Film-maker Dan Fleischer to helm 'Lilo & Stitch' live-action remake for Disney

American animation studio

Fleischer Studios

Manufacture	Motion pictures
Founded	1929; 93 years agone  (1929)
Founder	Dave Fleischer Max Fleischer
Defunct	July 3, 1942; lxxx years ago  (July 3, 1942)
Fate	Caused by Paramount Pictures, reorganized as Famous Studios
Successor	Studio: Famous Studios (fully owned subsidiary of Paramount Pictures, renamed Paramount Cartoon Studios in 1956) Library: Warner Bros., via Turner Entertainment and DC Comics (Popeye the Sailor and Superman)
Headquarters	Broadway, New York Metropolis, New York, U.S. (1929–1938) Miami, Florida, U.S. (1938–1942)
Products	Animated short subjects and characteristic films
Number of employees	Approx. 800 past 1939
Parent	Paramount Pictures

Fleischer Studios () is an American animation studio founded in 1929 by brothers Max and Dave Fleischer, who ran the pioneering company from its inception until its acquisition by Paramount Pictures, the parent company and the distributor of its films. In its prime number, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions being its chief competitor in the 1930s. Today, the company is again family owned and oversees the licensing and merchandising for its characters.

Fleischer Studios characters included Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Different other studios, whose characters were anthropomorphic animals, the Fleischers' nearly successful characters were humans (with the exception of Bimbo, a black-and-white drawing dog). The cartoons of the Fleischer Studio were very different from those of Disney, both in concept and in execution. As a result, they were rough rather than refined and consciously creative rather than commercial, but in their unique way, their artistry was expressed through a culmination of the arts and sciences.^[1] This approach focused on surrealism, dark humor, adult psychological elements, and sexuality. Furthermore, the environments were grittier and urban, oft set in squalid surroundings, reflecting the Swell Depression as well as German Expressionism.

History [edit]

The Silent Era [edit]

The Fleischer Studio was built on Max Fleischer's novelty film serial, Out of the Inkwell (1919-1927). The novelty was based largely on the results of the "rotoscope", invented by Fleischer to produce realistic animation. The offset Out of the Inkwell films were produced through The Bray Studio. They featured Fleischer's first character, "The Clown," which became known as Ko-Ko the Clown in 1924.

In 1921, The Bray Studio ran afoul with legal issues, having contracted for more than films than information technology could deliver to its benefactor, Goldwyn Pictures. The Fleischer Brothers left and began their ain studio Out of the Inkwell Films with Dave every bit manager and production supervisor, and Max as producer, at 129 East 45th Street, subsequently to 1600 Broadway, Times Foursquare, midtown Manhattan, New York City.^{[2] [3] [4] [5]} In 1924, animator, Dick Huemer came to the Out of the Inkwell Films studio and redesigned "The Clown" for more efficient animation. Huemer'south new design and experience as an animator moved them away from their dependency on the rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer fashion with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko's companion, Fitz the Canis familiaris, who would evolve into Bimbo in 1930.

Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations. These innovations include the "Rotograph", an early "Aeriform Paradigm" photographic process for compositing animation with alive activity backgrounds. Other innovations included Ko-Ko Song Automobile-Tunes and sing-along shorts (featuring the famous "bouncing ball"), a precursor to karaoke.

In 1924, benefactor Edwin Miles Fadiman and Hugo Riesenfeld formed the Red Seal Pictures Corporation. Riesenfeld was the theatrical manager of the Strand, Rivoli, and Rialto theaters on Broadway. Because the Out of the Inkwell films were a major part of the programme in Riesenfeld's theaters, the Fleischers were invited to become partners. The Red Seal Company committed to an ambitious release schedule of 26 films with The Inkwell Studio every bit the primary supplier. The post-obit yr, Red Seal released 141 films that included documentaries, short comedy subjects, and alive-activity serials. Carrie of the Chorus, as well known as Backstage Comedies, was one of the Red Seal series that featured Max's daughter, Ruth in a supporting role. Ray Bolger made his screen debut in this series and dated Ruth for a curt time.

