Columbia Cartoons: Difference between revisions
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When Mintz died in 1940, his production manager, Jimmy Bronis, became his successor. After Bronis came Mintz's brother-in-law, George Winkler. Later Columbia got rid of Winkler and brought in former Disney storyman and Warner Bros. cartoon director, [[Frank Tashlin]]. Under Tashlin, the studio experienced a considerable talent boom. Many of the studio staffers were former Disney employees, fresh off the picket line from the 1941 strike at that studio. The drive to experiment and employ new, innovative ideas was strong and led to the emergence of a handful of highly-stylized cartoons as well as the successful ''[[The Fox and The Crow]]'' series, pitting a refined, sophisticated Fox against a chiseling, street-wise Crow. Unfortunately, Tashlin's stay was short-lived and he was replaced by [[Fleischer Studios|Dave Fleischer]]. Later Fleischer too would depart and his other successors would make little impact on the studio. The quality of the cartoons, meanwhile, began to deteriorate and finally, in 1946, Screen Gems closed.
The void left by the closure of Screen Gems was filled by "United Productions of America" or UPA. This occurred when Steve Bosustow and his creative staff, including many alumni of Tashlin's avant-garde ensemble at Screen Gems, approached the studio. In 1948, Columbia tentatively agreed to distribute UPA's theatrical shorts, a decision that would quickly prove to be the studio's wisest, animation-wise. Throughout the late 1940s and the 1950s, UPA would earn several Academy Awards and nominations for the fruits of their efforts. In the process, they brought to the screen such endearing characters as the nearsighted [[
For a History and Filmography of these films, feel free to visit the fan site [https://web.archive.org/web/20101009131933/http://columbia.goldenagecartoons.com/ "The Columbia Crow's Nest"], which this page cites its description from.
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=== Tropes: ===
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* [[Limited Animation]]: Not just UPA, which was one of the [[Trope Maker|Trope Makers]], but some of the cartoons of the Tashlin regime experimented with stylized designs. Not surprising, since most of the Tashlin animators later went on to help found UPA.
* [[Minimalism]]: UPA championed a minimalist apporach to animation. Every element of production - design, color, setting, movement - was boiled down to the bare essentials.
* [[
* [[Short
* [[Wham! Episode]]: Even within UPA's remarkably diverse output, their adaptation of "[[The Tell Tale Heart]]" stands out.
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