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Selasa, 26 November 2013

little boy. Willie Whopper failed to catch on, and MGM terminated its distribution deal with Iwerks and Powers, who had already began distributing their Comi-Color cartoons on their own.[8] In February 1934 MGM signed a new deal with the Harman-Ising studio, which had just broken ties with producer Leon Schlesinger a


5.1 Theatrical cartoon shorts series
5.2 One-shot theatrical shorts
6 See also
7 Notes
8 References
Early years[edit]

To promote their films and attract larger theater audiences, motion picture chains in the 1930s provided many features to supplement the main feature, including travelogues, serials, short comedy subjects, newsreels and cartoons. During the late 1920s, Walt Disney Productions had achieved huge popular and critical success with their Mickey Mouse cartoons for Pat Powers' Celebrity Pictures (distributing for Columbia Pictures). Several other studios, Metro-Goldwyn-Mayer among them, took note of Disney's success and began to look for ways to get Disney or compete.
MGM's first foray into animation was the Flip the Frog cartoon series, starring an anthropomorphic talking and singing frog. The series was produced independently for Celebrity Pictures by Ub Iwerks, formerly the head animator at the Disney studio. Celebrity Pictures' Pat Powers had hired Iwerks away from Disney with the promise of giving Iwerks his own studio, and was able to secure a distribution deal with MGM for the Flip the Frog cartoons. The first Flip the Frog cartoon, Fiddlesticks, was released in August 1930,[7] and over two-dozen other Flip cartoons followed during the next three years. In 1933, the Flip character was dropped in favor of Willie Whopper, a new series featuring a lie-telling little boy. Willie Whopper failed to catch on, and MGM terminated its distribution deal with Iwerks and Powers, who had already began distributing their Comi-Color cartoons on their own.[8]
In February 1934 MGM signed a new deal with the Harman-Ising studio, which had just broken ties with producer Leon Schlesinger and the Warner Bros. studio over budget concerns, to work on a new series of high-budget color cartoons.[2] The director team brought with them much of their staff from their time with Schlesinger, including animators and storymen such as Carmen "Max" Maxwell, William Hanna, and brothers Robert and Tom McKimson.[9] (The McKimsons would later return to Schlesinger.) Also following Harman and Ising from Schlesinger was Bosko, a successful character the duo had created for the Warner cartoons.
The first entry in MGM's new Happy Harmonies cartoon series, The Discontented Canary, was completed in June 1934 and released in September. The series continued for three years, moving from two-strip to three-strip Technicolor in 1935. The Happy Harmonies canon included a handful of entries starring Bosko, who by 1935 had been redesigned from an ambiguous "inkspot" character into a discernible little African-American boy.[10] The directors worked separately on their own films, although both strived to create intricate films that would compete with Disney's award-winning Silly Symphonies.[11]
However, budget problems threatened to plague Harman and Ising a second time: Happy Harmonies cartoons regularly ran over budget, and Hugh Harman paid no heed to MGM's demands that he reduce the costs of the shorts.[12] MGM retaliated in February 1937 by deciding to open their own cartoon studio, and hired away most of the Harman-Ising staff to do so.[3][13] The final Happy Harmonies short, The Little Bantamweight, was released in March 1938, and Harman and Ising went on to establish a new studio to do freelance animation work for Walt Disney, only to come back.
For the 1934 MGM musical film Hollywood Party, Walt Disney animation studio created an animated sequence in Technicolor called The Hot Choc-Late Soldiers, and is one of a few examples where Disney produced animation for other studios. The movie also contained a seq

s in Loew's Theaters. Active from 1937 until 1957, the cartoon studio produced some of the most pop