Carmine Seal released drawing novelty series such as The Animated Hair Cartoons by Cartoonist "Marcus," and Inklings. The Animated Hair series resembled the on-screen hand drawing gimmick established in Out of the Inkwell. In this instance, "Marcus" produced high-quality ink line portraits of celebrities and political figures. Then through end motion blitheness techniques, the lines and forms would break away to entertainingly re-form the portrait into another. Inklings was similar in concept to the Animated Hair films, merely was more of a visual puzzle novelty using a variety of progressive scratch-off/reveal techniques and rearranged blithe cutouts to change the images.

It was during this fourth dimension that Lee de Forest started filming his Phonofilms experiments featuring several of the major Broadway headliners. The Ruddy Seal company began acquiring more theaters exterior of New York and equipped them with sound equipment produced by Lee de Forest, displaying "talkies" three years before the sound revolution began. Because of Max'south interest in technology, Riesenfeld introduced him to deForest. And information technology was through this partnership that Max produced a number of the Ko-Ko Song Car-tunes as sound releases. Of the 36 vocal films produced between 1924 and 1927, 12 were produced as sound films beginning in 1926 with standard silent versions likewise. The offset audio release was Mother Pin a Rose on Me. Other sound releases included Darling Nellie Grey, Has Anybody Here Seen Kelly?, When the Midnight Choo-Choo Leaves for Alabam', Coming Through the Rye, My Married woman's Gone to the Country, Margie, Oh, How I Hate to Become Up in the Forenoon, Sweet Adeline, Old Black Joe, Come up Take A Trip in My Airship, and By the Low-cal of the Silver Moon.

Blood-red Seal owned 56 theaters, extending as far west as Cleveland, Ohio. But after simply two years of operation, Red Seal was broke. Max (Fleischer) sought an appointment of receiver in bankruptcy in October 1926. Simply as the situation looked hopeless, Alfred Weiss appeared from the horizon with a Paramount contact.^[6]

The Paramount deal provided financing and distribution. But due to legal complications of the bankruptcy, the title to Out of the Inkwell was changed to The Inkwell Imps (1927-1929) and the studio was renamed Inkwell Studios. I yr into the relationship, the Fleischer Brothers discovered mismanagement under Weiss and left before the end of the Imps contract. Out of the Inkwell Films, Inc. filed defalcation in January 1929. In March, Max formed Fleischer Studios with Dave every bit his partner. Operations were showtime fix upward at the Carpenter-Goldman Laboratories in Queens. With a skeleton staff, Fleischer Studios started out doing industrial films, near notably, Finding His Vocalism, a technical demonstration film explaining Western Electric's Variable Density recording and reproduction organization. Max Fleischer secured a new contract with Paramount to produce a revival of the "Bouncing Ball" song films, re-branded equally Screen Songs, with The Sidewalks of New York equally the start release on Feb 5, 1929.

Sound films [edit]

The early experiments with sound synchronization gave Fleischer Studios experience in perfecting the mail-production method of recording, aided by several inventions by founder, Max Fleischer. And with the conversion to sound, Paramount needed more sound films, and cartoons could be produced faster than feature films. As the Screen Songs returned Fleischer to the established song film format, a new sound series, Talkartoons replaced the silent Inkwell Imps, the first beingness Noah's Lark released on October 25, 1929. Earlier entries in the serial were one-shot cartoons, until the appearance of Bimbo as of the fourth entry. Bimbo evolved through several redesigns in each drawing for the showtime year. While the intent was to develop him as the star of the series, it was the cameo appearance of a Helen Kane caricature in the seventh entry, Dizzy Dishes that took center stage. Audience reactions to the New York preview were so great that Paramount encouraged the continued development of the virtually famous character to come from the Fleischer Studio past that fourth dimension, Betty Boop. While originated as a hybrid human/canine character, Betty Boop was transformed into the human character she is known as by 1932. Having become the main attraction of the Talkartoons, she was given her own series, which ran until 1939.

The "Jazz Baby" Flapper character, Betty Boop lifted the spirits of Depression Era audiences with her paradoxical mixture of childlike innocence and sexual attraction. Being a musical novelty character, she was a natural for theatrical entertainment. Several of her early cartoons were adult as promotional vehicles for some of the top Black Jazz performers of the twenty-four hours including Louis Armstrong (I'll Be Glad When You're Dead Y'all Rascal, You), Don Redman (I Heard), and most notably, the three cartoons made with Cab Calloway, Minnie the Moocher, Snow White, and The Erstwhile Man of the Mountain. This was considered a bold action in light of the Jim Crow policies active in the South where such films would non be shown.

