Podcast appearances and mentions of Max Fleischer

Albert Einstein, Genel Görelilik'i yazmış, hemen ardından bu teorisini gözleme dayalı bir şekilde kanıtlamıştı. Evrenin şifrelerini çözecek bir noktaya gelmişti artık. Kağıt üzerindeki tüm tahminleri evrende sıfır sapmayla karşılık buluyordu. Tüm gözler onun üzerindeydi. Ama o bunlarla da yetinmeyecekti. Kendince son bir misyonu daha vardı... Bilimin kutsal kasesini, yani Her Şeyin Teorisini bulmak.Hiçbir Şey Tesadüf Değil'deki Albert Einstein serimizin dördüncü ve son bölümünde bu hikayeye odaklanıyoruz. Einstein'ın son yıllarında yaşadıklarını ve Her Şeyin Teorisi'ni ararken başından geçenleri mercek altına alıyoruz.------- Podbee Sunar -------Bu podcast, Kuveyt Türk hakkında reklam içerir.Miles&Smiles Kuveyt Türk, ayrıcalıklı Mil dünyası ve size özel fırsatlarıyla her devirde yanınızda! Siz de mobilden Kuveyt Türklü olarak Miles&Smiles Kuveyt Türk kart başvurunuzu yapın, ayrıcalıklardan faydalanmaya başlayın. Detaylı bilgi için web sitesini ziyaret edebilirsiniz.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Animation historian Jerry Beck

From the Max Fleischer cartoons, the early serials, the 1950's series, and back to movie screens and a succession of TV shows, no other hero has left the footprint in pop culture that the Man of Steel has. An orphaned refugee who gives back to the world that took him in, Superman is intrinsically tied to the American mythos. It seems that every generation has a Superman, and this summer James Gunn will bring the newest incarnation to the big screen. The first trailer for Superman (2025) is out and the Regular Joes break down the brief glimpse into familiar characters, and many never before seen on screen. While the stakes remain high, the dark and broody tone of recent years seems to be behind us. The only question that remains is, are you ready to believe in Superman … again. And, as they close out the year, the Joes squeeze in one last batch of Random Topics, and one more round of What's in the Box. Thanks for listening!

An American animator, film director, and producer, Max Fleischer is best known for creating some of the most iconic animated characters and for pioneering several animation techniques that have had a lasting impact on the industry. Fleischer is responsible for creating Betty Boop, Popeye the Sailor, and Koko the Clown, and was one of the leading figures in the early days of American animation, alongside Walt Disney, and his work significantly shaped the development of the medium. While his contributions to animation were groundbreaking, but Fleischer's work was often overshadowed by Disney in later years. Rockin Pins CEO, Mauricio Alvarado is joined by animation historian Ray Pointer in a discussion on how Fleischer Cartoons are working to be restored for a new generation of animation lovers. Series: "Arts Channel " [Arts and Music] [Show ID: 40088]

An American animator, film director, and producer, Max Fleischer is best known for creating some of the most iconic animated characters and for pioneering several animation techniques that have had a lasting impact on the industry. Fleischer is responsible for creating Betty Boop, Popeye the Sailor, and Koko the Clown, and was one of the leading figures in the early days of American animation, alongside Walt Disney, and his work significantly shaped the development of the medium. While his contributions to animation were groundbreaking, but Fleischer's work was often overshadowed by Disney in later years. Rockin Pins CEO, Mauricio Alvarado is joined by animation historian Ray Pointer in a discussion on how Fleischer Cartoons are working to be restored for a new generation of animation lovers. Series: "Arts Channel " [Arts and Music] [Show ID: 40088]

An American animator, film director, and producer, Max Fleischer is best known for creating some of the most iconic animated characters and for pioneering several animation techniques that have had a lasting impact on the industry. Fleischer is responsible for creating Betty Boop, Popeye the Sailor, and Koko the Clown, and was one of the leading figures in the early days of American animation, alongside Walt Disney, and his work significantly shaped the development of the medium. While his contributions to animation were groundbreaking, but Fleischer's work was often overshadowed by Disney in later years. Rockin Pins CEO, Mauricio Alvarado is joined by animation historian Ray Pointer in a discussion on how Fleischer Cartoons are working to be restored for a new generation of animation lovers. Series: "Arts Channel " [Arts and Music] [Show ID: 40088]

From 1929 to 1942, Fleischer Studios was Walt Disney's greatest rival, bringing Superman, Popeye, and Betty Boop to the screen and pioneering a range of technical innovations. But for decades, many of the cartoons by Max and Dave Fleischer have suffered neglect. In this special report, Will talks to the team behind the grassroots Fabulous Fleischer Cartoons Restored: animation historians Mauricio Alvarado and Ray Pointer, and Max Fleischer's granddaughter Jane Fleischer. Support Fabulous Fleischer Cartoons Restored - https://fleischertoons.com/ Check out The Art and Innovations of Max Fleischer by Ray Pointer - https://www.fleischerstudios.com/ray.html See "The Cartoons of Max Fleischer" at the Fox Theatre in Toronto on August 17, 18, and 20 - https://www.foxtheatre.ca/movies/the-cartoons-of-max-fleischer/

Look! Up in the sky! It's a bird! It's a plane! It's Superman! Jump in your PJs, grab a big bowl of cereal and have a seat in the virtual rec room to celebrate the fun of the Saturdays of our youth while sharing what we love in adulthood today: Cartoons, Comic Books, Kaiju movies! Join us on a trip bak to 1941 as we celebrate one of the top 50 greatest animated shows of all time - Max Fleischer's Superman! 100% non-toxic and the only podcast fortified with 8 essential vitamins and minerals! Prizes from the cereal box presented by Entertainment Earth - https://ee.toys/cerealbox Also brought to you by the Tales of the Decoverse series! Available now at Amazon - https://www.amazon.com/dp/B09239CJ2R?binding=kindle_edition&ref=dbs_dp_rwt_sb_pc_tkin "Saturday Morning" written by John Pyka, performed by Sam Swimerton "Can't Beat An Original" written by Jamie Slocum, performed by D'Elle Memphis! Support our shows and join the Patreon community at www.patreon.com/cerealboxpodcast Wanna host your own live streaming video podcast? Check out Stream Yard! It's what we use! https://streamyard.com/pal/c/5342409928474624 --- Support this podcast: https://podcasters.spotify.com/pod/show/cerealboxpodcast/support

David Armstrong interviewed Golden Age great, Irwin Hasen in 1999 on set at San Diego Comic Con about his entry into comic books in the late 1930s, illustrating sports figures for newspapers including an interesting experience at the Daily Worker, working for Harry Chesler, covers for DC Comics, rivalry with Shelley Mayer,  contributing to the Justice Society of America, working with Bill Finger, Alex Toth and a tense situation at a syndicate that caused him to walk away from a strip before creating Dondi. Armstrong also interviewed Golden Age great, Harry Lampert in 2000 on set at San Diego Comic Con about his entry into Max Fleischer's animation studio, entering comic books with Sheldon Mayer at All-American comics, working under Max Charles Gaines, co-creating the Flash with Gardner Fox, his humor approach to comics, penciling the Justice Society of America, joining the Army, working with Siegel and Shuster, Harry Donenfeld, Irwin Hasen, and DC filler pages after World War 2, until starting his own very successful advertising agency. Interview conducted, recorded and copyrighted to David Armstrong. Remastered, edited, timestamped and postproduction by Alex Grand.Agency for Change : A Podcast from KidGlovStories of changemakers and how their actions are driving positive impact in the world.Listen on: Apple Podcasts SpotifySupport the Show.

Step back in time with us and rediscover the jazz-infused world of the 1920s through the captivating eyes of Betty Boop. Your ears won't believe the fascinating origins of this flapper icon, as we unveil her journey from Max Fleischer's drawing board to the hearts of millions. With the help of our co-host phoenix, we'll spill the secrets behind Betty's creation, inspired by the cheeky Helen Kane and how the "boop-boop-a-doop" songstress's lawsuit didn't hinder Betty's rise but rather sealed her stardom. Revel in the nostalgia as we recount Betty's groundbreaking role in animation, her dance with jazz legends like Cab Calloway, and the flapper spirit that paved the way for women's self-expression.Fasten your garter belts for a rollercoaster ride through Betty Boop's transformation from risqué flapper to domestic darling, all thanks to the restrictive Hays Code. Witness how societal shifts and the Great Depression reshaped Betty's persona and the world's perception of femininity. Despite being nudged out of the spotlight, Betty's sass and charm refuse to fade, with her legacy living on in modern adaptations. So raise a glass to the boop-oop-a-doop girl as we celebrate the audacious and ever-charming Betty Boop, whose story is as rich and lively as the era she symbolizes.Links: Support our show on paypal or from our host: https://www.paypal.com/donate/?hosted_button_id=SC5G5XFCX8MYW https://www.buzzsprout.com/547567/supportVisit us on Facebook: https://www.facebook.com/SmarticusTellsHistoryStart your podcast on Buzzsprout: https://www.buzzsprout.com/?referrer_id=486316Support the show

It's a bird, it's a plane, it's Fleischer Studios' Superman animated shorts of the 1940's! Well, more accurately, we'll be talking about two of the classic Superman cartoons produced under the watchful eye of Max and Dave Fleischer, and one of the late-run entries produced by Famous Studios, Paramount's Fleischer successor studio. Join us for a look back at a trio of The Last Son of Krypton's adventures—The Mad Scientist, The Magnetic Telescope, and Jungle Drums.

Max is a life enthusiast and consultant to athletes, entrepreneurs, couples, and parents, helping them win, through self-awareness. His talent is finding the gut-punching comment that wakes his clients up to smell the coffee. He resides in Miami Beach, Florida, where he plays tennis, meditates, and is active at the gym. He also enjoys reading and listening to music in his hammock. Max is the author of the book: “The Lazy Way to Live Fantastic and his CORE business MISSION is to wake people up to discover that The Lazy Way to Live Fantastic is real and available to you right now!

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

what a live, live dog is this hawk. What happens when newly-minted superstar Bruce Willis decides to co-write a screenplay? You get… Hudson Hawk, an unhinged live-action cartoon that feels like the spirit of Max Fleischer inhabiting a ‘90s action movie. What the hell is Richard E. Grant doing in this? What is Sandra Bernhard doing? What in god's name is David Caruso doing? Why does Andie MacDowell spend so much time doing a dolphin impersonation? This freaking movie, man.Listen below or sing along on your podcatcher of choice as Adam and Aidan shake their collective heads and bask in the over-the-top glory that is Hudson Hawk.

