Independents such as Marv Newland joined the fray; his infamous short Pink Komkommer was an important event in animation circles that year. How To Succeed in Animation Dr. For a brief moment, it seemed that the tradition of cartoons tailored to adult sensibilities might triumph. It is inconceivable that said audiences were wholly or even mainly composed of children, or that Frank Tashlin, Chuck Jones or Bob Clampett were directors of kiddie fare. The uneven road taken by adult animation in America wends its bumpy way along. Toon Adult animation has been a problematic concept for decades, possibly due to cultural confusion over the term itself. Still, Kricfalusi was merely on the right track, one eventually derailed by contentious dealings with Nickelodeon, and perhaps by Kricfalusis own broadening vision of wedding Bob Clampetts sensibilities to modern narrative and convention. Before they were finished, they would seriously cripple every effort toward mature animation in America.
Mature animation was far more self-reflexive and contained more referents to the greater culture and media than childrens shows. In , Bob Clampett tried mightily to appeal to adults with his outstanding Beany and Cecil series, and, for the most part, succeeded. When the cartoons became too expensive to recoup their costs and the great movie studios closed their animation departments, we essentially lost adult animation in America. The first film adapted the detective noir film to images of classic cartoons, while the second wedded the Broadway musical to animation. The latter two have stated that they made cartoons mostly to please themselves, based on what they found funny. Many of the animators were independents; a few of them were veterans of festivals and all of them were animating for adults only. Bakshi would return with several animated films that were far more mature in content. Some artists did fight the trend, but their intentions unraveled due to a heavy-handed reliance on sex and violence. Much of what American audiences were seeing was the product of unique cultural factors that were not replicable in this country. It was also at this time that a fantastic Japanese feature film, Akira , opened American doors to a flood of sophisticated narratives that Asian and American cult audiences has been enjoying for some time. If you require more proof, just listen to todays adults profess their love for the classic Looney Tunes. The uneven road taken by adult animation in America wends its bumpy way along. These bouncy brats resided in a culture virtually designed to ruin them. In the typical sense, adult entertainment carries sexual connotations that run the gamut from the merely salacious to the outright pornographic. Stringent efforts by broadcast standards and practices departments, as well as watchdog groups, only reinforced this view. Independents such as Marv Newland joined the fray; his infamous short Pink Komkommer was an important event in animation circles that year. For a brief moment, it seemed that the tradition of cartoons tailored to adult sensibilities might triumph. Unfortunately, the former film is virtually worthless and the latter film a promising, though ultimately failed experiment. Men who were in their prime during the heyday of theatrical shorts made them, but they could not sway the overall march to mediocrity. Stone and Parkers series was the subject of much scrutiny by hopeful producers and the networks ready to throw money at them by the fistful. Kricfalusi was arguably best suited to take the next step in the development of mainstream adult animation, but that step fell to two playful auteurs instead. By the time The Simpsons made its debut, some postulations were possible concerning what might constitute Americas version of mature animation. It is inconceivable that said audiences were wholly or even mainly composed of children, or that Frank Tashlin, Chuck Jones or Bob Clampett were directors of kiddie fare. Some of the starkest anime had its roots in the psychological scars of Nagasaki and Hiroshima, wartime disasters such as Americans had never faced. For the next 20 years, the viewing public would hold the broad perception that cartoons were strictly for kids. Adults loved the skewed characters, the unrelenting bashing of celebrities and the topical humor that kept South Park fresh through numerous seasons.
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