In 1934, the Hays Code resulted in severe censorship for films. This affected the content of all of Paramount's films too, which tended to reflect a more "mature" tone in the features of the Marx Brothers, W.C. Fields, and most of all, Mae West. Equally a result, each of these stars was released as Paramount changed the content of its films to reflect a more "general audience" in gild to comply with the new Code and stay in business organization. Paramount had also gone through three reorganizations from bankruptcy betwixt 1931 and 1936. The new management nether Barney Balaban set out to make more general audition films of the type fabricated at MGM, just for lower budgets. This change in content policy afflicted the content of cartoons that Fleischer was to produce for Paramount, which urged emulation of the Walt Disney production.

While Paramount was a large system with a network of theaters, its fiscal consciousness was largely responsible for preventing Fleischer Studios from acquiring the three-strip Technicolor procedure, leaving it available for a four-year exclusivity with Walt Disney, who created a new market for colour cartoons, established by Academy Award winner, Flowers and Trees (1932).

Paramount acquiesced to the release of the Color Classics series starting in 1934. Merely with the exclusivity of the three-color process notwithstanding held by Disney, Fleischer Studios used the available two-color processes, Cinecolor, a two-emulsion red and bluish procedure, and Two-colour Technicolor, using blood-red and green. Past 1936, the Disney exclusivity had expired, and Fleischer Studios used the three-colour procedure in its color cartoons beginning with Somewhere in Dreamland and connected using it for the remainder of its active years.

The Fleischer Studio'southward greatest success came with the licensing of E.C. Segar's comic strip character Popeye the Crewman showtime in 1933. Popeye eventually became the well-nigh pop series the studio ever produced, and its success surpassed Walt Disney'south Mickey Mouse cartoons, documented by popularity polls. And with the availability of full spectrum colour, the Fleischer Studios produced 3 ii-reel Popeye featurettes, Popeye the Sailor Meets Sindbad the Crewman (1936), Popeye the Crewman Meets Ali Baba's Forty Thieves (1937), and Popeye the Crewman Meets Aladdin's Wonderful Lamp (1939). This series of longer-format cartoons were an indication of the emergence of the blithe feature film as a commercially viable projection beginning with Walt Disney's Snow White and the Vii Dwarfs (1937).

The Fleischer Studios had reached its zenith past 1936, with four series and 52 almanac releases. Due to the phenomenal success of the Popeye cartoons, Paramount demanded more, and the Fleischer Studio experienced rapid expansion in lodge to balance out the increased workload. The crowded conditions, production speedups, drawing quotas, and internal direction problems resulted in a Labor Strike kickoff in May 1937 which lasted for v months. This strike was a test case, the start launched in the motion picture industry, and produced a nationwide boycott of Fleischer cartoons for the duration.

Gulliver'due south Travels (1939) was Fleischer Studios' first feature-length animated product.

Max Fleischer had been petitioning Paramount for 3 years most producing an animated feature. Paramount vetoed his proposals until the proven success of Disney's Snowfall White and the 7 Dwarfs (1937). Paramount now wanted an animated feature for a 1939 Christmas release. This asking came at the time of preparations for relocating to Miami, Florida. While the relocation had been a consideration for some time, its final motivation was made a reality due to lower corporate taxation structures and an alleged escape from the remaining hostility from the strike.

The new Fleischer Studio opened in October 1938, and production on its first characteristic, Gulliver's Travels (1939), went from the development stage begun in New York to active production in Miami. The score was by Paramount staff composer, Victor Young and recorded at the Paramount west coast facilities. While limited to only 60 theaters in a 1-month release, Gulliver's Travels earned more than than $3 one thousand thousand, in spite of exceeding its original $500,000 estimated cost. Accordingly, a second feature was ordered for the Christmas period, Mr. Bug Goes to Town (1941).

Autumn of Fleischer [edit]

The personal relationship between Max and Dave Fleischer deteriorated during the Miami period due to complications associated with the pressures of finishing the studio'southward first feature film and Dave's very public adulterous affair with his secretarial assistant, Mae Schwartz. Max and Dave stopped speaking to each other birthday by the finish of 1939, communicating solely by memo.^[vii]

Dave gained total control of production in 1940, relegating Max to business organisation affairs and research. The studio was in need of new products going into the new decade, but the new shorts serial that debuted in 1939 and 1940, Gabby, Stone Age Cartoons, and Animated Antics, were unsuccessful. Theater operators complained, with the Popeye cartoons having the only value.