Max Fleischer's Great Depression era cartoon characters were almost immediately intrenched into era's pop culture - This episode features a few tunes dedicated to and BY our "Out Of The Inkwell" heroes! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Hear the rest of this episode exclusively on Patreon  On this episode of Beneath the Skin we discuss how early 20th century cartoonists Tex Avery and Max Fleischer influenced culture and tattooing through their work on Merrie Melodies, Looney Toons, Popeye, and so many more If you want to follow us online for more updates CLICK HERE Production by Thomas O'Mahony Artwork by Joe Painter (jcp_art) Intro Music by Dan McKenna If you would like to get in touch you can email the show on beneaththeskinpod@gmail.com

Warner and Paramount classics on 4k, Looney Tunes returns to Blu-ray, a big bucket of Star Trek and Superman and more… only on DigiGods! DigiGods Podcast, 06/13/23 (M4a) — 53.6 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss:   All Eyes Off Me (DVD) All-Star Superman (4k UHD Blu-ray) A Bag of Marbles (DVD) Being Thunder (DVD) Blondie - The Complete 1957 Television Series (Blu-ray) Blood-Red Ox (DVD) Border Incident (Blu-ray) Branded to Kill (4k UHD Blu-ray) Camille (Blu-ray) Cheers: The Complete Series (Blu-ray) Chess Story (DVD) Clash By Night (Blu-ray) Confessions of a Nazis Spy (Blu-ray) Cool Hand Luke (4k UHD Blu-ray) Crank (Best Buy Exclusive) (4k UHD Blu-ray) Creed III (4k UHD Blu-ray) Dawson's Creek: The Complete Series (Blu-ray) Deep Impact (4k UHD Blu-ray) Everything Went Fine (Blu-ray) The Fisher King (4k UHD Blu-ray) Flamingo Road (Blu-ray) Flashdance 40th Anniversary 4k UHD (4k UHD Blu-ray) Full Time (DVD) Go On – The Complete Series (DVD) Goliath (DVD) Goodbye Mr. Chips (Blu-ray) The Haunting of Julia (4k UHD Blu-ray) Highway One (DVD) His Dark Materials: The Complete Third Season (Blu-ray) House of 1000 Corpses 20th Anniversary Steelbook (Best Buy Exclusive) (Blu-ray) I'll Cry Tomorrow (Blu-ray) Indochine (Blu-ray) Justice League x RWBY: Super Heroes & Huntsmen, Part One (4k UHD Blu-ray) Knock at the Cabin (4k UHD Blu-ray) Leonor Will Never Die (Blu-ray) Like Me (DVD) A Lion is in the Streets (Blu-ray) The Long Long Trailer (Blu-ray) Looney Tunes Collector's Choice Volume 1 (Blu-ray) Lovers Lane (Blu-ray) The Maltese Falcon (4k UHD Blu-ray) Max Fleischer's Superman 1941-1943 (Blu-ray) Miami Vice (Blu-ray) Moonlighting Wives / The Naked Fog (Joseph W. Sarno Retrospective Series) (Blu-ray) NCIS Hawaii: Season One (Blu-ray) Neptune's Daughter (Blu-ray) One Way Passage (Blu-ray) Our Dancing Daughters (Blu-ray) Petite Maman (Blu-ray) Primal: The Complete Second Season (Blu-ray) The Quiet Girl (DVD) Rancho Notorious (Blu-ray) Rebel Without a Cause (4k UHD Blu-ray) Return to Seoul (Blu-ray) Safe in Hell (Blu-ray) The Seventh Seal (4k UHD Blu-ray) Shazam! Fury of the Gods (4k UHD Blu-ray) Small Axe (Mangrove, Lovers Rock, Red White and Blue, Alex Wheatle) (Blu-ray) South Park: The Complete Twenty-Fifth Season (Blu-ray) Star Trek: Lower Decks - Season Three (Blu-ray) Star Trek: The Next Generation 4-Movie Collection (Generations, First Contact, Insurrection, Nemesis) (4k UHD Blu-ray) Storm Warning (Blu-ray) The Strawberry Blond (Blu-ray) Superman 1978 – 1987 5-Film Collection (Superman: The Movie, Superman II, Superman II: The Richard Donner Cut, Superman III, and Superman IV) (4k UHD Blu-ray) Targets (Blu-ray) Triangle of Sadness (4k UHD Blu-ray) Walker: Season Two (Blu-ray) Wife vs. Secretary (Blu-ray) Wings of Desire (4k UHD Blu-ray) Yellowstone: Season 5, Part 1 (Blu-ray) Please also visit CineGods.com. 

Shazam! Fury of the Gods and Max Fleischer's Superman shorts are now available on Blu-Ray. In this episode, Christian evaluates the product content of both of these caped Crusaders  Shazam! Fury of the Gods: From New Line Cinema comes "Shazam! Fury of the Gods," which continues the story of teenage Billy Batson who, upon reciting the magic word "SHAZAM!," is transformed into his adult Super Hero alter ego, Shazam.Max Fleischer's Superman 1941-1943: Warner Bros. Discovery's advanced remastering process began with a 4K, 16-bit scan of Fleischer's original 35mm successive exposure negative. Staying true to the original theatrical aspect ratio of 1.37-to-1, the highest quality raw image was then scanned and then entered into the recombine process – utilizing special proprietary software to merge the successive exposure Technicolor negatives into a single RGB color image. The end result are pristine animated shorts that have been restored to the animators' originally intended production quality.TOPICS IN THIS EPISODE:Housekeeping (00:18)Shazam! Fury of the Gods 4K Blu-Ray Review (02:08)Max Fleischer's Superman 1941-1943  Blu-Ray Review (12:02)Closing (20:22)Contact Film Optix Rate and Review us on Apple Podcast and Spotify on your podcast platform of choice! Email us at filmoptix@gmail.com Tweet at us @FilmOptix Follow us @Film Optix on Instagram Follow us on Letterboxd Visit our Website Thank you for listening!!!

And we are BACK, with another thrilling adventure of BAT SIGNALS. Today we are digging up an ancient creature from our nearly forgotten past; that's right! Superman! I know we usually cover batman episodes on this mid-month episode, but since Da Boss had us cover a big Batman movie for the end of the month I figured we could gives Supes some love.Joining me today are the immensely cool, talented, and handsome folk from the No Gods pod! Check out their work here: https://twitter.com/NoGodsPod and https://nogodsnomonsters.podbean.com/ See you all on the NEXT BAT SIGNALS where we will be covering Killer Croc: Killer, or Lover? Find out next time!

Mickey's Toontown opened in Disneyland on January 24, 1993. The area was inspired by Who Framed Roger Rabbit, and resembled a set from a Max Fleischer cartoon. The buildings were, and still are, stylized and colorful. There are several attractions involving classic cartoon characters, such as the houses of Mickey and Minnie Mouse. The fictional backstory given for Mickey's Toontown is that it was a hidden Toon suburb that Mickey Mouse had moved to in 1930 to keep in touch with his humble Midwestern roots, with his friends following soon after. When Walt Disney was looking for a location to build Disneyland, Mickey pointed him towards a large orange grove nearby for him to build his park. After the park opened, Mickey and his friends would travel between their Toontown homes and Disneyland to meet the countless guests that visited the park, before eventually deciding to open their hometown to the public later in the 90s, digging a tunnel through the berm. On November 15, 2021, it was announced Mickey's Toontown would be closed until 2023 as part of an "ambitious reimagining project”. The new Toontown would include the exciting new ride Mickey and Minnie's Runaway Railway. Additionally, the long-closed Chip and Dale's Treehouse was removed, and a new park space, CenTOONial Park, was created adjacent to Goofy's Playhouse near the land's entrance. CenTOONial is now home to a new fountain of Mickey and Minnie and a Dreaming Tree inspired by the one Walt Disney sat under as a child in Marceline, Missouri. Other play areas in the reimagined land include Goofy's "How to Play" Yard surrounding Goofy's Playhouse and the Donald's Duck Pond splash pad at Donald's Boat. This new and exciting Mickey's Toontown opened on March 19th, 2023 and Rachel and Jeremiah were there to take in the new imagined themed area. In this podcast they review the new and improved family friendly area. They share details of their experience exploring an area of the park that they normally do not spend time in. This informative podcast should be very welcoming to anyone coming to visit. Connect with Mouse House Weekly: Facebook community Twitter Instagram Golden Spiral Media Feedback Page

Our top news stories: "Superman: The Movie" is being rereleased in theaters around the world for its 45th anniversary, a newly remastered box set of "Max Fleischer's Superman" is coming to Blu-ray, and the cancelled "Scooby-Doo! And Krypto, Too!" animated movie leaks online. Superman news for the period March 1-6, 2023. Brought to you by SupermanHomepage.com. Hosted by Steve Younis. Visit our website: https://www.SupermanHomepage.com/ Visit our online store: https://www.SupermanHomepage.com/shop

Today on the Rarified Heir Podcast, we are talking to Josh Langsam, the grandson of the one and only Cab Calloway. Now aside from having a great name, Josh tells host Josh Mills about the legacy, the history and the future of one of America's greatest entertainers of all-time. Starting in the 1920's Cab Calloway was a band leader, performer, author, singer, actor, song writer and his  influence ranged from live performances, recorded music, film, animation, fashion – the guy did it all. He was the first black entertainer to sell one million copies with his signature song, “Minnie The Moocher” in 1931. He was also the first black entertainer to have his own radio show. None other than George Gershwin based the character Sportin' Life from Porgy and Bess after Cab. Pioneering animator Max Fleischer invented the Rotoscope and animates Cab as a Walrus in a Betty Boop cartoon based on “Minnie The Moocher”. Are you getting the picture, yet? We spoke to Josh about the Harlem Renaissance, the famed Cotton Club, the infamous Dizzy Gillespie spitball that wasn't, how our host Josh's family played a major part in Cab's career, Cab's iconic fashion sense and much more. Of course, we talk about Cab's “Minnie The Moocher” disco hit in the 80s, the movie Cotton Club and indeed, The Blues Brothers, which introduced Cab to a whole new, younger audience and revitalized his career. If you've ever wanted to know what someone does or wants to do with a legacy/estate as an heir to a famous person, this is the episode for you. It's very fun and frankly, an educational episode which hits upon both the entertainer and the man Cab Calloway. Take a listen to this episode of the Rarified Heir Podcast. Everyone has a story.

