Out of the Inkwell: Max Fleischer and the Animation RevolutionUniversity Press of Kentucky, 24.06.2005 - 232 Seiten Max Fleischer (1883Ð1972) was for years considered Walt DisneyÕs only real rival in the world of cartoon animation. The man behind the creation of such legendary characters as Betty Boop and the animation of Popeye the Sailor and Superman, Fleischer asserted himself as a major player in the development of Hollywood entertainment. Out of the Inkwell: Max Fleischer and the Animation Revolution is a vivid portrait of the life and world of a man who shaped the look of cartoon animation. Also interested in technical innovation, Fleischer invented the rotoscopeÑa device that helped track live action and allowed his cartoons to revolutionize the way animated characters appeared and moved on-screen. In the 1920s, Fleischer created a series of ÒOut of the InkwellÓ films, which led to a deal with Paramount. Their character KoKo the Clown introduced new animation effects by growing out of FleischerÕs pen on-screen. As the sound revolution hit film, the studio produced shorts featuring the characters interacting with songs and with the now-famous bouncing ball that dances across lyrics projected on the screen. Max FleischerÕs story is also one of a creative genius struggling to fit in with the changing culture of golden age cinema. Out of the Inkwell captures the twists and turns, the triumphs and disappointments, and most of all the breathless energy of a life vibrantly lived in the world of animation magic. |
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Out of the Inkwell: Max Fleischer and the Animation Revolution Richard Fleischer Keine Leseprobe verfügbar - 2011 |
Häufige Begriffe und Wortgruppen
animated cartoons artists asked audience Balaban became Betty Boop bookie bouncing ball Bray Studios Brooklyn Daily Eagle Bug Goes called camera character Charlie Cinecolor color contract Dave’s Dick Murray employees Famous Studios father film finally Fleischer Stu Fleischer Studios Goes to Town Gulliver’s Travels happened idea Inkwell invention J. R. Bray Jam Handy King Features knew Ko-Ko the Clown laugh living look loved Mae Questel Manhattan Max and Dave Max and Essie Max felt Max Fleischer Max’s memo Miami Beach mother motion picture moved movie MPCH papers Paramount patent play Popeye the Sailor Pops popular production projector Red Seal Riesenfeld Rotoscope Ruth Screen Songs seemed Seymour Kneitel short signed Smiss Song Car-Tunes Stanley Handman started Superman talk television theater thing tion told took turned two-reel Walt Disney wanted York
Beliebte Passagen
Seite iv - O, it is excellent To have a giant's strength ; but it is tyrannous To use it like a giant.
Seite 10 - Onate, a man who was to become one of the most important figures in the history of the northern frontier of New Spain.
Seite 23 - ... New York and tried to sell it. He couldn't sell it. Nobody seemed to be interested. He went to Paramount — the last party that he tried to get to. And while he was waiting out in the lobby to see somebody — he didn't know who — to look at his cartoon, I came in to see Adolph Zukor, because I had a contract with Paramount for all the cartoons and short subjects of any kind that I might make. I told him that and told him that he'd better come over to our studio and let me look at it. And...