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Found 4 results

  1. Deception

    Unknown Stop Motion Short Animation

    So there was one stop motion animation that I once see on TCM and it really got stuck in my mind since then, but I really couldn't identify what was the name of that animation. All I remember is that the animation starts with the boots of a misterious guy and red paint dripping on his boots from the brush that he's holding , that guy being dressed like a criminal or something, with a long coat, then shows him standing in the middle of the street looking at the window of a guy who lives in a big building with only one window, that one being the window of his apartment.His apartment is empty, and he has only a bed, a clock on the wall (and a table I guess, I don't remember to well).I remember that the misterious guy was trying to kill the one that lives in the apartament trough some ridiculous ways. I can't remember anything else, and that's all that I can relate, but if someone has any idea how this stop motion animation is called , please let me know and thank you.
  2. Charles Urban was a giant in early cinema and a most fascinating character, an ambitious and forward thinking American tycoon who enjoyed his biggest success on the other side of the Atlantic. Then he returned to his home country during the last year of The Great War, but competition with Hollywood was too great and his fortunes collapsed in a few years. Sadly, so many of his films have been lost over time even though material that he financed got recycled in films made by other companies. Fortunately his stock has been on the rise in recent years, with one researcher working more devotedly than others since the 1990s in bringing the attention he deserves. Luke McKernan published a biography on him in 2013: Charles Urban, Pioneering the Non-Fiction Film in Britain and America, 1897 – 1925. According to his website at http://www.charlesurban.com/, we are told the following: “No complete list of all the films that he produced exists, and it would be an almost impossible task to construct one, as he re-edited and re-used his film material so frequently.” Not that I won't try with a small... small “starter” sampling. No, these lists won't be complete. Further more, I am focusing exclusively on the post-1903 period instead of his years with the Warwick Trading Company (which operated with and without him between 1898 and 1915), although I might tackle them on a future date. You folks know that I can't resist the temptation. Born April 14, 1867 in Cincinnati, Ohio, Charles Urban got started in the movie business when marketing Thomas Edison's Kinetoscopes in Detroit, Michigan in 1895. He moved to the United Kingdom while working with Maguire & Baucus, agents of Edison, before becoming a part of the Warwick Trading Company three years later where he held a top position until February 1903. When he left to start up his own company, he ignited a lawsuit with Warwick by taking some top personnel with him, including Alfred Darling, Thomas Grant, George Albert Smith, John “Jack” Avery as a key co-executive and camera operator and Alice Rosenthal, sister of one of Urban's top cameramen Joseph, as a top salesperson. It didn't take long for the Charles Urban Trading Company to ape his former company as a leader of scenic “factuals” shot as far from the British Isles as one could get. These Urban-Bioscope Expeditions traipsed through Borneo, the Swiss Alps, the major destinations of Europe and “darkest” Africa. In addition to all of the pretty scenery, there was no shying away from the human thirst for violence and warfare, even having cameramen Joe Rosenthal and George Rogers tackle the Russo-Japanese War from both sides. The official 1903 and '06 film catalogs are quite a feast for the eyes, offering more for British movie goers than even