Three arguing children wake up in the middle of the night to find their god is missing, and their sense of camaraderie and decorum have vanished. On Episode 550 of Trick or Treat Radio we discuss Skinamarink, from director Kyle Edward Ball! The film has been very divisive among its viewers, where do we stand on this experimental nightmare? We also have another entry into the art vs. the artist discussion that erupts into an all-out war, we talk about deplorable humans, and creepy toys. So grab your 8mm camera, whatever you do do not answer the Chatter Telephone, and strap on for the world's most dangerous podcast!Stuff we talk about: The Outwaters, HP Lovecraft, Robert Ebert, divisive films, COVID Cubed, Sabacc, Ravenshadow's Star Wars Podcast, MZ's Transformers collection, LL Bean, Poland Springs, Rolling Out, “chuffed”, fixing a clogged sink, UNICEF, J.K. Rowling is a POS, Hogwarts Legacy, Roman Polanski, Woody Allen, doubling down on being shitty, Neil Gaiman, plagiarism, unfriending Harry Potter, Tim Hunter, Books of Magic, Shrinky Dinks, Antrum, Max Fleischer cartoons, Dreamland, Skinamarink, Kyle Edward Ball, experimental film, fully immersive films, TikTok, Reddit, experimental films, creepypasta, Heck, Matt Murdock and Stevie Wonder as cinematographers, chatter telephone, sleep paralysis, Rodney Ascher, The Nightmare, Michael Snow's Wavelength, caffeine and coke, films as art, Hausu, Subconscious Cruelty, Begotten, Inland Empire, Hard Ticket to Hawaii, a slideshow of hallways and whispering, the nightmare of abusive parents, Watch/Skip+, Death By DVD, The Blair Witch Project, The Stepfather, City of the Living Dead, Matango, Legions, Fabian Forte, Fulch Force Five, Lionel Richie, Shrinky Dinks, and Instagram Filter Fueled Nightmares.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

When I saw that a social media filter featuring the dancing ghost of Koko the Clown had gone viral, I had to know the story behind it. What I found was a great team that is working to preserve the timeless ‘toons of Max Fleischer, which featured Betty Boop, Popeye, Koko the Clown, and consisted of hundreds of fascinating animated shorts. This is my first dual interview on the show. Ray Pointer has been a Fleischer scholar for decades. He is the author of the essential Fleischer Studios tome The Art and Inventions of Max Fleischer: American Animation Pioneer. Mauricio Alvarado is the owner of Rockin' Pins, a merchandising company with licenses for several entertainment properties, including many Fleischer ‘toons characters, including Koko the Clown Ghost. The pair have worked in partnership with Jane Fleischer Reid, granddaughter of Max, to bring new attention these timeless ‘toons by funding restorations, hosting screenings, and spreading the word at conventions and other special events. I was deeply impressed with the knowledge and passion these two shared in our conversation. To support the Fleischer Cartoon Restoration Project, you can become a patron at Patreon Find all of the Fleischer 'Toons social media accounts at their LinkTree You can buy official Fleischer Studios merchandise (which helps support the restoration) and Ray Pointer's book at Rockin' Pins. This is a great interview with Ray Pointer, conducted by Jane Fleischer Reid, which goes into more detail about his book and Fleischer research. Official Fabulous Fleischer Cartoons Restored! YouTube Channel Ray Pointer's YouTube Channel You can purchase Ray Pointer's DVD releases of Fleischer 'toons on his website. The show is available on Spotify, PocketCasts, Breaker, Stitcher, Anchor, Google, Radio Public, and YouTube. Watching Classic Movies podcast is also available on Apple Podcasts! If you are enjoying the show, please give it a 5-star review and share it with your friends. Like the podcast? Want to hear more frequent episodes? Subscriptions are as low as 99 cents a month, click on the Support button here. --- Support this podcast: https://anchor.fm/k-cruver/support

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Eric Vilas-Boas who wrote If Rotoscoping Isn't Animation, Nothing Is for Vulture. Here's what I wrote about it:This year director Richard Linklater released the film Apollo 10 ½: A Space Age Childhood, which is animated through rotoscoping. Essentially, live-action footage is painstakingly animated over using a technique that harkens back to the dawn of animation, a process that required a suite of about 200 2D animators for costs upwards of $20 million. The animated film, however, has been rejected by the animation committee of the Academy Awards, arguing it relies on live-action footage even though the film clearly surpasses the requirement 75 percent of running time must be animated. Linklater and company are ticked off, claiming that the branch has been captured by corporations and aimed at children, with 19 of the past 21 awards for Best Animated Feature going to CG-animated kids movies, and with just two independent studies winning.Eric is brilliant on the topic of animation, he was one of the founders of The Dot and Line animation blog and is one of the most plugged-in writers on the topic these days. We spoke about why the awards scene around animated film is chaotic, why it's a demoralizing moment to be in the field, and how streaming has upended the industry. Eric can be found at @e_vb_ and at Vulture.This interview has been condensed and edited. You wrote a really fascinating story about a new film that's coming out from director Richard Linklater. Before we dive into the whole concept of rotoscoping and whatnot, do you want to tell folks a little about your history with animation? You're currently at Vulture, you've got a long history of working in this space. What's been your journey in covering animation so far?I've been interested in this area of coverage for a long time. I always wanted to be an entertainment journalist. I always wanted to angle my career in that direction. A buddy of mine and I looked around at the space of magazine journalism a few years ago and we noticed, "Oh, there's no The New Yorker for animation coverage." No one covers cartoons with what we thought was a level of both consistency and seriousness.We started this website called The Dot and Line based off an iconic Chuck Jones short cartoon; that was in 2016. My friend and I, John Maher, started that site. That site was just our way of covering animation from a fan perspective and a magaziney perspective, a bloggy perspective, and also covering the business through the same lens.We never made any money. The Dot and Line shut down, we gave it a viking funeral in 2020, in the beginning of the pandemic, very lovingly.I always really loved cartoons and animation. I wanted to cover it more deeply and make sure that it had a place in the media ecosystem that I was working in. These days I've parleyed that experience into writing about animation for Vulture, for Thrillist in the past, for Hyperallergic, for The Observer. Now I'm currently in Vulture where I edit most of our streaming coverage, and then also work on the occasional animation and cartoons piece, which brings me to this topic today.I just wanted to make sure that we got that set up, because there's this idea that you've always been reporting on how there's tension in animation, how there aren't a lot of people who treat it seriously, that there's a tremendous amount of effort and art that goes into it but that mainstream sources oftentimes don't necessarily understand what some of the power and appeal of it is. That all really comes to a head in the story. Do you want to talk a little bit about Apollo 10 ½ and how it was made?It definitely hits a lot of points for me. Apollo 10 ½ is a rotoscoped movie directed by Richard Linklater, a very well-regarded indie filmmaker who has done both animated movies like A Scanner Darkly and Waking Life as well as live-action movies like the Before trilogy and Dazed and Confused, and a few other things that you might have seen before. Apollo 10 ½ is basically his latest animated effort. It was made by a large team of around 200 animators through a studio called Minnow Mountain, based in Austin, Texas, where Richard Linklater is also based. Apollo 10 ½ is essentially a coming-of-age fantasy story about a kid who gets to experience sitting in a NASA space mission.The opening hook of the movie is like, "Oh, we made the space capsule too small and now this preteen child must be signed up for a NASA mission." And it's a fantasy. It's meant to be fantastical in a way that live action can't be. Richard Linklater has talked about this, so that's all well and good. Apollo 10 ½ was released on Netflix earlier this year, over the summer. It was also submitted for Academy Award consideration for Best Animated Feature.Best Animated Feature is an interesting category and we can get into why. But long story short, the film was rejected from consideration over the summer on the grounds that it "did not meet the definition of animation" according to the Academy's feature animation committee.That's ticked a lot of folks off, because it is animated with a technique used called rotoscoping which as you wrote, goes back to some of the earliest days of not just animation but film, period. Do you want to talk about what the controversy is there?To give just a definition, rotoscoping is essentially you'll film something in live action. The tool that was invented was literally called the rotoscope, and it was invented by this animator Max Fleischer, who people might know from the Superman cartoons. These old 1940 Superman cartoons are some of the best cartoons of their kind even to this day; they're very well respected. He invented this thing in 1915 called the rotoscope. What the rotoscope is is essentially a multi-plane camera on steroids that allows you to film something in live action, and then to trace the images of what's been filmed into an animated form — to trace the outlines of something and create art out of it, essentially.The Fleischer brothers used this on a number of their animated cartoons. They had this series called Out of the Inkwell: They traced Cab Calloway, the jazz musician, dancing and doing some awesome moves in some of their cartoons. The upshot of all this is that it looks really good. It's an easy way to capture fluidity and a certain level of realism, without having to draw every single thing from nothing, essentially. It's a technique that's been used for decades upon decades by not just the Fleischers but also animators at Disney. Snow White heavily referenced a performer named Marge Belcher using similar techniques.It goes all the way to Ralph Bakshi's 1970s Lord of the Rings film, which famously uses rotoscoping. You can argue one way or another over whether Ralph Bakshi's rotoscoping looks good or not. I think a lot of it looks really good. Lord of the Rings is not a very good-looking movie, but it's interesting, I think.People feel a lot of different ways about rotoscoping. Part of the mystique of animation is that something is artistic and being delivered in front of you, in a moving way that literally tricks you to think that these images that are just layered on top of each other very, very fast are actually moving. That's the point. I think that it takes an element of the mystique out of it, or the artistry out of it, to hear later on, "Oh, that was traced," or something like that. But the reality is this is just a tool, it's just a technique that a lot of animators and a lot of your favorite movies have actually deployed over the years. A lot of movies that you might know.The crux here is that the animated film division of the Academy came to the determination that this wasn't an animated film, because it required rotoscoping as much as it did. And it's got a lot of people ticked off for a lot of different reasons.2D animators obviously have had a hell of a time just continuing their craft. Just in general, the category as you wrote has been really dominated by fairly colossal corporate interest for a while. Do you want to talk a little bit about what specifically this tempest is all about?I think it's really frustrating to anybody who knows about the history of animation to call a decades-old technique used in animation not animation. So that's one side of that argument.Another side of this argument is the corporate aspect of the specific animated feature award. It's not Best Picture, which has been around for forever. It's not as clear-cut as Best Actor or Best Actress or something like that. Best Animated Feature has been around since the year 2001, so it's newer. Ever since 2001, it's always been largely dominated by either 3D CGI movies and/or films that are owned or have been distributed by Disney-Pixar. To pull out some examples, I think Shrek won the first year, and last year Encanto won.I don't have the history in front of me, but every year it's an ongoing joke in the animation community like, "Oh, another CGI movie is going to win." And it's very rare that, number one, a 2D film wins, even more rare I think than that a film that's not owned by a large mega-conglomerate, either Disney or Dreamworks, wins.They've all been Disney, Pixar, Dreamworks, Sony, with the exception of one Aardman picture, and then Spirited Away.Two independent studios have won over the past 20 years, which is like, I personally don't like those numbers. A lot of folks can say otherwise.And then there's this other side of the argument, and I think the animator Phil Lord got into this a little bit when he tweeted last year and a lot of people tweeted: The larger cultural understanding of the animated feature category is that it's made for children. That animation is just for kids, and that this is a juvenile pursuit. I think that the presenters at last year's Academy Awards leaned into that.It was really patronizing, if I recall.Yeah. The tone of that is very patronizing. You look at the animator Richard Williams who passed away a few years ago, this is a person who is known for a hyper-realistic, very, very fluid animated style. He's the reason that Who Framed Roger Rabbit looks as good as it does, because he impressed upon his animators, "You have to make sure the eyelines match up between the cartoon characters and the actors on stage."You look at artists on his level or on a Miyazaki level, or to go back even further a Chuck Jones level, and to say that they are making stuff that's only for kids is, if it were me, if I were in their shoes, I would find it very offensive. I would find it very patronizing.It's an interesting category for a lot of reasons. I looked at it last year because I'm obsessed with the Oscars, and Pixar usually gets a bid, Disney usually gets a bid, Dreamworks usually gets a bid, one of the other biggies gets a bid. And then they'll usually get an international feature or one of the Ghibli, Aardman worlds.It's weird that there's clearly a degree to which the animators within the division have enough clout to get those nominees for those international features and those smaller indie features, but it does seem that the branch is dominated by the kind of folks who just want to give it to Pixar, Disney or Dreamworks.That's the story the numbers seem to tell us. I think one of the frustrations, and I understand why it has to be this way, is that you do want to know how these voting bodies work, but it raises a wide variety of complications if we knew exactly how everybody voted, but a lot of the stuff happens in a very opaque way. Richard Linklater, in my story, when I interviewed him for this Apollo 10 ½ thing, his words I think were, "We really just don't know who's behind this decision making." The only way that he can conceive of it is that like, they must have something against rotoscoping, or, against us, "us" speaking for the independent animators that he works with.To him, to them, it feels like a David and Goliath situation where I'm sure a film like the latest Disney-Pixar thing that is made for $150 or $200 million or whatever it is, they would probably have no trouble getting nominated for anything, for clearing through any of the rules that are stipulated. This film, which is made for $20 million and there's definitely an outsider feeling there on the part of him and his animators, they're running into trouble.It's a challenging category because again, the work is really fairly incredible coming out of even the larger houses, not to diminish any of that. It is just weird.That's the thing too. No value judgment, it's not an artistic judgment on the artistry of a film like Encanto or Turning Red which are stunning, beautiful animated movies. I cried during Encanto not quite like I'd cried in any movie that year that it came out. But I think the tension is really like, "Oh, why is animation only this?" I think that's the question that is on some of these other animators' minds and on Linklater's mind.It's almost entirely 3D animated stuff. Again, I'm a LAIKA stan, and it's just shocking to me that they occasionally get the nominations, but it's a little evident that the body is just going to be predisposed toward 3D computer-animated graphic stuff instead of the 2D stuff, instead of the anime stuff, instead of the rotoscoping and stop-motion stuff.Yeah. LAIKA is a perfect example; just everything that they put out is amazing, it just looks stunning and it feels like if they get a nomination, it's a good year.You also cover a lot about just how the business of animation and streaming has really fundamentally changed; a lot of that, whether it's Crunchyroll merging with Funimation, whether it's all these streaming services jumping directly into the world of animation and then some of them getting cold feet and then getting the hell out. It's been an interesting couple of years for the business itself. Do you maybe want to talk a little bit about streaming and how that's changed some of the math for animated stuff?I'm glad you asked about that because we're in this moment right now, this sense in the animated world that this idea that animation and animators are playing second fiddle constantly to the world of live action. It shouldn't really be that way. These movies and shows take a lot of effort to produce and they do connect with kids and with adults in very, very profound ways. But we're in this moment where it's like, "Oh, you have this corner of the entertainment industry that is doing all this stuff but it feels like it's not getting recognized."Even within that side of the entertainment industry, you have these aspects of it that are, like anything else, it feels like the big dogs are running the show, like the indie animators are doing their own thing, doing something different but then maybe they're being shut out of awards consideration.The same is happening on a macro level. In terms of what I've been covering, to take the streaming wars for example, part of the larger capitalist world in which we operate — for example, Warner Brothers Discovery, the company removed I think 36 titles off of HBO Max without warning over the summer as they were trying to carve down on overhead and slash $3 billion worth of debt which the merged company had inherited.A big part of that was animated shows. A lot of animated shows were in that mix. A few of them, like Infinity Train for example, an amazing show, a brilliant genius show, very not of the same mold as other programming like it, Infinity Train was spiked from the service and all their social media accounts were eliminated. I think the music on Apple Music was removed. This all happened within a span of a few days to a week.I don't know the status of Infinity Train's physical media, but the sense of it was that this show had disappeared off the internet, completely disappeared. And as a fan, you're kind of like, "What the f**k?" As a fan, you're like, "What just happened here?" Offhandedly, I talked to people who worked on the show, and they were also just confused like, "What's going on?" I think that they were all blindsided. The creator of the show, Owen Dennis, wrote a very good Substack post on that exact thing, that feeling of blindsidedness.You've got all these things going on and it's not helping. Animators, or people who are fans of animation, it doesn't help them that some movies are being treated with seemingly a different set of rules as other movies, debatable on whether those rules should exist or not as they pertain to the Academy Awards. It feels like they're being devalued by some of these large companies that own some of the titles that they worked on, either to slash them to just offload debt or to eliminate them entirely for no reason. It seems like the reason is money, which to me doesn't really seem a good reason at all.Then at the same time, something like the Academy Awards, and the award is presented, are we then going to be treated to some hacky line from the last year's best supporting actress or whatever saying, "Oh, animation is so good for kids. It's so great to watch when you grow up, this is what you do when you're a child, and that sense of wonder" or whatever.I don't know, man. If all this stuff is happening to you and you're an animator and you're already baseline underpaid, because everybody's underpaid in Hollywood or anywhere in media, you learn that your work is being devalued by the company you work for. You learn that, an opportunity that I have to go on stage and accept this award is being seen as this purely juvenile pursuit that only appeals to children. Again, we're speaking hypotheticals for all of this, but the multinational company worth billions upon billions of dollars that happens to have billions upon billions of dollars in debt, essentially disappears your cartoon from the service that it was running on?I would be demoralized. I'd be very demoralized.Demoralized is a really good word. It's also fascinating because it's objectively wrong. Adult animation, it's really hit a stride recently; demand is only going up.I alluded to Crunchyroll earlier, but again we've seen demand for anime go through the roof. It seems like it's very much a dated mentality that animated programming is exclusively for kids. It is just a separate art form in a way.You've written a lot in particular about how creatively we've been in a bit of a renaissance when it comes to what one can do with animation and who animation can be for.Yes, absolutely. I don't know, some of the best action filmmaking that I have ever seen has come from Genndy Tartakovsky, director and creator of Primal and Samurai Jack and Dexter's Laboratory. I interviewed him a few years ago and I can't remember the exact quote, I've got to pull it up in my notes. I think I asked him something on the level of, "Would you want to direct a live-action film?" or something like that. And for him, it's not about that. It's not about "graduating" from animation into live action. I can't remember the exact quote, but he told me, basically, it's all about filmmaking. It's all about composing shots, creating storyboards, getting the timing, getting the action and putting a film together.I just saw a tweet today, it's Steven Spielberg getting interviewed about something 30 or 40 years ago. He talks about how animation is the father of live-action filmmaking. The quote is like, "They need to know how a chipmunk rolls into a bank of snow or whatever, because they need to paint every motion of that chipmunk rolling over and over and over across 12 cells per second." This is Steven Spielberg. Steven Spielberg gets it. Why can't anybody else get it?I talk to folks in the comics world who say very similar things, where it's just, they're not trying to storyboard Marvel movies 10 years from now. They're trying to do something in a format that you can uniquely only accomplish in that. You can do things in animation that you cannot do in live action and that's what makes it very cool.It's not for nothing, but the conversations that are happening in the film and TV animated world are probably also happening at the same time in the VFX animation world. We're hearing a lot about these video effects workers on these Marvel movies talking about their labor issues, everything from increased workload leading to overly demanding schedules, and so the product resulting in it looking bad, the product looking not what a movie should look like and not adhering to some of these basic rules of filmmaking, framing and making sure what the stakes are. I think we're just in an interesting period where a lot of these big productions are coming out, you've got Star Wars, you've got all these Marvel movies, you've got the DC Extended Universe. All those require intense special effects like animators. And these two practices are very closely linked, even if they're not going after the same goals.Where can folks find you, Eric? Where can folks find your work and what are you working on these days?Yeah, I'm at Vulture. My Twitter handle is @e_vb_, and anything I write these days typically winds up at vulture.com.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips, or feedback at walt@numlock.news.  Get full access to Numlock News at www.numlock.com/subscribe

