[Supvmings]

Mickey has opened his lunch box, and is grabbing a few snacks before baiting his hook. Pluto enters, whining and hopping frantically. The clam, however, is so positioned in Pluto’s open mouth, that the pink interior crabmeat looks like a dead ringer for Pluto’s tongue, and bulges out in a beckoning fashion as if to cue Mickey that the dog wants something thrown in to eat. “Okay. Here ya’ go”, says Mickey, reaching into the lunch box for a sausage. The treat is flipped to Pluto, but clamped down on by the clam, who takes small bites to consume it in. Pluto desperately attempts to reach into his mouth with his paws, to prevent the clams’s free meal and object, “On, no, you don’y. This is mine.” All he gets for his trouble is a painful nip on the paws. The clam knows a good racket when it finds one, and signals like a tongue for more. Shifting Pluto’s snout with its body mass, the clam grabs away Mickey’s own sandwich, and devours that too – also delivering a watery spit into Mickey’s eye. Still the clam beckons for more. Fred Moore, who provides the last animation of Mickey, continues to develop the mouse’s personality with some new and surprising disgust takes, as a wary Mickey begins to wonder what’s gotten into this dog. He reaches into the lunch pail for a replacement sandwich for himself, and also takes out a pepper shaker for seasoning. Unfamiliar with this object, the clam grabs away the shaker, swallowing it down whole. It quickly develops an uncontrollable case of sneezes, sending disturbing-looking vibrations through helpless Pluto’s head with a springy guitar effect on soundtrack. Mickey laughs in spite of himself, at the trouble he thinks Pluto has caused himself by his greed, until another sneeze finally dislodges the clam from Pluto’s mouth, popping the shell into Mickey’s hand. In a nice and seemingly candid vocal read (possibly inspired by similar conversational interruptions for which Arthur Lake as Dagwood Bumstead was well known in the “Blondie” movie series), Mickey’s laughter abruptly changes to a perplexed, “Eh?”. A third sneezes blasts Mickey in the face, sending the clamshell onto the sands. Using its shell halves as legs, the clam scampers for the safety of the water, punctuated by repeated sneezes all along the way.

Judging from the listings, Universal had a modest amount of success in placing its features in the Loews’ New York City theaters in the later part of the 1930s (certainly better than Fox or Warners), but it does not appear have been a regular thing, and its lack of strength vis-a-vis Loew’s seems to have spilled over to the Lantz offerings, which appeared only sporadically.

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Netflix has gone and done a lot of things to try and prove itself as not only THE platform for streaming content, but to appeal to viewers of all ages. At first, that was just by doing original programs and movies. But then, they realized that they could do more and decided to revitalize and revive long-past franchises for a modern age. From this came shows like Voltron: Legendary Defender as well as She-Ra and the Princesses of Power. Both shows were major hits, but only one of them has fans asking for more.

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Frames from the rare print of Mayfair’s “Skippy” cartoon held at the Library of Congress

Here is a character sketch from Quackodile Tears (1962), directed by Davis in his spare time while he was working at Hanna-Barbera.

Thus, to my mind, it would be very difficult to get a firm reading from newspaper advertisements as to how animated cartoons were presented.

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Custom Cartoon Puzzle Pieces

Monks are heckled by a merry but hungry tanuki that steals their sacrifices to the Buddha. This zestful little comedy is framed by a kamishibai, a street entertainer who’d narrate stories illustrated on specially painted boards revealed in succession. In the 1950s, early television sets would be referred to as “electric kamishibai” and pushed the live storytellers out of their business. Many kamishibai illustrators moved on to manga.[Enlace externo eliminado para invitados]