What is included with this book?
Acknowledgments | |
Preface | |
The American Theatrical Cartoon, 1928-63 | p. 1 |
Graphic Narrative: 1928 | p. 3 |
The Gag | p. 19 |
Story | p. 32 |
Marketing: Mickey Becomes a Logo, 1930-34 | p. 53 |
Fleischer: Cities, Machines, and Immigrant Life | p. 59 |
The World Upside Down: 1930-33 | p. 68 |
Machina Versatilis: How the Cartoon Pays Homage to the Machine | p. 75 |
What Makes Betty Boop? | p. 81 |
How Money Talks in Cartoons | p. 91 |
Intermission: A Summary of Where Cartoons Go after 1943 | p. 106 |
Transition toward Full Animation: 1936 | p. 110 |
Depression Melodrama: Story | p. 122 |
The Whiteness of Snow White | p. 139 |
Full Animation: Putting Clouds into Exterior Scenes | p. 146 |
Production: 1940 | p. 156 |
The Chase Cartoon: Machina Versatilis | p. 162 |
The Advantages of Being Boneless and Incomplete: Daffy Duck (1937-42) and the Zip-Crash School | p. 172 |
Citizen Kane, the Cartoon: Screwball Noir, 1941-46 | p. 181 |
The Anarchy of Wartime Chase Cartoons: Coal Black and de Sebben Dwarfs | p. 186 |
1947: Roger Rabbit Then and Now | p. 200 |
Chase Cartoons after 1947: Consumer Graphics | p. 206 |
Villains and Victims: Timing the Chase | p. 218 |
Back to the Animated Line: UPA and the Fifties | p. 229 |
From One Screen to the Other: Hanna-Barbera | p. 243 |
Conclusion: Felix the Cathedral Meets the Swan Hotel | p. 247 |
Notes | p. 255 |
Index | p. 274 |
Table of Contents provided by Blackwell. All Rights Reserved. |
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