Join Caitlin, Ira, and special guest Reid Mitenbuler as they go one frame at a time through Max Fleischer's silent era series, Out of the Inkwell. When you finish listening be sure to check out Reid's book about the Golden Age of animation, Wild Minds.~Hosted by Caitlin Cadieux and Ira Marcks@feelingcartoons (Twitter)@feelingcartoons (Instagram)cartoonfeelings.com (Episode Archive)cartoonfeelingspodcast@gmail.com (Write Us Feelings/Questions)

Welcome to the place where we get to let our geek flags fly and talk about all things geek. Basically a fuzzy guide to life, the universe, and everything but mostly geek stuff. This is a look into the world of geekdom and some geek news, comics, The Simpsons, Star Wars, and whatever randomness finds its way onto the recording. This level of the podcast includes: Eugene Cordero's upped to series regular for Loki S2 Andor showrunner claims show won't have fan service easter eggs Splinter Cell game reboot will update story for a modern audience The Last of Us teaser Blade Runner 2099 series greenlit by Amazon Jordan shared a rad Max Fleischer-esque cartoon with Venom and Doc Ock New Iron Man video game from Motive Studios Grant Gustin shares last first pic of him as Flash Heels S2 release date - Oct 9 on Starz Fantastic 4 finds writers in Jeff Kaplan and Ian Springer King Shark inflatable costume Paramount working on a new Cloverfield film Clark Gregg honored for his mental health advocacy James Earl Jones retires as voice of Darth Vader Gudetama trailer - Netflix Dec 13 Wednesday show on Netflix release date with rad poster - Nov 23 Our Flag Means Death S2 begins shooting in New Zealand Hasbro to release new holiday Black Series figs for Star Wars She-Hulk characters - one note tropes Disney King Kong show Entire series of The Bear In the Big Blue House on Disney+ Oct 19 Avenue 5 S2 - Oct 10 Hulu has gained several new CN Shows to its platform Black Panther LEGO spoilers Lord of the Rings is old enough to drink Illumination's Super Mario Bros. film teaser trailer at NYCC Sandman S2 hasn't been announced because Netflix still figuring out analytics Small Batgirl stuff continues to leak online Streamers in bidding war over Michael Ende's The NeverEnding Story Congrats on completing Level 313 of the podcast! Think positive, test negative, stay safe, wash your hands, wear a mask, and good luck out there. Feel free to contact me on Twitter and/or Instagram (@wookieeriot). You can also reach the show by e-mail, laughitupfuzzballpodcast@gmail.com., or by joining the Facebook group (https://www.facebook.com/groups/1879505335626093). I'd love to hear from you. Merch is available at teepublic.com/user/laugh-it-up-fuzzball. Also subscribe to the feed on Apple podcasts, Google podcasts, Stitcher, Breaker, IHeartRadio, RadioPublic, Spotify, or any of the apps which pull from those sources. Go do your thing so I can keep doing mine. If you feel so inclined, drop a positive rating or comment on those apps. Ratings help others find the madness. Tell your friends, geekery is always better with peers. Thank YOU for being a part of this hilarity! There's a plethora of ways to comment about the show and I look forward to seeing your thoughts, comments, and ideas. May the force be with us all, thanks for stopping by, you stay classy, be excellent to each other and party on dudes! TTFN… Wookiee out! --- Send in a voice message: https://anchor.fm/laugh-it-up-fuzzball/message Support this podcast: https://anchor.fm/laugh-it-up-fuzzball/support