National Geographic offered American magazine subscribers in its early years: https://archive.org/details/weputworldbefore00unse http://www.cinematheque.ch/fileadmin/user_upload/Expo/Gustave_Doret/Catalogue_Urban_1906.pdf Nickelodeon attendees were also introduced to worlds that weren't so much far away but hard to see with their limited eye sight. F. Martin Duncan made several series featuring amoeba, hydras, bacteria, close-ups of insects, circulation of blood and anything else of interest that required special microscopic lens. By 1908, F. Percy Smith was added to the fold, along with a new sub-company Kineto, with his landmark frame-by-frame time lapse photography of flowers blooming and close-ups of spiders and insects in action. Smith later would work with British Instructional (which I profiled on a separate thread here) and was among the first to document Mother Nature in color as well... Ah, yes, color... or shall I spell it colour? Urban certainly deserves credit as one of the great financial backers in this arena. While still with the Warwick Trading Company, he supported Edward Raymond Turner. He patented a system with Frederick Marshall Lee that involved three filters (red, yellow and blue) attached to a camera that exposed different images on consecutive frames of one black and white film roll. A few film clips survive today that were taken before Turner's untimely death in 1903, resurrected from obscurity by the National Media Museum in 2012: Because this first system was rather cumbersome, Urban had George Albert Smith (famous for such landmark novelties as The Haunted Castle and Grandma's Reading Glass) simplify the process to just two filters, making the results less “colorful” but more practical. (Leon Gaumont, however, would return to Turner's three filter concept with his excellent, but still troublesome, Chronochrome system a full decade later.) The black & white film was exposed with a disc of rotating filters, then shown with a specialized projector with matching filters to present it for the screen. In July 1906, his first experiments were made of Smith's children in Southwick, Brighton. By early 1909, a new name was established for this process, Kinemacolor, along with a new Urban-controlled company, Natural Color Kinematograph. Because each second frame was exposed differently than the frame proceeding it, fast movement of people jumping and horses galloping sometimes created a double-image effect. Over time, the cameramen got around some of this by having much action coming towards the camera and decreasing the amount of side viewed action. The film also had to be projected faster than most other films at 1/32 a second. Some of these issues were fixed later in the U.S. by the competing Prizmacolor and Technicolor companies, which followed the “bi-pack” route of exposing two rolls of film at once, thanks to a special glassware involving two filters, then having the rolls combined as one with special dyes on each side so they can be used in standard 24 frames per second projectors without filters. Urban himself also kept tinkering in later years, even after Kinemacolor ran its course, with his top engineer Henry Joy on another system called “Kinekrom” that almost, but not quite, solved the problems. Like Cinerama in the fifties and IMAX decades later, early Kinemacolor often involved special theaters and special ticket prices, with its biggest showcase being the glamorous Scala Theatre on Charlotte Street, London. Like the later widescreen spectaculars, these films held the same appeal of presenting far away places in a format unlike any other travelogue at the time; top cameraman John Mackenzie even published a book in 1910 called Rambles In Many Lands. Aside from England and France, major countries presented for the first time in color without tints or stenciling included Belgium, Holland, Germany, the