Paramount caused the rights to comic book superhero Superman in 1941, and the Fleischers were assigned to work on a series of animated Superman shorts.^[eight] The first entry, Superman, had a budget of $50,000,^[8] the highest ever for a Fleischer theatrical short, and was nominated for an University Award.

The animated Superman series, with its action-risk and scientific discipline fiction fantasy content, was a huge success, but that did non assist the studio out of its financial problem. It was penalized $350,000 for going over budget on Gulliver's Travels, and the revenues earned from the rentals of the Popeye cartoons had to exist used to offset the loss of $250,000 incurred by the rejection of cartoons in 1940.

Acquisition by Paramount [edit]

While profits dwindled, Paramount continued to advance money to Fleischer Studios to continue the product of cartoons with its focus mainly on Popeye, Superman, and Mr. Problems Goes to Town, a new feature pic for the 1941 Christmas season; all in promise of rekindling the studio. On May 24, 1941, Paramount demanded reimbursement on the penalties notwithstanding owed after eighteen months and assumed full ownership of Fleischer Studios, Inc.^[9] The Fleischers remained in command of production until Nov 1941. Mr. Bug Goes to Town, intended for release in December 1941, was not released until February 1942, and never recouped its costs.

In spite of living upwards to his contractual obligations and delivering the pic, Max Fleischer was asked to resign. Dave Fleischer had resigned the calendar month before, and Paramount finished out the last 5 months of the Fleischer contract without the Fleischer brothers. The final drawing produced at the credited Fleischer Studios was the Superman cartoon Terror on the Midway.^[ix] Paramount formed a new company, Famous Studios, as a successor to Fleischer Studios effective July iii, 1942.

Television receiver [edit]

With the exception of the Superman and Popeye cartoons, Paramount's cartoon library of releases prior to October 1950 was originally sold to U.M. & M. TV Corporation in 1955. A condition of the purchase required the removal of the Paramount logos and copyright lines from the main titles.^[10]

Equally shortly as the Fleischer library was sold to telly, Max Fleischer noticed that some of the cartoons were being shown without his proper name in the credits, which was a violation of his original contracts. On June 17, 1956, Max Fleischer filed suit against Paramount and its Television receiver distribution partners, seeking $ii,750,000 in damages. The infringement on his proper noun was corrected on all subsequent prints exhibited on television set.^[11]

Before U.One thousand.& M. had finished the title alterations, the company was bought by National Telefilm Associates. NTA placed their logo at the heads and tails of the films and blacked out references to Paramount, Technicolor, Cinecolor, and Polacolor. The bulk of the Fleischer cartoons were off the air by the mid 60s when the original copyrights were due for renewal. NTA failed to renew the copyrights, which placed the majority of the Fleischer motion picture library (including the Color Classics series, the Screen Songs serial, and Gulliver'south Travels) into the public domain. Mr. Bug Goes to Town, diverse Betty Boop cartoons, and the 1938 Colour Classic, The Tears of an Onion, are amid the few films that remain under copyright to Melange Pictures, LLC.

In the mid-1970s, NTA converted 85 black and white Betty Boop cartoons to color through Fred Ladd's Color Systems visitor. The process was done by having the cartoons traced and re-colored by Korean animators. These were packaged in 1976 under the championship Betty Boop for President. This was refashioned equally a compilation feature, Hooray for Betty Boop, and ran on HBO in 1980.

Paramount has reacquired ownership of the original Fleischer film library (through their acquisition of Commonwealth Pictures) and continues to own the theatrical rights.

Popeye and Superman [edit]

The Popeye series, a property licensed from King Features Syndicate, was caused by Associated Artists Productions (a.a.p.), which later became part of United Artists (for info on the Popeye retitling, come across the a.a.p. article) and Metro-Goldwyn-Mayer. Turner Entertainment, subsequently briefly owning MGM outright, settled for ownership of the library, including the Popeye cartoons, in 1986. A small number of Popeye cartoons accept as well entered the public domain.