From a flirty flapper to the man of steel, artist and innovator Max Fleischer left his mark on the field of animation. On his 139th birthday, Sci-Fi 5 looks back at Fleischer's life and influences that still influence the industry today. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written by Ashley Thomas Hosted by Roberto Lewis  Music by Devin Curry

From a flirty flapper to the man of steel, artist and innovator Max Fleischer left his mark on the field of animation. On his 139th birthday, Sci-Fi 5 looks back at Fleischer's life and influences that still influence the industry today. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written by Ashley Thomas Hosted by Roberto Lewis  Music by Devin Curry

From a flirty flapper to the man of steel, artist and innovator Max Fleischer left his mark on the field of animation. On his 139th birthday, Sci-Fi 5 looks back at Fleischer's life and influences that still influence the industry today. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written by Ashley Thomas Hosted by Roberto Lewis  Music by Devin Curry

GGACP celebrates the birthday of legendary animator William Hanna (born July 14) with this salute to Saturday morning cartoons featuring animation historian/author Jerry Beck (“The 50 Greatest Cartoons,” “The Hanna-Barbera Treasury”) and TV host/presenter Bill Leff (Me-TV's “Toon In with Me”). In this episode, Jerry and Bill (along with Gilbert and Frank) look back on the kiddie show hosts of their youth and deconstruct beloved programs like “Looney Tunes,” “The Flintstones,” “Jonny Quest,” “The Jetsons,” “Underdog” and “Wacky Races." Also, Daffy Duck meets Jack Benny, Gomer Pyle “inspires” Milton the Monster, Jackie Gleason (almost) sues Hanna-Barbera and “Batmania” inspires a wave of super-knockoffs. PLUS: The genius of Jay Ward! The art of Dave and Max Fleischer! The Three Stooges go robonic! Jerry hangs with Chuck Jones and Friz Freleng! And the boys praise the talents of Mel Blanc, Daws Butler, Paul Frees and Paul Winchell! Learn more about your ad choices. Visit megaphone.fm/adchoices

Max Fleischer was a pioneer in early animation and yet many of his cartoons are in desperate need of restoration.  Joining the podcast to talk about their restoration efforts in partnership with the Max Fleischer estate and Paramount pictures are Mauricio Alvarado of Rockin Pins, restorer Brandon Adams, and author and Max Fleischer expert Ray Pointer.Along the way, we discuss the the genius of "Koko the Clown" and how it has become a pop-culture phenomenon with young people.  And we discuss the beloved fashion icon status of "Betty Boop" and her origins in early cartoons.  We also touch on "Popeye" and "Superman" and their legendary status in animation history.Links: ROCKIN PINSLinktr.ee for Fleischer Cartoonswww.inwellimagesinc.comLinktr.ee for Not An Animation HistorianOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  www.otakumedia.tv

Following up on our Mr. Majestyk episode, Eric interviews Bruce Fleischer and Max Reid. Bruce is the son of the director of Mr. Majestyk, Richard Fleischer (and grandson of Max Fleischer!), and Max Reid was on set as an AFI intern. On top of that, they're brothers-in-law! They have amazing stories from Richard Fleischer's career, their interactions with Charles Bronson, and so much more! --- Send in a voice message: https://podcasters.spotify.com/pod/show/twicb/message

Gilbert and Frank are joined by animation historian/author Jerry Beck ("The 50 Greatest Cartoons," "The Hanna-Barbera Treasury") and TV host/presenter Bill Leff (Me-TV's "Toon In with Me") for a nostalgic look back at the kiddie show hosts of their youth and the glory days of Saturday morning television ("Looney Tunes," "The Flintstones," "Jonny Quest," "The Jetsons," "Underdog," "Wacky Races," etc.) Also, Daffy Duck meets Jack Benny, Gomer Pyle "inspires" Milton the Monster, Jackie Gleason (almost) sues Hanna-Barbera and "Batmania" inspires a wave of super-knockoffs. PLUS: The genius of Jay Ward! The art of Dave and Max Fleischer! The Three Stooges go robonic! Ronald Colman joins the Beatles? Jerry hangs with Chuck Jones and Friz Freleng! And the boys praise the talents of Mel Blanc, Daws Butler, Paul Frees and Paul Winchell! Learn more about your ad choices. Visit megaphone.fm/adchoices

Superman ist längst in der "Hall of Fame" der Superhelden gelandet. Erfunden haben ihn zwei jüdische Migranten in den USA, Joe Shuster und Jerry Siegel. Viele jüdische Comiczeichner kamen aus Ost-Europa nach Amerika, Heike Mund erzählt ihre Geschichten. Von Heike Mund.

Directed by Max Fleischer for the Jam Handy Organization, we hear a rendering of the story of Rudolph. What could go wrong? Show notes available in the post at https://coyote.works/2021/RudolphReindeer.html.

The Mental Suppository Podcast is back at the Northeast Comic Con and Collectibles recording live from their Winter 2021 Convention. This time Bret, Jamie, Andrew, Wayne and special Guest Sydney Goddard are doing a live read of episode seven of the 1941 Superman radio serial Dr. Dahlgren's Atomic Beam Machine!! Superman was first given a voice on the radio by Bud Collyer, who also voiced the Man of Steel in animated serials produced by Max Fleischer around the same time and would later return to the role for Filmations 1966 Saturday Morning Cartoon. If you had already watched the live read either at the Convention or on the Mental Suppository YouTube Channel, you're in for an auditory treat with this episode. The team has added music and sound effects to the reading much like they did with their live read of the Dick Tracy Radio play. To give the audience the feeling they are listening to an old time radio broadcast. So sit back, close your eyes and open up your theatre of the mind. Because this looks like a job for… THE MENTAL SUPPOSITORY PODCAST!!

This week, The Greatest Song Ever Sung (Poorly) looks back at history through another music trivia challenge, and then dives headfirst into the history of karaoke, the thing that unites Adam and Ed in holy bromance-trimony despite all their obvious differences. They cover where it originated, who created it, how it came to the US, and some things that laid the groundwork for its popularity in the USA--and how does cartoonist Max Fleischer fit in to that? Then, they're joined by guest Christian Swain (host of the Rock N Roll Archaeology podcast) who brings some historical perspective on the longevity of certain songs at karaoke (and rock and roll in general), how karaoke changed people's minds about music and performance, and the worst band names of bands he's ever been in. He even sings an answer in the "Hit Me with Your Best Shot" quickfire game. You can dig deep into rock and roll history with Christian's podcast Rock N Roll Archaeology, and even deeper into all sorts of music podcasts in the Pantheon Podcast Network. And if you're lucky enough to be in the Northern California area, you should absolutely check out his band TinMan, or hire them to rock out your next big event. As always, you can find more info on the website (https://www.sungpoorly.com), and on social media–the show is @sungpoorly on Twitter, Facebook, Instagram, and now even TikTok. You can reach Adam and Ed via email by sending a message to sungpoorly@gmail.com. The discussion continues at The Greatest Song Ever Sung (Poorly) Podcast Facebook group. Theme song: "Gasoline" by Ben Dumm and the Deviants. Make sure to check out Ben's newest music at The Ben Dumm 3, wherever fine music can be streamed.

Paul & Amy kidnap 1993's Gothic stop-motion musical The Nightmare Before Christmas! They praise the carnival-esque compositions of Danny Elfman, compare Oogie Boogie's big musical number to the Max Fleischer cartoon it was inspired by, and dig into the thorny question of who this film's true auteur is, Tim Burton or Henry Selick. Plus: Why did the studio want Jack Skellington to have eyes? Next week Unspooled continues our series on musicals with Grease! You can join the conversation for this series on the Unspooled Facebook Group at https://www.facebook.com/groups/unspooledpodcast, and on Paul's Discord at https://discord.gg/ZwtygZGTa6. Learn more about the show at unspooledpod.com, follow us on Twitter @unspooled and Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Stitcher and Spotify. You can also listen to our Stitcher Premium game show Screen Test right now at https://www.stitcher.com/show/unspooled-screen-test, and apply to be a contestant at unspooledpod@gmail.com!

A fantasy retelling of a medieval story of an ultra-violent, epic fantasy set in a land of auditory magic follows co-hosts from different backgrounds and cultures battling against a malevolent takeover. On Episode 484 of Trick or Treat Radio Evil Corny is back for another Patreon Takeover! This time around he chose the rotoscoped animated fantasy epic, The Spine of Night and the Arthurian legend of The Green Knight for us to discuss! We also air some more dirty laundry in the middle of a film discussion, discuss the history of rotoscope, and find out which disaster befell the god of war this week. So grab some snacks at the nearest alcohol store, prepare to go on a fool's journey, and strap on for the world's most dangerous podcast!Stuff we talk about: Fawlty Towers, Evil Corny, Kubrickian, Patreon Takeover, caterpillars, John Deere, Stephen King, Chris Pratt, Will Smith, Super Mario Bros., The Incal, Taika Waititi, The Metabarons, Stephen Scarlata, Scarlett Johannson, Alejandro Jodorowsky, Akira, Star Wars, What We Do In the Shadows, Extra Special Halloween Special, Discord, the alcohol store, bubbalah, Jack Palance, Shane, how do you fix fire?, The Black Knight, Martin Lawrence, The Spine of Night, Heavy Metal, Fire and Ice, Max Fleischer, A Scanner Darkly, The Congress, rotoscoping, Cab Calloway, Wizards, Ralph Bakshi, Paul Dini, Anthology Films, Superman Cartoons, John Candy, Fist of the Northstar, animation for adults, Heavy Metal soundtracks, Fritz the Cat, Metalocalypse, Heavy Metal Magazine, cosmic horror, Patton Oswalt, Lucy Lawless, contradictory statements, Ving Rhames, Buttcrack, Art Spiegelman, Maus, The Green Knight, David Lowery, Dev Patel, Alicia Vikander, Joel Edgerton, Casey Affleck, A Ghost Story, Ralph Inseson, Summer School, Arthurian Myth, King Arthur, Guy Ritchie, Morgan le Fay, First Knight, Camelot 3000, Alan Moore, Grant Morrison, Merlin, The Fool's Journey/The Hero' Journey, Orange Cassidy, A.V.H.J, Erin Kellyman, Alicia Vikander, The Night House, David Bruckner, Hellraiser, The Lamont Configuration, Jesus Wick, Willy Nobody, eating off a silver platter, The Rocky Overhang, and A Scanner Dorkly.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

SATURDAY MORNING CARTOONS IN THE 1960S AND 1970S… Many have pointed to Lou Scheimer as one of the key architects of Saturday Morning Television as we know it when his company Filmation one upped animation titans Hanna-Barbera by not only purchasing the rights to do the very first Superman cartoon for the Saturday morning market, but also getting Bud Collyer, the man who originally provided the voice for Superman on radio and in the Max Fleischer animations in the 1940s. Before this, most animation broadcast on Saturday television were either old cartoon shorts originally shown in theaters repackaged for television or animated series shown on prime time such as the Flintstones or Johnny Quest. The launch of Superman by Filmation was the beginning of animated shows specifically produced for the Saturday morning market. In the following decades Hanna-Barbera would catch up to Filmation, flooding the market with a glut of television series. Some are more memorable than others. In part one, Bret, Kevin and Andrew discuss and look back at some of their favorite shows growing up. So wake up early and watch the test pattern with a bowl of cereal as you once again wait for your favorite programs to come on.