United States, Canada, Italy, Algeria, the Balkans, Egypt, India, Spain, Canary Islands, Greece, Switzerland, Austria, Sweden, Australia, New Zealand, the Philippines and Japan. Essentially the Urban team was achieving the same goal in motion pictures that Albert Kahn's team did with Lumière Autochrome still photography in Les Archives de la Planète, a collection that survives more complete today. A few separate Kinemacolor companies were established outside of England such as Kinemacolor de France, Luca Comerio operating in Italy and Kinemacolor of America (profiled later on this thread), but the Japanese probably enjoyed the most success with it: Toyo Shokai, renamed Tennenshaku Katsudoshashin Kabushiki Kaisha, maintained a steady output of kabuki play adaptations and scenics through 1917. King Edward VII was the first royal to be filmed both alive and in funeral procession by the Kinemacolor cameras. Then Smith and Urban's team went all out documenting the coronation of George V, followed by his visit to India in 1911-12 titled With Our King And Queen Through India (a.k.a. The Dunbar At Delhi). This and the Kinemacolor of America's Making Of The Panama Canal are sometimes listed as the world's first feature length films in color, but were viewed at the time as presentations of individual short subjects. Not to be outdone, France's President Poincaré became a subject more than once and Kinemacolor of America made sure two presidents in office, Howard Taft and Woodrow Wilson, were also documented in color. Both the U.S. and U.K. companies covered ex-president Teddy Roosevelt. While educational films garnished Urban much of his critical prestige, it was obvious that the business of movies had to bring in the cash with plenty of fictionalized comedy, drama and adventure. These were done both in black & white and Kinemacolor, probably half of the latter productions being shot in Nice, France which boasted better sunshine than the British Isles. In addition, Urban also set up Société Générale des Cinématographes Éclipse in Paris to increase his entertainment output. Eventually this company broke off as its own independent operation, becoming the fourth largest film company in France before long. Among the more interesting films done in England were directed by Walter R. Booth as part of a then popular “trick” fantasy genre, similar to what George Méliès had been doing earlier. His 1912 part live-action / part stop-motion collaboration with F. Martin Thornton and Edgar Rogers, In Gollywog Land, boasts what may be the earliest animation in color, unless one counts Winsor McCay's hand-tinted Little Nemo of the previous year. (I do include cartoons in this thread for a change.) Another leading director, filming in both countries, was Rotterdam-born Theo Bouwmeester (sometimes listed as Frenkel, his original name, or Bouwmeester-Frenkel, the name I use here). He played Napoleon in Kinemacolor's first fictional production, Checkmated (1910), and later supervised the first western in the process, Fate, set in Texas but filmed in Sussex. The first official color feature (or the first not to be a documentary at least) was F. Martin Thorton's The World, The Flesh And The Devil, a rather torrid melodrama that the critics weren't kind to when it opened at the Holborn Empire on April 9, 1914. There was just one more follow-up feature that summer, Little Lord Fauntleroy. Urban's ambitious move into all-color features was halted due to some court battles involving the competing Biocolour headed by William Friese-Greene, who accused Urban for being monopolistic over color processes. Although Biocolour ultimately was a failure financially (and Gaumont's more competitive system stayed mostly in France), Urban still had to liquidize the Natural Color Kinematograph and re-organize as a new company, Colorfilms Ltd., dropping the key