Redesigning Animation

Table of contents

1. Cover
2. Half Title Page
3. Series Page
4. Title Page
5. Copyright Page
6. Dedication
7. Contents
8. Foreword
9. Acknowledgments
10. Summary
11. Notes
12. Author
13. Introduction
14. Chapter 1 UPA within the Historical and Cultural Framework of Cold War America
    1. 1.1 The 1930s: From the Great Depression to the New Deal
    2. 1.2 The American Postwar Stage
    3. 1.3 A Changing Society, a Different Life
       1. 1.3.1 The Patriarchal Family
       2. 1.3.2 The Debate Among Intellectuals
    4. 1.4 Years of Endless Experimentation
       1. 1.4.1 Literature, Poetry, Music and Painting
       2. 1.4.2 Graphic Design
       3. 1.4.3 Cinema
       4. 1.4.4 Television
    5. 1.5 American Animation Goes Modern
       1. 1.5.1 Animation during and after World War II
       2. 1.5.2 UPA as a Cultural Product of Its Time
       3. 1.5.3 The 1955 MoMA Exhibition
    6. ENDNOTES
15. Chapter 2 Stephen BosustowLife, Merits, Limits, Gaps and the UPA Production System
    1. 2.1 Stephen Bosustow: An Essential Professional Biography
    2. 2.2 Stephen Bosustow: Comments from The Press
       1. 2.2.1 National Press
       2. 2.2.2 International Press
    3. 2.3 Stephen Bosustow at the UPA Studio
       1. 2.3.1 Opinions from His Employees
       2. 2.3.2 Stephen Bosustow According to Himself: A Mr. Magoo Personality
       3. 2.3.3 Stephen Bosustow: Merits, Limits and Gaps
    4. 2.4 The UPA Production System
       1. 2.4.1 The Units
       2. 2.4.2 Freedom Is Granted
       3. 2.4.3 A Matter of Style
    5. ENDNOTES
16. Chapter 3 The Birth of a StyleModern Art, Graphic Design, Advertising and Animation in the 1940s and 1950s
    1. 3.1 Modern Art
    2. 3.2 Modern Graphic Design
       1. 3.2.1 Functional Design
       2. 3.2.2 Functional Design in UPA Animated Cartoons
    3. 3.3 Graphic (Animated) Modernism
       1. 3.3.1 Line Drawing
       2. 3.3.2 Animation as a Graphic Cinematic Medium
    4. 3.4 Cross-Fertilization between Animation, Modern Art and Graphic Design
       1. 3.4.1 Advertising Art
       2. 3.4.2 Primitivism and Children’s Art
       3. 3.4.3 Some Examples of Cross-Fertilization
    5. ENDNOTES
17. Chapter 4 UPA Films as Case Studies for a Simplified Visual Language in Animation in the 1940s and 1950s
    1. 4.1 Pre-Columbia Films
    2. 4.2 The Jolly Frolics Series
       1. 4.2.1 An Overview
       2. 4.2.2 Four Case Studies
          1. 4.2.2.1 Gerald McBoing Boing
          2. 4.2.2.2 Rooty Toot Toot
          3. 4.2.2.3 The Unicorn in the Garden
          4. 4.2.2.4 The Tell-Tale Heart
       3. 4.2.3 Series Attempts
    3. 4.3 Mr. Magoo Theatrical Releases
       1. 4.3.1 Who Is Mr. Magoo?
       2. 4.3.2 Case Studies
          1. 4.3.2.1 Trouble Indemnity
          2. 4.3.2.2 When Magoo Flew
       3. 4.3.3 Mr. Magoo’s World
    4. 4.4 The Boing-Boing Show
       1. 4.4.1 An Overview
       2. 4.4.2 Case Study: The Invisible Moustache of Raoul Dufy
    5. 4.5 The Animated Feature Film: 1001 Arabian Nights
    6. ENDNOTES
18. Chapter 5 The UPA FormulaFrom Direct Influences to Concurrent Examples of Modernism in Animation
    1. 5.1 Direct Influences of UPA in the United States
    2. 5.2 Modern Styles in Western Animation
       1. 5.2.1 Modern Animation in the United States: UPA Influences at Storyboard, Inc.
       2. 5.2.2 Modern Animation in Canada: UPA Influences at the National Film Board and Vice Versa
       3. 5.2.3 Modern Animation in England: UPA Influences at Halas & Batchelor Cartoon Films, W. M. Larkins Studio and TVC London
       4. 5.2.4 Modern Animation in Italy: UPA Influences at Bruno Bozzetto Film
    3. 5.3 Modern Styles in Eastern European Animation
       1. 5.3.1 Modern Animation in Yugoslavia: UPA Influences at Zagreb Film
       2. 5.3.2 Modern Animation in Romania: Ion Popescu-Gopo
       3. 5.3.3 Modern Animation in Czechoslovakia: Jiří Brdečka
    4. 5.4 Modern Styles in Soviet Union Animation: Fyodor Khitruk
    5. 5.5 Modern Styles in Asian Animation: Three Japanese Directors
       1. 5.5.1 Taiji Yabushita
       2. 5.5.2 Osamu Tezuka
       3. 5.5.3 Yōji Kuri
    6. ENDNOTES
19. Conclusions
20. Appendix
21. Primary Sources
22. Secondary Sources
23. Index