Welcome to the second episode of Kaiju Vs. History Podcast. In this episode we go over some of the early examples of monster movies. We dive into the origin of giant Kaiju like creatures in the collective world consciousness. Before King Kong graced the silver screen and after there were several proto-Kaiju and dinosaur films that would help formulate the tropes and cinema styles of the genre. First up we explore actual history with the history of giant animals on planet Earth – thats right its the actual history of everything from biblical accounts of Giants to the discovery of dinosaur bones. Throughout human history mankind has been fascinated by dragons and krakens and other massive creatures that could swallow a man whole. Next up we talk about a silent animated film from the mind of Little Nemo, Winsor McCay’s “The Rarebit Fiend: The Pet”. In this 1921 short celebrating its 100th anniversary this month we see perhaps the first depiction on film of a giant monster rampaging through city streets, terrorizing and eating people, all before being taken down by the armed forces. From Jules Verne’s “The Lost World” and its fanciful depiction of sub-Saharan African dinosaurs rampaging through the city streets to a Max Fleischer ‘Superman’ animated short, we explore other introductions of what would become cornerstones of Kaiju Eiga, first being formulated and shown on the big screen. We will revisit and return to these formulized facets of Kaiju films with next week’s first official Kaiju review. Next Week on Kaiju Vs. History: 1933’s KING KONG Twitter: @kaijuvshistory Email: kaijuvshistory@gmail.com

This week we're discussing the new(ish) and much hyped Nicolas Cage movie Pig! We also discuss Max Fleischer's Popeye, Mandy, Bill Duke's Deep Cover, and 1980's Effects, among other things!If you're enjoying the show, please SUBSCRIBE, SHARE, and REVIEW!Follow us on Instagram @rainydayvideopodcastSee you next time! #savethepig

Decades before Pixar took the magnifying glass to the micro-world, Max Fleischer and company imagined a grasshopper falling in love with a bee; and now Stephen and his crew use their own micro-brains to judge Fleischer's macro-effort.

In dieser Folge befassen wir uns auf Martins Wunsch hin mit Ari Folmans „Der Kongress“, der wiederum auf Stanisław Lems Roman „Der futurologische Kongreß“, der passenderweise dieses Jahr 50 Jahre alt wird, basiert. Dabei befassen wir uns mit den verschiedenen Fragen von „Realität“, die Folman in diesem Film aufwirft: Was ist innerhalb der Filmwelt real? Was passiert in der „Cartoonwelt“? Wie können die Leute unsterblich werden? Wieso heißt eigentlich die Hauptfigur genau wie die Schauspielerin, die sie spielt? Und warum sieht Berlin-Tegel aus, wie in einer Dystopie? Das alles und noch viel mehr besprechen wir in einem Kontroversen Gespräch in dieser Folge.

Alternate Realities. Parallel Universes. Infinite Multiverses. These concepts have become a staple of the modern day superhero comic book story. With series like DC's Elseworlds and Marvel's What If…?, readers get the opportunity to see their favorite characters, stories and events play out differently than they had seen before. Join the Geeks as they get a visit from Doctor Impact and dive into a few of the multiple worlds along the cosmic interdimensional highway during Elseworlds & What Ifs…? on My Big Fat Pull List! (originally released 1/18/2019) Links from this Episode: — Elseworlds http://dc.wikia.com/wiki/Elseworlds — What If… https://en.wikipedia.org/wiki/What_If_(comics) — Superman #14 1942 https://comics.ha.com/itm/golden-age-1938-1955-/superhero/superman-14-dc-1942-condition-pr/a/121841-12619.s — Max Fleischer https://www.biography.com/people/max-fleischer-082515 — Imaginary Stories http://dc.wikia.com/wiki/Category:Imaginary_Stories — Leo Dorfman https://en.wikipedia.org/wiki/Leo_Dorfman — Curt Swan https://en.wikipedia.org/wiki/Curt_Swan — Superman/Batman: Brothers http://dc.wikia.com/wiki/World%27s_Finest_Vol_1_172 — Whatever Happened To The Man Of Tomorrow? https://en.wikipedia.org/wiki/Superman:_Whatever_Happened_to_the_Man_of_Tomorrow%3F — Alan Moore https://en.wikipedia.org/wiki/Alan_Moore — What If… Spider-Girl http://marvel.wikia.com/wiki/What_If%3F_Vol_2_105 — MC2 https://en.wikipedia.org/wiki/Marvel_Comics_2 — Gotham By Gaslight http://dc.wikia.com/wiki/Batman:_Gotham_by_Gaslight — Batman Holy Terror http://dc.wikia.com/wiki/Batman:_Holy_Terror — Legends of the Dead Earth annuals http://dc.wikia.com/wiki/Legends_of_the_Dead_Earth — Alex Ross https://en.wikipedia.org/wiki/Alex_Ross — Kingdom Come http://dc.wikia.com/wiki/Kingdom_Come

It's time to dive into our first series of theatrical cartoon shorts! We're still a long ways from Looney Tunes and Mickey Mouse, but even back in 1919 characters were being created who are still known today! In this particular case, the cartoon stars a clown who would eventually be known as Koko, and would become best known for being a side character in early Betty Boop cartoons. This time it's just him and an obnoxious fly... and also the animator Max Fleischer himself! Is this cartoon from over 100 years ago still funny or enjoyable to watch in the year 2021? Listen to find out! --- Support this podcast: https://anchor.fm/howsitholdup/support

Betty Boop is a beloved cultural icon, but she was controversial in her heyday. I talk with Mark Fleischer – grandson of Betty Boop’s co-creator Max Fleischer – and Mark’s wife Susan Wilking Horan about how the character was created and why she still endures. I also talk with film critic Marya Gates and Professor Thomas Doherty about how the Hays Code, which censored Betty Boop, had a profound impact on the moral universe of Hollywood films, and why this defunct production code is still influencing movies up to this day, especially with fantasy entertainment. Today's episode is brought to you by BetterHelp and Amazon's Faraway Collection. Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. Imaginary Worlds AdvertiseCast Listing Learn more about your ad choices. Visit megaphone.fm/adchoices

La estética de Cuphead te recuerda a algo? Este estilo tiene un origen, en la animación de 1930, aproximadamente. Te invito a escuchar este audio (mejor con audífonos) Si quieres descubrir por qué la animación antigua tiene ese estilo tan característico y cómo hacían para lograr una animación tan fluida. Además de la guerra que originó esto, entre Max Fleischer y Walter Disney. (el ultimo siendo un sucio ratero) Un episodio muy especial, dedicado a fanáticos de la animación, pieza vital en los videojuegos, además para los que disfrutan de estilo vintage (aunque eso ya es más tardío) espero disfrutes. Te dejo mucha información acá: Pleito de Disney y Fleischer (está en english) La Rotoscopia, articulo en wikipedia El arte de la rotoscopia: un poco de historia La Filmoteca Maldita. (canal recomendadísimo) Video de la rotoscopia EL robo de "Aladin" Propaganda de guerra en la animación. Animaciones antiguas (o interesantes) Fantasmagorie primera animación de la historia. Gertie the Dinosaur Betty Boop - La iniciación de Bimbo Betty Boop - Blancanieves Betty Boop - El viejo de la montaña JoJo's Bizarre Adventure animado estilo rotoscopia y una comparación lado a lado Redes: Instagram Twitter semilladevideojuegos@gmail.com Disponible en varias plataformas Rolas Swing Time - Free Royalty-Free Music https://youtu.be/nDDfWDvVROI Take it Easy royalty free swing jazz https://youtu.be/oozdtYAypqE Swingin Into La La Land royalty free swing https://youtu.be/FAHDJ106Myk Anton Shilo - Space Swing https://youtu.be/gxBU9oPtsoI --- Send in a voice message: https://anchor.fm/semillavj/message

The Morrisania section of The Bronx is named after one of the country’s founding fathers and author of the Preamble to the Constitution of the United States. In this episode we discuss the life of Gouverneur Morris and his contributions to Bronx neighborhoods like Mott Haven, Morrisania, Port Morris, and more. We will also learn who is the inspiration for Max Fleischer’s cartoon “Betty Boop.” Or will we? For more information on past and future episodes, visit GoBronxPod.com. Follow us on Facebook, Twitter and Instagram @GoBxPod

#169 Tyler (Superman Blue) and James (Superman Red) talk about all the news including. Doom Patrol, Stargirl, the new Batwoman, Matt Reeves Gotham PD show and more. The final episode of the Max Fleischer cartoon Superman series with Terror on the Midway #9.  Famous Studios first Superman cartoon #10 Japoteurs.    https://www.facebook.com/kryptonreport https://twitter.com/KryptonReport https://linktr.ee/Kryptonreport When you shop at Amazon.com using this link, every dollar you spend supports our podcast network and doesn’t cost you a penny more. amazon.smgpods.com

Drew Taylor & Jim Hill start off this week’s episode by talking about the “Gravity Falls” tribute episode which will be airing on Disney’s “Amphibia” in August. They then look back at how Walt Disney & Max Fleischer battled for animation supremacy in the 1930s  Learn more about your ad choices. Visit megaphone.fm/adchoices

Drew Taylor & Jim Hill start off this week’s episode by talking about the “Gravity Falls” tribute episode which will be airing on Disney’s “Amphibia” in August. They then look back at how Walt Disney & Max Fleischer battled for animation supremacy in the 1930s  Learn more about your ad choices. Visit megaphone.fm/adchoices

Show Notes:Welcome to Episode 84! Talk about getting busy L-I-V-I-N!! You must listen to this conversation/interview with Max Fleischer! Max relocated from Argentina to South Florida. A true tourist in every sense of the word! Check out his Knowledge Nuggets on not needing others for validation and to live on purpose! Remember Our Troops, Always Level UP and Enjoy!Quote: Live on your own terms, do not live for external validation or other people's expectations - Max Fleischer Knowledge Nuggets and Take-Aways:Stay open and turned in to where every opportunity takes youBe a tourist in your own lifeLive on your own terms not live for external verification or other people's expectationsA great coach should put you before themselvesThere is no such thing as failure, only events. Learn during these events Don’t quit on a bad dayHere is a link to this episode on our website: https://timetoshinetoday.com/podcast/maxfleischer/Recommended Resources: www.MaxInspired.com Max’s Linked INMax’s FacebookMax’s InstagramHost Your Podcast for Free with Buzz Sprout Our Show Sponsor Sutter and Nugent Real Estate - Real Estate Excellence Music Courtesy of: fight by urmymuse (c) copyright 2018 Licensed under a Creative Commons Attribution (3.0) license. http://dig.ccmixter.org/files/urmymuse/58696 Ft: Stefan Kartenberg, Kara Square