word “natural” on account of all of the bad press Kinemacolor received for its hardly natural two-spectrum system. Adding to the decline in Kinemacolor was a souring relationship between Urban and George Smith, who hardly spoke to each other until the 1930s. The war soon took up a huge chunk of Urban's activities, along with providing much needed subject matter for movie screens. He was appointed to chairman of the British Topical Committee for War Films in 1915, but ran into some controversy the following year when he negotiated with William Randolph Hearst for a U.S. distribution deal; Hearst being sympathetic to Germany while his country was still neutral did not go well with the British press at the time. Two key features Britain Prepared (How Britain Prepared) (December 1915) and The Battle Of The Somme (August 1916) nonetheless did well on both sides of the Atlantic. The former featured some rare Kinemacolor sequences of battle, another Urban first. The second strictly black and white film still holds up as an outstanding documentation with stellar camerawork by J.B. McDowell and Geoffrey Malins that has been recycled in many movies, TV shows and YouTube since. His gradual move of operations to the United States began with his take over of David Horseley's Centaur Film Corporation in Bayonne, New Jersey in March 1917, followed eight months later by the formation of Kineto Company of America at 71 West 23rd Street in New York City to produce a newsreel series called the “Official War Review”. By the autumn of 1918, he had pretty much phased out his British operations and stayed put in America, settling by 1920 with a Stanford White designed building in Irvington, New York and consolidating his companies under Urban Motion Picture Industries, Inc. Unfortunately many of his big ambitions for the American market didn't pan out well, perhaps because he was too ahead of his time. Among his most interesting novelties involving co-engineer Harry Joy (co-developed with Theodore Brown) was the Spirograph, a disc-formatted projector aimed at bringing movies into homes and schools for personal use, a fore-runner to the “home entertainment” explosion of later decades, first with 16mm and 8mm and then VHS and laserdisc by the '80s. Yet it all seemed way too early for 1920. Had his Kinekrom system been successful, many of his Kinemacolor films would have enjoyed a longer shelf life as reissues in later years, but there were still technical issues involved. On the plus side, he boasted a spectacular library of material that, along with some newly filmed footage done in America, got used extensively in several series: “Urban Movie Chats”, “Wonders of the World”, “Kineto Reviews”, “Urban Popular Classics” and “Great American Authors”, the last edited by future Traveltalks guru James FitzPatrick. All of these shorts were part of an ambitious program called “The Encyclopedia of Knowledge”, a “thousand-reel” attempt to provide a motion picture counterpart to every library's reference book section. (He also had some involvement in George McLeod Baynes' earliest “Kinograms”, a newsreel that outlasted all of Urban's own series.) Two somewhat successful features were added in 1921: The Four Seasons, supervised by leading New York zoological celebrity Raymond Ditmars and previewed February 18th, and Permanent Peace, released in November to coincide with the Washington Naval Peace Conference. One later Urban production was a real curio that is likely impossible to view today, if not lost. Evolution: From The Birth Of The Planets To The Age Of Man was supervised by Ditmars with plenty of his own personal animal footage along with some stop-motion dinosaurs by Willis O'Brien (likely lifted from his earlier short The Ghost Of Slumber Mountain). It was first shown at All Angels Episcopal Church in Manhattan, December 1922, despite Ditmars' blatant