Founded    1937
Founder(s)    Fred Quimby
Defunct    1957
Headquarters   
Culver City, California, U.S.
Overland and Montana Avenue
[1]
Key people    William Hanna
Joseph Barbera
Hugh Harman
Rudolf Ising
Tex Avery
Fred Quimby
Products    Animated films
Parent    Independent (1929–1937)
Metro-Goldwyn-Mayer (1937–1958)
The Metro-Goldwyn-Mayer cartoon studio was the in-house division of Metro-Goldwyn-Mayer (MGM) motion picture studio in Hollywood responsible for producing animated short subjects to accompany MGM feature films in Loew's Theaters. Active from 1937 until 1957, the cartoon studio produced some of the most popular cartoon series and characters in the world, including Barney Bear, Droopy, and their best-known work, Tom and Jerry.
Prior to MGM turned Harman and Ising, MGM released the work of independent animation producer Ub Iwerks, and later the Happy Harmonies series from Hugh Harman and Rudolph Ising.[2] The MGM cartoon studio was founded to replace Harman and Ising, although both men eventually became employees of the studio.[3] After a slow start, the studio began to take off in 1940 after its short The Milky Way became the first non-Disney cartoon to win the Academy Award for Best Short Subjects: Cartoons.[4] The studio's roster of talent was benefited from an exodus of animators from the Schlesinger and Disney studios, who were facing issues with union workers. Originally established and run by executive Fred Quimby, in 1955 William Hanna & Joseph Barbera, the writer-directors of the Tom and Jerry cartoons, became the heads of the studio. The cartoon studio was closed in mid-1957,[5] at which time Hanna and Barbera took much of the staff to form their own company, Hanna-Barbera Productions.[6]
Contents  [hide]
1 Early years
2 Metro-Goldwyn-Mayer characters
3 Golden Age of American animation
3.1 Early years
3.2 Harman and Ising return
3.3 Hanna-Barbera: Tom and Jerry
3.4 Tex Avery
3.5 1950s, CinemaScope
3.6 Later years
3.7 Legacy
4 Notable crew members
5 Productions

he was more or less replaced by Buzz Buzzard as Woody Woodpecker's primary foil. He would then make a few brief appearances in some 1950s cartoons like Puny Express, Sleep Happy, The Woody Woodpecker Polka, What's Sweepin' and Buccaneer Woodpecker. Wally also appeared, opposite Chill


Billy West (1999-2002)
Townsend Coleman (film)
Information
Species    Walrus
Gender    Male
Relatives    Willy Walrus (Wally's nephew)
Nationality    Swedish
Wally Walrus is a fictional animated cartoon character who appeared in several films produced by Walter Lantz Productions in the 1940s and '50s.[2]
History[edit]

Wally is an anthropomorphic walrus who, in most of his appearances, speaks with a pronounced Swedish accent. Wally is rather slow-witted at times, and prone to anger when provoked. For many years, Wally was the primary foil for Woody Woodpecker, bearing roughly the same relationship to that character as Elmer Fudd had to Bugs Bunny in Warner Brothers' animated shorts from the same era. Wally is often heard humming or singing the popular song My Bonnie Lies Over the Ocean.
Wally's first appearance was opposite Woody in 1944's The Beach Nut and was voiced by Jack Mather, better known as the title character on The Cisco Kid on radio. Lantz stock player Will Wright gave him a growly, non-Swedish voice in The Reckless Driver. Wally continued to be featured in Lantz cartoons through 1948's Wacky-Bye Baby, at which time he was more or less replaced by Buzz Buzzard as Woody Woodpecker's primary foil. He would then make a few brief appearances in some 1950s cartoons like Puny Express, Sleep Happy, The Woody Woodpecker Polka, What's Sweepin' and Buccaneer Woodpecker. Wally also appeared, opposite Chilly Willy, in a pair of 1961 shorts (voiced by Paul Frees); as well as in a Woody TV special, Spook-a-Nanny (voiced by Daws Butler). Wally would years later reappear as a regular character on The New Woody Woodpecker Show in 1999 voiced by Billy West (who also played Woody). However, his classic period was 1944-1948.
Wally continued to make appearances in Lantz comic books and on other licensed merchandise. Wally also made a cameo appearance amongst the crowd of Toons in a brief headshot during the final scene of Who Framed Roger Rabbit.
The character's appearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A frequent animation goof in The New Woody Woodpecker Show was to draw the mouth separate from the tusks, so it appeared theMetro-Goldwyn-Mayer cartoon studio
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2013)
Metro-Goldwyn-Mayer Cartoon Studio
Title Card for the shorts produced by the studio
Industry    Animation
Motion pictures
Successor(s)    MGM Animation/Visual Arts
Metro-Goldwyn-Mayer Animation

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