Superman, the other series based on licensing, reverted to National Comics after Paramount's rights to the graphic symbol expired. TV syndication rights were initially licensed to Flamingo Films, distributors of the 1950s Superman TV series. All 17 entries in this series entered the public domain in the late 1960s, when National failed to renew their copyrights.^{[ commendation needed ]}

Nevertheless, the Superman and Popeye cartoons are at present nether the ownership of Warner Bros. Entertainment Inc.; Warner bought the original film elements to the Superman series in 1969, subsequently becoming a sibling (and after the parent) to DC Comics.^{[ citation needed ]}

Dwelling house video [edit]

Nearly of the Fleischer color titles take been widely available on video since the 1980s, oftentimes on inexpensive videotapes sold in supermarkets and disbelieve stores. Both animation fans and the UCLA Pic and Telly Archive accept worked to release high-quality restored editions of the Fleischer cartoons. These accept also been fabricated available on pay-cable, home video and DVD.^[12] Many of these restored versions at present include the original forepart-and-end Paramount titles.

Most of the silent Fleischer titles from the Out of the Inkwell/Inkwell Imps series take entered the public domain.

An official Betty Boop VHS set, Betty Boop Confidential, was released by Democracy Pictures in 1995, included several black-and-white Betty Boop cartoons besides as Betty'southward only colour appearance, Poor Cinderella.

There accept been several video releases for the Superman series. These include a 1991 VHS ready produced by Bosko Video, titled The Complete Superman Collection: Golden Anniversary Edition - The Paramount Cartoon Classics of Max & Dave Fleischer released equally two volumes which featured transfers from 35mm prints. It was reissued on DVD as The Complete Superman Cartoons — Diamond Anniversary Edition in 2000 by Image Entertainment, and Superman Adventures in 2004 by Platinum Disc Corporation.

A 3rd (and more "official") compilation using restored and remastered materials was released in November 2006 by Warner Home Video as role of their DVD box ready of Superman films. In 2009, Warner gave these Superman shorts their ain stand-lone 2-disc DVD release, Max Fleischer's Superman: 1941-1942.

Olive Films, under sectional license from Melange/Viacom, acquired the rights to the 66 not-public domain Betty Boop cartoons, and released four volumes of Betty Boop DVDs and Blu-rays.^[13]

Warner Home Video has released all of the Fleischer Popeye cartoons in three volumes as office of the Popeye the Sailor DVD collection.

VCI Entertainment/Kit Parker Films' DVD compilation of all the Color Classics (except The Tears of an Onion), entitled Somewhere In Dreamland, was released in 2003. It includes only a fraction of shorts remastered from 35mm film, simply otherwise taken from the best available sources Kit Parker could provide VCI, and digitally recreating the original forepart-and-end Paramount titles, Animation archivist Jerry Beck served as consultant for this box ready, every bit well every bit providing audio commentary for select shorts.

VCI Entertainment also released a DVD compilation of all the public domain Popeye cartoons (both Fleischer and Famous) entitled Popeye the Sailor Homo Classic Cartoons: 75th Ceremony Collector's Edition in 2004.

In Japan, Mr. Problems Goes to Town was released on DVD in April 2010 past Walt Disney Studios Home Amusement as part of the Studio Ghibli's Ghibli Museum Library collection.^[14]

Fleischer Studios today [edit]

In 1985, DC Comics named Fleischer Studios as one of the honorees in the company's 50th ceremony publication 50 Who Made DC Great for its work on the Superman cartoons.^[15]

Today, Fleischer Studios continues to concur to the rights to Betty Boop and associated characters such as Koko the Clown, Bimbo and Grampy. It is headed by Max's grandson Mark Fleischer, who oversees merchandising activities.^[16] Fleischer Studios utilizes Rex Features Syndicate to license Fleischer characters for various merchandise.^[17]

In 2021, after decades of being shown in contradistinct and worn prints, the Fleischer estate (in co-performance with Paramount Pictures) finally launched an initiative to formally restore the entire classic animation library from the surviving original negatives, commencement with Somewhere in Dreamland; the restored cartoon had its premiere on the MeTV network in December, that same year.^[eighteen]

Legacy and influence [edit]

The loose, improvisatory animation, frequently surreal action generally termed "The New York Style", (especially in films such as Snow White and Bimbo'south Initiation), grungy atmosphere, and racy pre-Code content of the early Fleischer Studios cartoons have been a major influence on many surreptitious and alternative cartoonists. Kim Deitch, Robert Crumb, Jim Woodring, and Al Columbia are among the creators who have specifically acknowledged their inspiration. Much of Richard Elfman'due south 1980 cult film Forbidden Zone is a live action pastiche of the early Fleischer Studios style. The Fleischer style was besides used in the 1995 animated series The Twisted Tales of Felix the Cat. The studio'south art style and surreal atmosphere was a fundamental influence on the indie game Cuphead, with the studio being described as "magnetic n" for the game's art style.^[19]