preference for Darwin over Genesis. Of course, the national publicity over the Scopes' “Monkey Trial” in Tennessee prompted a re-edit and reissue involving Edward J. Foyles of the American Museum of Natural History and the animation team of Max and David Fleischer, whose co-owned Red Seal also handled distribution. By the time this second version was released in July 1925, Urban was forced to close shop. According to July 1924 reports in Film Daily, his “$10, 500, 000 corporation” had been petitioned for bankruptcy. There was a second, but short-lived, rebooting of the company later by investor C.M. Bortman. Max Fleischer's team once again got recruited to edit material for a new and short-lived “Urban Searchlights” series (one of which is posted on this thread). By 1929, Urban was mostly retired and back in England. He lost his second wife, Ada, in 1937; she herself had contributed both financially and as a key supervisor for the company since they married in 1910. Charles passed away on August 29, 1942 while still writing his memoirs. Meanwhile, a large chunk of the Urban library fell through the cracks of court-battled ownership and much valuable source material was either recycled for its chemical components or lost/discarded by accident. This is sad when one considers Urban's motto for many years as “Putting the world before you”, which he pretty much did long before we had cable TV and the internet. What we have today to remember him by are crumbs of a once spectacular film empire. **** Urban backed many critter reels. The BFI site labels this one The Porcupine- A Prickly Subject, but it could be Animal Drolleries (Kineto 1915, minus the parrot), one of the Animal World Series (1916) or just a hodgepodge of several titles. What is nice about these compilation reels is that they preserve so much valuable footage lost in their original state. The bunny and girl shot may go back a good dozen years or so. The otter, badger and jerboa all appeared in their own longer starring roles in previous years, the otter's 1912 performance is also uploaded on this thread.
  3. yanceycravat

    Cartoon Alley

    Here is a list of all the Cartoon Alley broadcasts I recorded when they first aired. Enjoy! - Yancey ------------------------------------------------------------------------------------------- Cartoon Alley - 001 (Hollywood Spoofs) 01 - Intro - Coo Coo Nut Grove 02 - Coo Coo Nut Grove (1936) 03 - Intro - Malibu Beach Party 04 - Malibu Beach Party (1940) 05 - Intro - Hollywood Steps Out 06 - Hollywood Steps Out (1941) 07 - Wrap-Up - Cartoon Alley 001 Cartoon Alley - 002 (Christmas 01) 01 - Intro - The Pup's Christmas 02 - The Pup's Christmas (1936) 03 - Intro - Peace On Earth 04 - Peace On Earth (1939) 05 - Intro - The Night Before Christmas 06 - The Night Before Christmas (1941) - Tom And Jerry 07 - Wrap-Up - Cartoon Alley 002 Cartoon Alley - 003 (1940's) 01 - Intro - The Blitz Wolf 02 - The Blitz Wolf (1942) 03 - Intro - Life With Feathers 04 - Life With Feathers (1945) 05 - Intro - Hatch Up Your Troubles 06 - Hatch Up Your Troubles (1949) 07 - Wrap-Up - Cartoon Alley 003 Cartoon Alley - 004 (Tom and Jerry - Full Frame) 01 - Intro - Professor Tom 02 - Professor Tom (1948) 03 - Intro - Old Rockin' Chair Tom 04 - Old Rockin' Chair Tom (1947) 05 - Intro - Cat Concerto, The 06 - Cat Concerto, The (1946) 07 - Wrap-Up - Cartoon Alley 004 Cartoon Alley - 005 (Tex Avery 01) 01 - Intro - Red Hot Riding Hood 02 - Red Hot Riding Hood (1943) 03 - Intro - Batty Baseball 04 - Batty Baseball (1944) 05 - Intro - Swingshift Cinderella 06 - Swingshift Cinderella (1945) 07 - Wrap-Up - Cartoon Alley 005 Cartoon Alley - 006 (Early Color From Warner) 01 - Intro - Honeymoon Hotel 02 - Honeymoon Hotel (1934) 03 - Intro - Beauty and The Beast 04 - Beauty and The Beast (1934) 05 - Intro - I Haven't Got A Hat 06 - I Haven't Got A Hat (1935) 