully rendered in rich detail, the characters are seen emerging from the circular opening towards the viewer. Bugs Bunny stands in the centre in a true entertainer’s pose, while below him sits the Tasmanian Devil. Peering over Bugs’ shoulder is the amorous skunk, Pepé Le Pew and Pussyfoot. Also appearing over Bugs’ shoulder is Daffy Duck and Sylvester, both bearing wide smiles. Last but not least is Tweety. Back Side: Specifications Approximate: No. 144947 Mintage 12,500 Composition: 99.9% Pure Silver Finish: Proof Weight (g): 31.39 Diameter (mm): 38 Edge: Serrated Certificate: Serialized Face Value: 20 Dollars Artist: Warner Bros. (reverse), Susanna Blunt (obverse) CONFIDENTIAL | http://www.cibc.com/preciousmetals Precious Metals Catalogue — Looney Tunes 4 1.2 Looney Tunes — 4 Coin Set Front Side: Description From 1942 until the late 1960s, Looney Tunes were the most popular animated shorts to be shown in film theatres. But as the golden era wound down, television would be the one to keep the laughs going by introducing the characters and their (mis)adventures to new generations. In keeping with the playful nature of Looney Tunes, each coin features a hidden surprise element—look closely. -
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 -
Favorite Looney Tunes Characters.Xlsx
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. -
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”. -
Wartime Ideology and the American Animated Cartoon
WARTIME IDEOLOGY AND THE AMERICAN ANIMATED CARTOON by ELLE KWOK-YIN TING B.A., The University of British Columbia, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 2000 © Elle Kwok-Yin Ting, 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of g/v^i/s// The University of British Columbia Vancouver, Canada Date -^Epy-ZM^eR 1ST, 9^0° DE-6 (2/88) Abstract The animated film serves as a means for interrogating the political and social ideologies which influenced its development; features of its construction and aesthetics also gesture towards the historical and psychological factors affecting its production, albeit indirectly. This paper investigates the use of the animated cartoon as a medium for transmitting propaganda in America during the Second World War between the years 1941 and 1945; specifically, it examines the animated cartoon as documentation of homefront psychology in the Second World War, and includes an historical overview of Hollywood animation in addition to a critical analysis of both the cartoon propaganda aesthetic and the psychological factors shaping the design and dissemination of propaganda in entertainment media. -
The New Adventure of the Looney Tunes and Lebron James, SPACE JAM: a NEW LEGACY, Now Available on HBO Max
The new adventure of the Looney Tunes and Lebron James, SPACE JAM: A NEW LEGACY, now available on HBO Max DEL CINE A TU CASA: SPACE JAM: A NEW ERA is part Warner Bros. films available on HBO Max at no additional cost just 35 days after their theatrical release in Latin America.A new story featuring our favorite animated Looney Tunes characters, along with basketball star LeBron James, is now available on the platform for an exciting adventure in SPACE JAM: A NEW LEGACY. This premiere arrives to entertain kids and adults now on HBO Max.It has been 25 years since the release of SPACE JAM, the first film, which featured one of the greatest basketball stars of all time, Michael Jordan. This time, SPACE JAM: A NEW LEGACY brings another great sports star: LeBron James, who is trapped with his son Dom in a digital space created by an artificial intelligence. LeBron must do everything he can to return home with Dom - safe and sound - while guiding Bugs, Lola Bunny and the entire Looney Tunes gang to victory over the AI's digitized champions on the court.LeBron James' path to the Tune SquadBefore joining the Tune Squad, LeBron James managed to position himself as one of the brightest stars in the firmament of basketball stars. In 2003, at the age of 18, he began his professional career with the Cleveland Cavaliers, where he won two NBA Most Valuable Player (MVP) awards. From 2010 to 2014, LeBron moved to Miami to play for the Miami Heat, a team with which he became champion in the 2011-12 and 2012-13 seasons and was MVP in both.