Originally Aired Sunday, January 20th 2019 This week we take a look at the 1941 Max Fleischer Superman Cartoons and bring our friends from Retro Rewind Podcast along with us!   Listen to the #RetroRewindPodcast as Francisco, Paul, and a guest host take another look at movies, video games, and sometimes TV Shows which are 15+ years old. We discuss what we like, what we don't like, and finally ranking what's a Classic, Nostalgic, or Tragic. Find all RRP's stuff at: http://retrorewindpodcast.com/ Subscribe to RRP's YouTube: https://www.youtube.com/retrorewindpodcast Vote on which movies RRP covers at: http://retrorewindpodcast.com/vote Check out their podcast on iTunes and Google Play! Follow RRP on Twitter, Instagram, and Facebook: @retrorewindpod Follow Francisco on Twitter, Instagram, and Dribbble: @fxruizx Check out Paul at http://www.pauljpowers.com Check out Retro Rewind Podcast and help support what they do! _____ We want to give a very special thank you to the Devoted Patreon Geeks who help to support Geek Devotions on a monthly basis: Francisco Ruiz Jonathan Gilbert Adam Arciniega Cody McGurk Erin Straus

  Mark Fleischer is the grandson of renowned animation pioneer Max Fleischer, and CEO of Fleischer Studios in California. .  Our connection here is that Max's sister was my brother Bill and my grandmother.  So this is a thrill in many ways to connect with him.   Thanks again to Ginny Mahoney Max’s granddaughter) for connecting me with Mark in the first place.  It made for a fascinating look into the creations and inventions of Max and his brothers.   Go to www.fleischerstudios.com for extensive detailed history and archived cartoons!       I dedicate this podcast to all my family members who are branches of this big tree...(I’ll never get to them all......apologies in advance..).  but they include..   Ethel (Max Fleischer’s sister) and Ben Phillips (grandparents) Their 3 Kids and spouses:  Morton and Rosalind Phillips  (mom and dad),  Larry and Phyllis Phillips (aunt and uncle) Paula and Maurice Seide (aunt and uncle)   THEIR KIDS AND SPOUSES in order of the couples above...   Morton and Rosalind Phillips: RICHIE AND DORRIE PHILLIPS BILL AND KAREN PHILLIPS   Larry and Phyllis Phillips: DIANE AND DR MARK STENCLIK NANCY AND MERRICK GOTLIB DR. PAUL PHILLIPS   Paula and Maurice Seide STEVE AND SUSAN SEIDE ARLENE AND GEORGE NELSON   AND TO THE MANY KIDS OF THOSE KIDS, THEIR SPOUSES AND THEIR KIDS......  OMG -What did I get myself into!   Thanks to my brother Bill Phillips, our son Ben Phillips, niece Jessica Lorenz  and nephew Tyler Phillips, and cousin Steve Seide for contributing questions.  I know my nephew Matt Phillips would have but is in the weeds covering the stock market debacle.. Please enjoy the podcast and I would appreciate if could subscribe and even leave a comment.  It helps greatly!   And one more thing - if you are planning a function and want entertainment (live keyboards with vocals or recorded music- DJ style.)...go to www.hirerichie.com  

Time to discuss the science of scary with my guest Mike from The Controller Throwers and the game Another World. We break down this title as horror and look at the premise of the unfortunate tale of Lester Knight Chaykin, not being an action hero, development by Eric Chahi and old indies, why the name was changed to "Out of this World", the science of cover art design, Mike finding his long lost cart after decades, why some love the game and why some hate it, the many ways to die and death animations, similar contemporary games, rotoscoping, Max Fleischer and Don Bluth, lacking gaminess, early cinematic and atmospheric storytelling, the question of a boundary between film and game, exposition vs pacing a narrative, re-releases, Heart of the Alien and Heart of Darkness, the idea of needing sequels, influential games and what Another World has inspired, experiencing as playing vs watching, oversaturation, and the definition of a classic.Links: medium.com/@thaisweiller/games-are-not-art-9a7e540e4bf1twitch.tv/tcthrowersthewellredmage.wordpress.com/2016/03/06/another-world/thewellredmage.com/2018/10/23/another-world-20th-anniversary-edition-2018-switch/Patreon: patreon.com/thewellredmageGuest: @TCThrowersSupport the show (http://www.patreon.com/thewellredmage)

Is it a bird? Is it a plane? No, its our latest podcast! This week, co-host Michael wanted to talk about superheroes, so he convinced other co-hosts Ben and Stefan to talk about the Max Fleischer Superman short films from the 1940's. So join us as we talk about the ups and downs of Superman fighting Germans and Nazis (yeah, Hitler's even in one of the episodes).00:00 - Intro (Yes, Michael didn't do it right again) 01:04 - Toons We've Tuned Into 08:00 - Max Fleischer & how the Superman were created21:39 - Superman discussion 36:30 - Mechanical Monsters discussion44:34 - The Bulleteers discussion 50:20 - Terror on the Midway discussion 55:13 - Jungle Drums discussion 59:31 - Secret Agent discussion 1:03:55 - Final Thoughts 1:05:56 - ANIMATIONS TRAILERS! NEWS! MORE!1:18:18 - Goodbye!!! (Again, Stefan and Michael do not help with this part) Here’s a link to our Spotify page: https://open.spotify.com/show/5lQWY5TKMxgC3ZwTPaFpHzAlso check out our Twitter Page: https://twitter.com/animate3podOr our Facebook Page: https://www.facebook.com/animate3podMaybe even our YouTube page: https://www.youtube.com/channel/UCg9zHeann-B6TVePSjeUzZg?&ab_channel=AnimatinginThrees

Last week we talked about the latest "most ambitious crossover event in history" with Avengers: Endgame, but this week we want to discuss the real most ambitious crossover event in history, and it ain't no Marvel film. Who Framed Roger Rabbit is a  special, one-of-a-kind film we will probably never see again. The licensing problems alone are enough to make it completely unfeasible. Here, we have the ultimate coming together of classic and important figures in animation history: Disney, Warner Brothers, Tex Avery, Max Fleischer, and every other iconic name to ever put ink on film. Combine that with a loving send-up of classic Film Noirs of the 40s and 50s and you have the makings of a masterpiece of genre filmmaking. Who Framed Roger Rabbit has become a cultural touchstone that ages more brilliantly with each passing year. The technical achievements alone are deserving of such lauded recognition, bringing together animation and live action in the most natural and impressive way ever seen, even more than 30 years later. This week, we are joined by fellow The Twin Geeks editor Brogan to give our appreciation of this peerless classic, and everything that makes it so brilliant. Timestamps: 0:00 - 10:17: Videogame movies 10:17 - 42:39: Box Office - Pikachu vs Endgame 42:39 - 1:23:22: Who Framed Roger Rabbit

Join Tammy Coron and Tim Mitra on Episode 121, which was recorded on February 20, 2019. On this episode, they talk with Mark Fleischer. Mark is the President and CEO of Fleischer Studios. Fleischer Studios was responsible for creating and animating some of the most beloved characters in American animation — including Betty Boop and Koko the Clown. Mark is also the son of the legendary movie director, Richard Fleischer (20,000 Leagues Under the Sea) and grandson to Max Fleischer (creator of Betty Boop). He called into the studio to share some of his family history. If you like listening to Roundabout: Creative Chaos, and you want to know how you can help support the show, please consider making a small donation. Your support helps us cover the costs of hosting, post-production, and other administrative fees.

Descarga este episodio POPEYE EL MARINO ESTÁ DE CUMPLE. El famoso personaje de historieta Popeye el marino, creado por el dibujante estadounidense Elzie Crisler Segar y llevado a la pantalla por Dave y Max Fleischer, cumple 90 años este 17 de enero. EL ESPECTADOR HISTÓRICO:  EL 'SHUTDOWN' EN EEUU. El comandante de la Guardia Costera de Estados Unidos, el almirante Karl Schultz, envió una carta a sus subordinados advirtiéndoles que no recibirían una nómina de pago debido al cierre del gobierno federal, que comenzó hace 26 días. NBC DETRÁS DEL #10YEARCHALLENGE. El éxito de los hashtag #2009 o #10yearchallenge está siendo enorme en todas esas redes, pero hay quien ha alertado ya de cómo este tipo de experimento puede haber sido una mina de oro para entrenar sistemas de reconocimiento facial. XATAKA LA CARAVANA MIGRANTE, SEGUNDA PARTE. Muchos de los más de 200 migrantes que partieron este miércoles en una caravana se muestran resignados a quedarse en tierras mexicanas EL ECONOMISTA | LA TRIBUNA BRITÁNICOS COMPRAN 'BREXIT BOX'. Ante la incertidumbre sobre el Brexit, algunos británicos están pagando altas sumas por “kits de supervivencia”, que incluyen comida liofilizada para 30 días, un filtro de agua y gel para prender fuego. El precio rodea las 300 libras o USD$ 385, y cada vez se venden más. EL COMERCIO HALLAN NECRÓPOLIS EN RUSIA. El Instituto Arqueológico de la Academia de Ciencias de Rusia ha anunciado que un equipo de arqueólogos ha encontrado una necrópolis de 4.500 años bien conservada en las inmediaciones de Istra, una ciudad que se encuentra en la región de Moscú. RT GOOGLE MAPS YA DETECTA RADARES. Google Maps ha comenzado a desplegar su avisador de radares integrado, aunque por ahora parece una función experimental y limitada a algunos usuarios. EL ESPAÑOL COPA AMÉRICA: BOLETOS EN VENTA. El sitio web copaamerica.com es la plataforma designada para la adquisición de los tan anhelados pases. Los precios van desde los 60 reales brasileños (16 dólares), hasta los 890 (242 dólares). La primera tanda de tickets que se venderán consta de 228 000 entradas. DAKAR AL DÍA. Queda la última etapa del rally más duro del mundo. www.somosdakar.com HOMENAJE A DOLORES O'RIORDAN. El grupo irlandés The Cranberries publicó este martes "All Over Now" ("Todo ha acabado ya"), el primer sencillo de su último disco de estudio, cuando se cumple un año de la muerte de su carismática cantante Dolores O'Riordan. YOUTUBE | EL COMERCIO Facebook Google+ Twitter LinkedIn WhatsApp Te pedimos que te tomes un pequeño tiempo para responder a esta breve encuesta. Nos sirve para mejorar.