Fleischer Studios staff; 1929-1942 [edit]

Producers [edit]

• Max Fleischer

Directors [edit]

• James Culhane (Mr. Problems Goes to Town; uncredited)
• Dave Fleischer

Writers [edit]

• Eric St. Clair
• Pinto Colvig
• Max Fleischer
• Dave Fleischer
• Warren Foster
• Dan Gordon
• Cal Howard
• Seymour Kneitel
• George Manuell
• Jack Mercer
• Carl Meyer
• Tedd Pierce
• Graham Place
• Hal Seeger
• Edmond Seward
• Isadore Sparber
• David Tendlar
• William Turner
• Jack Ward
• Bob Wickersham

Animators [edit]

• Tom Baron
• Bob Bemiller
• Eli Brucker
• Robert Bentley
• Willard Bowsky
• Orestes Calpini
• Joel Clive
• Herman Cohen
• Roland Crandall
• James Culhane
• Joe D'Igalo
• James Davis
• Nelson Demorest
• Anthony Di Paola
• H.C Ellison
• Frank Endres
• Al Eugster
• Otto Feuer
• Don Figlozzi
• Dave Fleischer
• Max Fleischer
• Lillian Friedman Astor
• George Germanetti
• Arnold Gillespie
• Tom Golden
• Reuben Grossman
• William Henning
• Winfield Hoskins
• Tom Johnson
• Abner Matthews Kneitel ^[20]
• Seymour Kneitel
• Bob Leffingwell
• Michael Maltese
• Carl Meyer
• Thomas Moore
• George Moreno Jr.
• Steve Muffati
• Grim Natwick
• Pecker Nolan
• Joe Oriolo
• Sid Pillet
• Graham Place
• Lod Rossner
• Ted Sears
• Hal Seeger
• Gordon Sheeman
• Ben Solomon
• Irving Spector
• Sam Stimson
• William Sturm
• Dave Tendlar
• Jim Tyer
• Edith Vernick
• Myron Waldman
• Harold Walker
• John Walworth
• Bob Wickersham
• Lou Zukor

Animation directors [edit]

(Note: An animator who is credited start in a Fleischer Cartoon is a director of Animation. Dave Fleischer'southward role during production is more in line of a artistic supervisor)

• William Bowsky
• Orestes Calpini
• Roland Crandall
• James Culhane
• H.C Ellison
• Al Eugster
• Arnold Gillespie
• Tom Johnson
• Seymour Kneitel
• Bob Leffingwell
• Bill Nolan
• Tom Palmer
• Graham Identify
• Stan Quackenbush
• Dave Tendlar
• Myron Waldman

Layout and scenic artists [edit]

• Eddi Bowlds
• Hemia Calpini
• Robert Connavale
• Robert Little
• Anton Loeb
• Shane Miller
• Erich Schenk
• Gustaf Tenggren

Voice actors [edit]

• Joan Alexander
• Dave Barry
• Jackson Beck
• Bud Collyer
• Pinto Colvig
• William Costello
• 'Margie Hines
• Cal Howard
• Piddling Ann Little'
• Jack Mercer
• Billy Murray
• Julian Noa
• William Pennell
• Tedd Pierce
• Bonnie Poe
• Mae Questel
• Ann Rothschild
• Gus Wickie
• Kate Wright

Musical supervisor and arrangements [edit]

• Lou Fleischer (Supervisor, 1930-1942)
• George Steiner (1930-1935)
• Sammy Timberg (1932-1942)
• Winston Sharples (1940-1942)

Filmography [edit]

*: All works are in the public domain

#: Some works are in the public domain

**: Inherited past Famous Studios

Theatrical shorts series [edit]

Inkwell Studios era

• Out of the Inkwell# (1918 – 1927; earlier entries produced by John Randolph Bray from 1918 to 1921)
• Fun from the Press (1923)
• Song Automobile-Tunes* (1924 – 1926)
• Inklings (1926)
• Inkwell Imps# (1927 – 1929)