07 - Wrap-Up - Cartoon Alley 006 Cartoon Alley - 007 (Captain and the Kids) 01 - Intro - Cleaning House 02 - Cleaning House (1938) 03 - Intro - Petunia National Park 04 - Petunia National Park (1939) 05 - Intro - Mama's New Hat 06 - Mama's New Hat (1939) 07 - Wrap-Up - Cartoon Alley 007 Cartoon Alley - 008 (Popeye 01) 01 - Intro - Adventures Of Popeye 02 - Adventures Of Popeye (1935) 03 - Intro - Anvil Chorus Girl 04 - Anvil Chorus Girl, The (1944) 05 - Intro - Abusement Park 06 - Abusement Park (1947) 07 - Wrap-Up - Cartoon Alley 008 Cartoon Alley - 009 (Gaumont British - 1) 01 - Intro - Patypus, The 02 - Patypus, The (1948) 03 - Intro - Cuckoo, The 04 - Cuckoo, The (1948) 05 - Intro - Lion, The 06 - Lion, The (1948) 07 - Wrap-Up - Cartoon Alley 009 Cartoon Alley - 010 (Gaumont British - 2) 01 - Intro - Ostrich, The 02 - Ostrich, The (1949) 03 - Intro - It's A Lovely Day 04 - It's A Lovely Day (1949) 05 - Intro - House Cat, The 06 - House Cat, The (1949) 07 - Wrap-Up - Cartoon Alley 010 Cartoon Alley - 011 (Gaumont British - 3) 01 - Intro - Ginger Nutt's Bee Bother 02 - Ginger Nutt's Bee Bother (1949) 03 - Intro - Ginger Nutt's Christmas Circus 04 - Ginger Nutt's Christmas Circus (1949) 05 - Intro - Ginger Nutt's Forest Dragon 06 - Ginger Nutt's Forest Dragon (1950) 07 - Wrap-Up - Cartoon Alley 011 Cartoon Alley - 012 (Happy Harmonies 01) 01 - Intro - Discontented Canary, The 02 - Discontented Canary, The (1934) - Harman - Ising 03 - Intro - Old Pioneer, The 04 - Old Pioneer, The (1934) - Harman - Ising 05 - Intro - Tale Of The Vienna Woods 06 - Tale Of The Vienna Woods (1934) - Harman - Ising 07 - Wrap-Up - Cartoon Alley 012 Cartoon Alley - 013 (Sniffles) 01 - Intro - Naughty But Mice 02 - Naughty But Mice (1939) 03 - Intro - Little Brother Rat 04 - Little Brother Rat (1939) 05 - Intro - Sniffles And The Bookworm 06 - Sniffles And The Bookworm (1939) 07 - Wrap-Up - Cartoon Alley 013 Cartoon Alley - 014 (Droopy Dog 01) 01 - Intro - Dumb Hounded 02 - Dumb Hounded (1943) 03 - Intro - Shooting Of Dan McGoo 04 - Shooting Of Dan McGoo (1945) 05 - Intro - Wild And Woolfy 06 - Wild And Woolfy (1945) 07 - Wrap-Up - Cartoon Alley 014 Cartoon Alley - 015 (Tweety Bird) 01 - Intro - A Tale Of Two Kitties 02 - A Tale Of Two Kitties (1942) 03 - Intro - Birdy And The Beast 04 - Birdy And The Beast (1944) 05 - Intro - A Gruesome Twosome 06 - A Gruesome Twosome (1945) 07 - Wrap-Up - Cartoon Alley 015 Cartoon Alley - 016 (Widescreen) 01 - Intro - Millionaire Droopy 02 - Millionaire Droopy (1956) 03 - Intro - Cat's Meow, The 04 - Cat's Meow, The (1957) 05 - Intro - Tops With Pops 06 - Tops With Pops (1957) 07 - Wrap-Up - Cartoon Alley 016 Cartoon Alley - 017 (Peter Lorre) 01 - Intro - Horton Hatches The Egg 02 - Horton Hatches The Egg (1942) 03 - Intro - Hare-Raising Hare 04 - Hare-Raising Hare (1946) 05 - Intro - Birth Of A Notion 06 - Birth Of A Notion (1947) 07 - Wrap-Up - Cartoon Alley 017 Cartoon Alley - 018 (Barney Bear) 01 - Intro - Bear That Couldn't Sleep, The 02 - Bear That Couldn't Sleep, The (1939) 03 - Intro - Fishing Bear, The 04 - Fishing Bear, The (1940) 05 - Intro - Heir Bear 06 - Heir Bear (1953) 07 - Wrap-Up - Cartoon Alley 018 Cartoon Alley - 019 (Elmer Fudd) 01 - Intro - Elmer's Candid Camera 02 - Elmer's Candid Camera (1940) 03 - Intro - Confederate Honey 04 - Confederate Honey (1940) 05 - Intro - Hardship Of Miles Standish, The 06 - Hardship Of Miles Standish, The (1940) 07 - Wrap-Up - Cartoon Alley 019 Cartoon Alley - 020 (Benny Burro) 01 - Intro - Little Gravel Voice 02 - Little Gravel Voice (1942) 03 - Intro - Prospecting Bear, The 04 - Prospecting Bear, The (1941) 05 - Intro - Half-Pint Palomino 06 - Half-Pint Palomino (1953) 07 - Wrap-Up - Cartoon Alley 020 Cartoon Alley - 021 (Character Debuts) 01 - Intro - Walky Talky Hawky 02 - Walky Talky Hawky (1946) 03 - Intro - Goffy Gophers, The 04 - Goffy Gophers, The (1947) 05 - Intro - Haredevil Hare 06 - Haredevil Hare (1948) 07 - Wrap-Up - Cartoon Alley 021 Cartoon Alley - 022 (Popeye 02) 01 - Intro - Baby Wants A Bottleship 02 - Baby Wants A Bottleship (1942) 03 - Intro - Balmy Swami, A 04 - Balmy Swami, A (1949) 05 - Intro - Beaus Will Be Beaus 06 - Beaus Will Be Beaus (1955) 07 - Wrap-Up - Cartoon Alley 022 Cartoon Alley - 023 (Two Curious Pups) 01 - Intro - Dog Gone Modern 02 - Dog Gone Modern (1938) 03 - Intro - Curious Puppy, The 04 - Curious Puppy, The (1939) 05 - Intro - Snowtime For Comedy 06 - Snowtime For Comedy (1941) 07 - Wrap-Up - Cartoon Alley 023 Cartoon Alley - 024 (Christmas 02) 01 - Intro - Shanty Where Santa Clause Lives, The 02 - Shanty Where Santa Clause Lives, The (1933) 03 - Intro - Bedtime For Sniffles 04 - Bedtime For Sniffles (1940) 05 - Intro - Good Will To Men 06 - Good Will To Men (1955) 07 - Wrap-Up - Cartoon Alley 024 Cartoon Alley - 025 (Nursery Rhymes) 01 - Intro - Little Red Walking Hood 02 - Little Red Walking Hood (1937) 03 - Intro - Bear's Tale, The 04 - Bear's Tale, The (1940) 05 - Intro - Trial Of Mr Wolf, The 06 - Trial Of Mr Wolf, The (1941) 07 - Wrap-Up - Cartoon Alley 025 Cartoon Alley - 026 (Homer The Flea) 01 - Intro - Homeless Flea, The 02 - Homeless Flea, The (1940) 03 - Intro - What Price Fleadom 04 - What Price Fleadom (1948) 05 - Intro - Cat That Hated People, The 06 - Cat That Hated People, The (1948) 07 - Wrap-Up - Cartoon Alley 026 Cartoon Alley - 027 (3 Classic Warner Cartoons) 01 - Intro - I've Got to Sing a Torch Song 02 - I've Got to Sing a Torch Song (1933) 03 - Intro - Pettin' in the Park (1934) 04 - Pettin' in the Park (1934) 05 - Intro - Gold Diggers of '49 (1935) 06 - Gold Diggers of '49 (1935) 07 - Wrap-Up - Cartoon Alley 027 Cartoon Alley - 028 (Tex Avery 02) 01 - Intro - Lucky Ducky 02 - Lucky Ducky (1948) 03 - Intro - Bad Luck **** 04 - Bad Luck **** (1949) 05 - Intro - Symphony in Slang 06 - Symphony in Slang (1951) 07 - Wrap-Up - Cartoon Alley 028 Cartoon Alley - 029 (Hubie and Bertie) 01 - Intro - Aristo-Cat, The 02 - Aristo-Cat, The (1943) 03 - Intro - Roughly Squeaking 04 - Roughly Squeaking (1946) 05 - Intro - House Hunting Mice (1948) 06 - House Hunting Mice (1948) 07 - Wrap-Up - Cartoon Alley 029 Cartoon Alley - 030 (Popeye 03) 01 - Intro - Can You Take It 02 - Can You Take It (1934) 03 - Intro - Child Psykolojiky 04 - Child Psykolojiky (1941) 05 - Intro - Car-azy Drivers 06 - Car-azy Drivers (1954) 07 - Wrap-Up - Cartoon Alley 030 Cartoon Alley - 031 (3 Characters) 01 - Intro - Egghead Rides Again 02 - Egghead Rides Again (1937) 03 - Intro - Bashful Buzzard, The 04 - Bashful Buzzard, The (1945) 05 - Intro - Boulevardier from the Bronx 06 - Boulevardier from the Bronx (1936) 07 - Wrap-Up - Cartoon Alley 031 Cartoon Alley - 032 (Tom and Jerry - Widescreen) 01 - Intro - Mucho Mouse 02 - Mucho Mouse (1957) 03 - Intro - Tom's Photo Finish 04 - Tom's Photo Finish (1957) 05 - Intro - Royal Cat Nap (1958) 06 - Royal Cat Nap (1958) 07 - Wrap-Up - Cartoon Alley 032 Cartoon Alley - 033 (Droopy Dog 02) 01 - Intro - Blackboard Jumble 02 - Blackboard Jumble (1957) 03 - Intro - One Droopy Knight 04 - One Droopy Knight (1957) 05 - Intro - Sheep Wrecked 06 - Sheep Wrecked (1958) 07 - Wrap-Up - Cartoon Alley 033 Cartoon Alley - 034 (Conrad The Cat) 01 - Intro - Bird Came COD, The 02 - Bird Came COD, The (1942) 03 - Intro - Porky's Cafe 04 - Porky's Cafe (1942) 05 - Intro - Conrad The Sailor 06 - Conrad The Sailor (1942) 07 - Wrap-Up - Cartoon Alley 034 Cartoon Alley - 035 (George And Junior) 01 - Intro - Henpecked Hoboes 02 - Henpecked Hoboes (1946) 03 - Intro - Hound Hunters 04 - Hound Hunters (1947) 05 - Intro - Half-Pint Pygmy 06 - Half-Pint Pygmy (1948) 07 - Wrap-Up - Cartoon Alley 035 Cartoon Alley - 036 (Bugs Bunny) 01 - Intro - Wild Hare, The 02 - Wild Hare, The (1940) 03 - Intro - Elmer's Pet Rabbit 04 - Elmer's