Hello and welcome to twenty-sixth episode of Fanboy Nation’s Toon-In-Talk, your rendezvous for animation interviews. Whitney is back from her hiatus and ready to finish her Ladies of Animation series. She’s returning with an awesome guest, Yvette Kaplan. Yvette Kaplan has a prestigious animation career working in both feature and television animation. She made a name for herself as the supervising director for the quintessential 1990s cartoon Beavis and Butt-Head. Yvette also directed the Beavis and Butt-Head Do America film that was the highest grossing non-Disney animated for years. Yvette works on any project that catches her interest and she shares her adventures in this interview. Show Notes Yvette Kaplan is famous for her work on Zack and Quack, Beavis and Butt-Head, Doug, and many other great projects. She has carried many titles and roles in the animation industry, going as far back as being an ink and paint artist. She caught the animation bug when she was five years old. Yvette loved watching the Fleischer cartoons: Betty Boop and Popeye. Her absolute favorite cartoon short is Max Fleischer’s “Somewhere in Dreamland.” She knew more about the Fleischer cartoons than she did the Disney features. Yvette is also a fan of John and Faith Hubley’s works, a husband and wife team who made animated films. When Yvette began her career, she was advised not to go into animation, but she didn’t listen and in the early 1990s, she began work on Nickelodeon’s NickToons. She worked on the pilot for Doug, directed by Tony Eastman. Nickelodeon liked her work and she was a director on the series for three seasons. Although she was very busy, Yvette consulted on The Magic School Bus. Then Tony Eastman showed her two “gross boy” characters for a MTV show. Yvette Kaplan loved the humor and Mike Judge, the show’s creator, hired her to be the director on Beavis and Butt-Head. She also directed Beavis and Butt-Head Do America and it was the highest grossing non-Disney animated movie for years. Yvette would later return to Los Angeles with the intent to work on more feature and television, but she also wanted to explore all avenues. She found a comfortable spot on the King of the Hill team as well as on the PBS show Arthur. Drawing more on her extensive talents, Yvette made the children’s CGI show Zack and Quack. The animation looks like it was made from paper. She prefers to work in television, but Yvette sometimes get the strong urge to work on a feature film. Yvette recently worked on the fun new girl-based series from Disney called Star Darlings. She loves working on it, because it took her into a new genre she had never worked in before. She shares that working on education based cartoons has its difficulties, but it was a challenge she loved. From her perspective, Yvette wasn’t too aware about the lack of women in the animation industry. She never felt a ceiling and her positive attitude helped her push through many barriers. She became more aware of it as she matured. Both Yevette and Whitney are huge fans of Steven Universe and Star vs. The Forces of Evil, two shows created by women. Yvette declares that her animation adventure will continue.

There's really no need for  pretense....let's just get on with the show!  It's the Grindhouse podcast as powered by the Afronerd Radio machine and it airs this Sunday at 6pm eastern,  Check out your regular AFROnerdist team as they unravel the following issues:  we give our impressions of this year's New York Comic Con (NYCC '18); the highly anticipated (maybe?) Venom film is released this weekend to split reviews between the audience and the critics; more streaming trailers hit the cyberwebs (Star Trek: Discovery, The Boys, more fleshed out Titans; Daredevil S3 and Sabrina on Netflix); acting and singing legend, Bette Midler got into hot digital water due to a tweet that references the John Lennon song, Woman is the Nigger of the World;  Dark Phoenix footage at NYCC had some in attendance asserting the film's title should be changed to "X-Women";  Dburt revists an older story involving a perceived racist incident between Donald Glover and comedy legend, Chevy Chase; Lastly, according to AinitCool.com, '78 Superman, Batman: Mask of the Phantasm and Max Fleischer's Superman: Mechanical Monsters get a limited November theatrical re-release.  Call LIVE at 646-915-9620.

There's really no need for  pretense....let's just get on with the show!  It's the Grindhouse podcast as powered by the Afronerd Radio machine and it airs this Sunday at 6pm eastern,  Check out your regular AFROnerdist team as they unravel the following issues:  we give our impressions of this year's New York Comic Con (NYCC '18); the highly anticipated (maybe?) Venom film is released this weekend to split reviews between the audience and the critics; more streaming trailers hit the cyberwebs (Star Trek: Discovery, The Boys, more fleshed out Titans; Daredevil S3 and Sabrina on Netflix); acting and singing legend, Bette Midler got into hot digital water due to a tweet that references the John Lennon song, Woman is the Nigger of the World;  Dark Phoenix footage at NYCC had some in attendance asserting the film's title should be changed to "X-Women";  Dburt revists an older story involving a perceived racist incident between Donald Glover and comedy legend, Chevy Chase; Lastly, according to AinitCool.com, '78 Superman, Batman: Mask of the Phantasm and Max Fleischer's Superman: Mechanical Monsters get a limited November theatrical re-release.  Call LIVE at 646-915-9620.  

Hula Girl Minnie Mouse Tex Avery and Max Flesicher! Zoetropes and Rotoscopes and Beppo the Super Monkey? Plus! Jesse's recipe for porkypine fritters!

Einstein antes ca Betty Boop: de como o cinema divulgou ciencia de vangarda. Na segunda entrega da sección de Ciencia e Cinema de Martin Pawley descubrimos os documentais en cine mudo sobre relatividade e evolución de Max Fleischer. Pequenas xoias que tamén nos ensinan os riscos de divulgar os últimos descubrimentos.

Einstein antes ca Betty Boop: de como o cinema divulgou ciencia de vangarda. Na segunda entrega da sección de Ciencia e Cinema de Martin Pawley descubrimos os documentais en cine mudo sobre relatividade e evolución de Max Fleischer. Pequenas xoias que tamén nos ensinan os riscos de divulgar os últimos descubrimentos.

Movie Meltdown - Episode 290 This episode we're coming to you "live" from the second annual "Meltdown Macabre", our own horror and Halloween celebration. We kick things off with some creepy cartoons and then we head into our Project: Poe feature - the 1928, French, silent version of "The Fall of the House of Usher". Then we sit down for our usual movie discussion, only this time we are joined by Bermudan, the band who provided us with a live performance of an original score to accompany the film. Plus we round out this year's Halloween episodes as we talk about some of our favorite movies to watch this time of year. And while we go over the shuffling around of some of our favorite silent films, we also mention… Max Fleischer, studio tampering, senses are very overwhelming, Persona, really desolate face, burning alive, discerning the strobe effect, Ed Wood, all of our music is weirdo stuff, extreme areas of the screen, Salvador Dalí, Birth of a Nation, F.W. Murnau, I’m watching a horror story in my childhood, The Adventures of Mark Twain in Hell, I’m not scared ever… but I just feel unsettled for the next six days, Grady from Sanford and Son, is it a mental illness or is it paranormal, this wall of sound, cinematography derived from photography style, Tod Browning, progressive European style, Hour of the Wolf, the fairies are coming to get you, At the Mountains of Madness, Carl Theodor Dreyer, body horror, John Carpenter’s Halloween, homo floresiensis, Usher and Honey Nut Cheerios bee, sister vs. wife, catatonic glances, sounds have certain colors, Ian MacKaye, The Keep, shooting unconventionally, surrealism, the Universal monsters, Don’t be Afraid of the Dark, Prometheus, The Unholy Three, that’s just France, hazy guitar effects, reappears all ghostly, it’s like you hear something in another room, witchcraft and demons ensue, having a large tool set, the enormous train, D.W. Griffith, From Beyond, Guillermo del Toro, The Exorcist, Blood on Satan’s Claw, it’s the nondescript Edgar Allen Poe, in times past, when people had names like Roderick and lived in castles, vintage clothing, Robert Fripp, Ingmar Bergman, skinny pipe jeans, Jean Epstein and fuzzy eyeballs. “It’s an experience. I’m going to suspend you upside down in this really unusual world for a while, until you sort of lose your sense of perspective and that gradually makes you a little crazy as you’re watching the movie.” For more on Bermudan, go to: http://bermudan.bandcamp.com/

This week on Alcohollywood, we hit the high seas once again for the Robert Altman directed musical flop Popeye: The Movie! This 1980 mess of a film sees Popeye (a mumbling Robin Williams) enter the idyllic world of Sweethaven, only to fall in love with the wide-eyed Olive Oyl (Shelley Duvall), adopt the adorable Swee’Pea, and fight off the blustering Bluto (Paul L. Smith). Altman’s signature cinematography, with its muted backgrounds and emphasis on wide shots, has its similarities to the original Max Fleischer cartoons. Still, it also ends up treating everything with a weird distance. Add to that the limp performance of Harry Nilsson’s songs, and Popeye: The Movie ends up being an alienating, weird experience. Take a listen to our collective frustration, and wash it down with our custom cocktail and drinking rules!

Running from October 6, 2013 to January 5, 2014, the "Watch Me Move" exhibition at the Detroit Institute of Arts examines the history and artistry of animation. There's also an expansive schedule of animated shorts and features. We talked to Detroit Film Theater honcho Elliot Wilhelm about the events.

I've long had a certain fascination with--and pity for--Max Fleischer. Fascination because he advanced the art and technique of animation when his future rival Walt Disney still struggled with the rudiments of the form in Kansas City. Fleischer's cartoons were fluid and naturalistic when most "animated" cartoons still looked like glorified comic strips. He experimented with sound a full four years before Walt made STEAMBOAT WILLIE, and invented a 3D process (utilizing miniature sets, built and painted to match the "cartoony" look of the foreground characters) that seemed ingeniously simple in comparison to Disney's monstrous multiplane camera. Yet despite the great strides he took in the field of animation, he would not receive proper recognition for it for decades.... (More at http://orphan-toons.blogspot.com)

Affordable Web Hosting $5.99 A month In addition to his landmark radio work, Bud Colyer was the first person to portray Superman in motion pictures, once again lending his voice when the Man of Steel made his big-screen debut in animated cartoons. These innovative science fiction spectaculars remain among the most technically polished examples of the "short film" art form. Launched in September 1941 with the release of the initial entry, Superman, the cartoons were produced by Max Fleischer. The Fleischer studio was initially based in New York and was famous for its rambunctios, rough-and-ready presentation of characters like Betty Boop and Popeye. The studio had just relocated to an enlarged modern facility in Florida. Joe Shuster drew the model sheets for Lois Lane, Clark Kent, and Superman. The first cartoon was received to critical acclaim and was nominated for an Academy Award. The Superman shorts look like feature films, complete with tracking shots and a stunning variety of camera angles, each of which necessitates a new background. Artists duplicate real illumination, molding the characters with light and dark, and providing them with dramatic shadows. The films move at an accelerating pace, with cuts coming faster and faster toward the climaxes, propelled by Sammy Timberg's dynamic musical scores. Special effects involving fires, rays, and explosions set the screen ablaze. The second cartoon, The Mechanical Monsters, was released near the end of 1941. It features Superman battling an army of gigantic, flame-spewing, flying robots in a series of sensational scenes. Later special effects extravaganzas include The Bulleteers, in which an airborn torpedo smashes through the skyscrapers of Metropolis, and The Magnetic Telescope, in which an astronomer's harebrained invention sends an asteroid hurtling earthward. When not struggling with mad scientists, Superman takes on ferocious forces of nature like gorillas (in Terror on the Midway) or dinosaurs (The Arctic Giant). In 1942 Paramount Studios acquired Fleischer Studios and gave it the new name of "Famous Studios." They produced the last 8 of the 17 shorts and continued the series until 1943.