Fleischer Studios era:

• Screen Songs* (1929 – 1938)**
• Talkartoons# (1929 – 1932)
• Betty Boop# (1932 – 1939)
• Popeye the Sailor# (1933 – 1942)** (Inherted by Famous)
• Color Classics# (1934 – 1941)
• Animated Antics* (1940 – 1941)
• Rock Age Cartoons* (1940)
• Gabby* (1940 – 1941)
• Superman* (1941 – 1942)** (Inherted by Famous)

Two-reel theatrical shorts [edit]

• Darwin'south Theory of Evolution (1923)
• The Einstein Theory of Relativity (1923)
• Popeye the Crewman Meets Sindbad the Sailor* (1936; Popeye Colour Special)
• Popeye the Sailor Meets Ali Baba'southward Xl Thieves* (1937; Popeye Color Special)
• Aladdin and His Wonderful Lamp* (1939; Popeye Colour Special)
• Raggedy Ann and Raggedy Andy (1941)
• The Raven (1942)

Feature films [edit]

• Gulliver's Travels* (1939)
• Mr. Problems Goes to Town (1941)

See as well [edit]

• Animation in the United States during the silent era
• The Gilt Age of American animation
• Famous Studios
• List of animation studios
• Camera Effects

References [edit]

1. ^ Arrow, Ray (2016). The Art and Inventions of Max Fleischer: American Animation Pioneer, McFarland & Co. Publishers. Pg. v
2. ^ "Out of the Inkwell Films, Incorporated". Progressive Silent Picture List. Silent Era.
3. ^ "Inkwell". Fleischer Studios . Retrieved January 21, 2022.
4. ^ "1600 broadway". bixography . Retrieved January 21, 2022.
5. ^ "1600 Broadway on The Square". Condopedia . Retrieved January 21, 2022.
6. ^ Arrow, Ray (2016) The Art and Inventions of Max Fleischer: American Blitheness Pioneer, McFarland & Co. Publishers. pp. 65–70
7. ^ Beck, Jerry. "Fleischer Becomes Famous Studios". Cartoon Research . Retrieved June 21, 2007.
8. ^ ^{a b} Barrier, Michael (1999). Hollywood Cartoons. New York: Oxford University Press. Pg. 304.
9. ^ ^{a b} Barrier, Michael (1999). Hollywood Cartoons. New York: Oxford University Press. Pgs. 303-305. ISBN 0-xix-516729-5.
10. ^ http://www.cartoonresearch.com/paramount.html
11. ^ Arrow, Ray (2016). The Art and Inventions of Max Fleischer: American Animation Pioneer, McFarland & Co. Publishers. Pgs 367-368
12. ^ "Products - Inkwell Images - Classic Cartoons on DVD". www.inkwellimagesink.com . Retrieved June eight, 2017.
13. ^ "ClassicFlix". world wide web.classicflix.com. Archived from the original on May 27, 2013. Retrieved June 8, 2017.
14. ^ Cartoon Mash: Disney releases "Mr. Bug" in Japan
15. ^ Marx, Barry, Cavalieri, Joey and Loma, Thomas (westward), Petruccio, Steven (a), Marx, Barry (ed). "Fleischer Studios Superman Animated" Fifty Who Made DC Slap-up: twenty (1985), DC Comics
16. ^ "Fleischer Studios - History". Fleischer Studios. Archived from the original on April 26, 2012. Retrieved April 27, 2012.
17. ^ "Fleischer Studios - Contact". Fleischer Studios. Archived from the original on March 16, 2012. Retrieved April 27, 2012.
18. ^ "Bringing Fleischer's "Somewhere In Dreamland" to MeTV". Cartoon Inquiry. Retrieved December 9, 2021.
19. ^ "Where Did Cuphead Come From?". www.killscreendaily.com. Archived from the original on August viii, 2014. Retrieved October 4, 2017.
20. ^ "Popeye Cartoons (Formerly Popeye Animators): Abner Matthews = Abner Kneitel??". Dec 31, 2009.

External links [edit]

• Official website
• DVDs
• Toonopedia: Max Fleischer Studio
• Fleischer Audio Cartoons Filmography
• "The Real Heroes of Superman" essay on Max Fleischer from Flixens.com
• Fleischer industrial films a brief history

Source: https://en.wikipedia.org/wiki/Fleischer_Studios

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