Pet Rabbit (1941) 05 - Intro - Hiawatha's Rabbit Hunt 06 - Hiawatha's Rabbit Hunt (1941) 07 - Wrap-Up - Cartoon Alley 036 Cartoon Alley - 037 (Spike) 01 - Intro - Counterfeit Cat, The 02 - Counterfeit Cat, The (1949) 03 - Intro - Ventriloquist Cat 04 - Ventriloquist Cat (1950) 05 - Intro - Garden Gopher 06 - Garden Gopher (1950) 07 - Wrap-Up - Cartoon Alley 037 Cartoon Alley - 038 (Bugs Bunny - Cecil Turtle) 01 - Intro - Tortoise Beats Hare 02 - Tortoise Beats Hare (1941) 03 - Intro - Tortoise Wins By a Hare 04 - Tortoise Wins By a Hare (1943) 05 - Intro - Rabbit Transit 06 - Rabbit Transit (1947) 07 - Wrap-Up - Cartoon Alley 038 Cartoon Alley - 039 (Happy Harmonies 02) 01 - Intro - When The Cat's Away 02 - When The Cat's Away (1935) 03 - Intro - Lost Chick, The 04 - Lost Chick, The (1935) 05 - Intro - Calico Dragon, The 06 - Calico Dragon, The (1935) 07 - Wrap-Up - Cartoon Alley 039 Cartoon Alley - 040 (Porky Pig) 01 - Intro - Porky's Picnic 02 - Porky's Picnic (1939) 03 - Intro - Porky's Baseball Broadcast 04 - Porky's Baseball Broadcast (1940) 05 - Intro - Porky's Snooze Reel 06 - Porky's Snooze Reel (1941) 07 - Wrap-Up - Cartoon Alley 040 Cartoon Alley - 041 (Bing Crosby) 01 - Intro - Let it Be Me 02 - Let it Be Me (1936) 03 - Intro - Bingo Crosbyana 04 - Bingo Crosbyana (1936) 05 - Intro - Woods Are Full of Cuckoos, The 06 - Woods Are Full of Cuckoos (1937) 07 - Wrap-Up - Cartoon Alley 041 Cartoon Alley - 042 (Christmas 03) 01 - Intro - Toyland Broadcast 02 - Toyland Broadcast (1934) 03 - Intro - Alias St Nick 04 - Alias St Nick (1935) 05 - Intro - Captain's Christmas 06 - Captain's Christmas (1938) 07 - Wrap-Up - Cartoon Alley 042 Cartoon Alley - 043 (Goopy Geer) 01 - Intro - Goopy Geer 02 - Goopy Geer (1932) 03 - Intro - Moonlight For Two 04 - Moonlight For Two (1932) 05 - Intro - Queen Was In the Parlor, The 06 - Queen Was In the Parlor, The (1932) 07 - Wrap-Up - Cartoon Alley 043 Cartoon Alley - 044 (Bear Family) 01 - Intro - Goldilocks and the Three Bears 02 - Goldilocks and the Three Bears (1939) 03 - Intro - Rainy Day, A 04 - Rainy Day, A (1940) 05 - Intro - Papa Gets The Bird 06 - Papa Gets The Bird (1940) 07 - Wrap-Up - Cartoon Alley 044 Cartoon Alley - 045 (Beans) 01 - Intro - Fire Alarm, The 02 - Fire Alarm, The (1935) 03 - Intro - Phantom Ship, The 04 - Phantom Ship, The (1936) 05 - Intro - Boom Boom 06 - Boom Boom (1936) 07 - Wrap-Up - Cartoon Alley 045 Cartoon Alley - 046 (Screwy Squirrel) 01 - Intro - Screwball Squirrel 02 - Screwball Squirrel (1944) 03 - Intro - Screwy Truant, The 04 - Screwy Truant, The (1945) 05 - Intro - Lonesome Lenny 06 - Lonesome Lenny (1946) 07 - Wrap-Up - Cartoon Alley 046 Cartoon Alley - 047 (Adolph Hitler) 01 - Intro - Daffy-The Commando 02 - Daffy-The Commando (1943) 03 - Intro - Russian Rhapsody 04 - Russian Rhapsody (1944) 05 - Intro - Herr Meets Hare 06 - Herr Meets Hare (1945) 07 - Wrap-Up - Cartoon Alley 047
  4. Figured that we needed a thread for classic theatrical cartoons already available online. Obviously the lifespan of anything on YouTube is temporary so some of these videos may need replaced later. Feel free to contribute more. I will try my best to provide as much information on these. Covered this one already here: http://forums.tcm.com/topic/36026-russian-soviet-films/?tab=comments#comment-1618034 Lev i Byk (The Lion And The Ox) Soviet Union: Soyuzmultfilm Fyodor Khitruk Released December 1983 and August 1984 (Ottawa International Film Festival) What I find most interesting is that acacia tree shown at the end resembling some sort of nuclear mushroom cloud. The lion and the ox seem to represent rival nations enjoying an uneasy peace and the jackal “trouble” instigating it. 1983 was a key year in the Cold War and the overall uneasiness on both sides was also reflected on American TV with The Day After.

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