Top Cat debuted on the ABC-TV network on Wednesday, September 27, 1961 with the episode “The $1,000,000 Derby” and it seems prints of the 60-year-old series are out there.
Not all cartoon studios succumbed to the 3-D gimmick in 1953 but most of them resigned themselves the following year to jump into a wide screen format.
“Give me a scotch and soda and a pinch of lemon,” orders the penguin. So the bartender does. But he doesn’t waste time with glasses, he mixes it right in the penguin.
How could anyone be upset with the Man of a Thousand Voices, Mel Blanc? The man who gave us Bugs Bunny and Daffy Duck, Woody Woodpecker and Jack Benny’s Maxwell?
Jim Tyer's distinctive animation at the Terry studio has its devoted fans. He loved changing characters into either jagged or floppy takes. He also did a take where body parts shrank.
UPA set out to tell animated stories with a more modern drawing style than generally seen on the screen, with mature characters (that is, no funny animals).
Animated cartoons were moving into representational background art as the 1940s moved toward the 1950s. Even an industrial studio like John Sutherland Productions, founded by a former Disney-ite, realised stylisation was the way to go.
Perhaps it’s because he grew up in an era of silent films, but Tex Avery avoided dialogue when it really wasn’t necessary. This blog has all kinds of examples where we’ve shown one of his gags with frames and no commentary.
The Walter Lantz studio may have reached its peak in the late ‘40s. The irony is the peak suddenly ended with the studio being closed for more than a year.
In the less-than-halcyon days of quiz shows, contestants were coached on how to give the correct answers. On at least one show, though, they were coached on how to sound like they were giving the correct answers.
“I’m the guy that’s going to catch the fox,” says Willoughby to the theatre audience viewing his cartoon, “because I know every tree in this forest. Every single tree.”