In "Funny Pictures"
I Like To Sock Myself in the Face: Reconsidering "Vulgar Modernism" by Henry Jenkins
Page 154, "[Spike] Jones sought advice from Tex Avery and Frank Tashlin ... and published pieces in early Mad Magazine"
Page 154-155, "Vulgar Modernism" relates modernism and pop culture -- larger than life personas, stretch bodies beyond human limits - reflexive gags call attention to constructed world.
Page 163-165, Basil Wolverton and sound effects
Page 170, Men display phallic energy through their ability to externalize their bodies in all directions, women are often depicted as fixed and static"
Little Annie Fannie from Playboy.
Page 171, compared to R. Crumb
Auralis Sexualis, How Cartoons Conduct Paraphilia by Philip Brophy
Primarily article on animation sound and voices as related to sexuality.
Page 175 "If cartoons were flesh, pornography would have to be reinvented"
"Compositing live actors or rotoscoping have consequently been deemed transgression .. corruption or abuse of the animation art form"
Page 177, screaming discussed.
Page 178, coyote/roadrunner "invoke collapse of postwar marriage."
Page 179-80, Tinkerbell sexuality
Page 183, Gerald McBoing Boing "metadiegetic" voice
Page 186, "if Gerald is a token of the powerlessness of the child, Magoo is a token of the omnipotence of the father".
Page 187, Magoo is ... demented dr-humping sociopath"
Art of Diddling: slapstick, science, and antimodernism in the films of Charley Bowers by Rob King.
Page 193, "Charley was a liar" (examples on page 194)
Page 194, "Lewis Mumford writes 'Between fantasy and exact knowledge ... there is an intermediate station: that of magic"
Page 196, mid to late 1920s, studios produce many shorts to run before features (economic discussion).
Page 198, "slapstick's disrepute as a comic form ... superseded by ... mechanical aspects of comic action".
Page 203-204 (carrying on prior idea) "aesthetic of fantastic machinery ... a retreat from the rationalization of modern science toward earlier, less alienated imaginings."
Tex Avery's Prison House of Animation, or Humor and Boredom in Studio Cartoons by Scott Curtis
Page 216-219, Tex Avery comedy based on mechanical nature of the bodies following Bergson's definitions of comedy.
"Page 219, "metagag" - fourth wall breaking, jokes directed at audience such as signs held up.
Page 220, moving a hole: "what makes this a gag (and not science fiction) is that there are two sets of laws that do not exist at the same time"
Page 221, "frame line reveal" not all characters see beyond the frame line.
Tish-Tash in Cartoonland by Ethan de Seife
Page 228, "the director of live action features that purportedly resemble cartoons and/or as a director of cartoons that purportedly anticipate the technique of live action filmmaking"
Page 228-9, Jean-Luc Godard write, "Tashlin's features resemble live-action cartoons"
Article goes on to rr-evaluate Frank Tashlin beyond this simplified interpretation.
Page 233-4, "on a visual level, animation is a near-totalizing mise-en-scene experience" ie: camera work is non-existent and folding into the image drawn.
Page 236, analysis of how vaudeville shows were structured and types of gags. "climax was far more important than closure".
Page 240, Brett Page; in 1915 wrote a manual on how to write for vaudeville.
Page 249-250, his work provides an uncommonly perspicuous demonstration of the continuities between animated an live-action American films"
Sounds Funny/Funny Sounds: theorizing cartoon music by Daniel Goldmark
Page 264-5, Mickey Mousing discussed.
Page 217, Simpson's Treehouse of Horror episode discussed.
Page 267-8, "Family Guy Viewer Mail #1" using stock music as satire.
Page 269, Powerpuff Girls xylophone for blinking
I Like To Sock Myself in the Face: Reconsidering "Vulgar Modernism" by Henry Jenkins
Page 154, "[Spike] Jones sought advice from Tex Avery and Frank Tashlin ... and published pieces in early Mad Magazine"
Page 154-155, "Vulgar Modernism" relates modernism and pop culture -- larger than life personas, stretch bodies beyond human limits - reflexive gags call attention to constructed world.
Page 163-165, Basil Wolverton and sound effects
Page 170, Men display phallic energy through their ability to externalize their bodies in all directions, women are often depicted as fixed and static"
Little Annie Fannie from Playboy.
Page 171, compared to R. Crumb
Auralis Sexualis, How Cartoons Conduct Paraphilia by Philip Brophy
Primarily article on animation sound and voices as related to sexuality.
Page 175 "If cartoons were flesh, pornography would have to be reinvented"
"Compositing live actors or rotoscoping have consequently been deemed transgression .. corruption or abuse of the animation art form"
Page 177, screaming discussed.
Page 178, coyote/roadrunner "invoke collapse of postwar marriage."
Page 179-80, Tinkerbell sexuality
Page 183, Gerald McBoing Boing "metadiegetic" voice
Page 186, "if Gerald is a token of the powerlessness of the child, Magoo is a token of the omnipotence of the father".
Page 187, Magoo is ... demented dr-humping sociopath"
Art of Diddling: slapstick, science, and antimodernism in the films of Charley Bowers by Rob King.
Page 193, "Charley was a liar" (examples on page 194)
Page 194, "Lewis Mumford writes 'Between fantasy and exact knowledge ... there is an intermediate station: that of magic"
Page 196, mid to late 1920s, studios produce many shorts to run before features (economic discussion).
Page 198, "slapstick's disrepute as a comic form ... superseded by ... mechanical aspects of comic action".
Page 203-204 (carrying on prior idea) "aesthetic of fantastic machinery ... a retreat from the rationalization of modern science toward earlier, less alienated imaginings."
Tex Avery's Prison House of Animation, or Humor and Boredom in Studio Cartoons by Scott Curtis
Page 216-219, Tex Avery comedy based on mechanical nature of the bodies following Bergson's definitions of comedy.
"Page 219, "metagag" - fourth wall breaking, jokes directed at audience such as signs held up.
Page 220, moving a hole: "what makes this a gag (and not science fiction) is that there are two sets of laws that do not exist at the same time"
Page 221, "frame line reveal" not all characters see beyond the frame line.
Tish-Tash in Cartoonland by Ethan de Seife
Page 228, "the director of live action features that purportedly resemble cartoons and/or as a director of cartoons that purportedly anticipate the technique of live action filmmaking"
Page 228-9, Jean-Luc Godard write, "Tashlin's features resemble live-action cartoons"
Article goes on to rr-evaluate Frank Tashlin beyond this simplified interpretation.
Page 233-4, "on a visual level, animation is a near-totalizing mise-en-scene experience" ie: camera work is non-existent and folding into the image drawn.
Page 236, analysis of how vaudeville shows were structured and types of gags. "climax was far more important than closure".
Page 240, Brett Page; in 1915 wrote a manual on how to write for vaudeville.
Page 249-250, his work provides an uncommonly perspicuous demonstration of the continuities between animated an live-action American films"
Sounds Funny/Funny Sounds: theorizing cartoon music by Daniel Goldmark
Page 264-5, Mickey Mousing discussed.
Page 217, Simpson's Treehouse of Horror episode discussed.
Page 267-8, "Family Guy Viewer Mail #1" using stock music as satire.
Page 269, Powerpuff Girls xylophone for blinking
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