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Topic: Max Fleischer

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Superman (1940s cartoons)

Fleischer Studios

Koko the Clown

Mother, Mother, Mother Pin a Rose on Me

Rotoscope

History of animation

Betty Boop

Traditional animation

Paul Fierlinger

Limited animation

Animation

Hugh Harman

Flowers and Trees

Big Cartoon DataBase

Popeye

	Max Fleischer - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-10-21)
		Max Fleischer (July 19, 1883–September 11, 1972) was an important pioneer in the development of the animated cartoon.
		Born in Vienna, Austria, Fleischer was the second oldest of six children.
		Fleischer had the idea of using frames of a live action film as the basis for drawing animation, his patent for the rotoscope was granted in 1917, although Max and Dave Fleischer made their first cartoon using the device in 1915.
	en.wikipedia.org /wiki/Max_Fleischer (425 words)

	Fleischer Studios - Wikipedia, the free encyclopedia
		Max Fleischer went on to become an employee of the Jam Handy studio, and Isadore Sparber, Dan Gordon, and Max Fleischer's son-in-law Seymour Kneitel became the new heads of the studio, which was moved from Miami back to New York by 1943.
		The Fleischers were never a major force in the industry again, but their films and characters have remained popular, and by the 1980s, the Fleischers were recognized as the animation pioneers that they were.
		The copyright for the Fleischers' cartoons was not renewed by Famous or Paramount, and as a result the majority of the Fleischers' cartoons entered the public domain.
	en.wikipedia.org /wiki/Fleischer_Studios (1591 words)

	Max Fleischer, Rotoscope, Superman, Song, Car-Tune (Site not responding. Last check: 2007-10-21)
		Max Fleischer was born in 1883 in Vienna.
		Fleischer was certainly not the first animator to mix the real world with the cartoon one, but he certainly did it like no other.
		Fleischer was never one to rest on his accomplishments, he was constantly attempting to push the limits further (partly out of personal drive and partly to 'out-do' Disney, a goal of most animators of the time).
	www.digitalmediafx.com /Features/maxfleischerp.html (1438 words)

	Comic creator: Max Fleischer
		Max Fleischer is best known as the co-founder of the famous Fleischer Studios, one of the first animation studios, which he started together with his borthers Dave and Joe.
		Max Fleischer emigrated to New York City at an early age, studying art at Cooper Union and the Art Students League.
		Although Max Fleischer did not create Betty Boop, or ever draw the strip, he and his Studio were responsible for breathing life into the little sensuous girl.
	lambiek.net /artists/f/fleischer_max.htm (420 words)

	Out Of The Inkwell: Max Fleischer And The Animation Revolution by
		Fleischer never had a Fleischerland theme park, or the entertainment connections that Disney had, but his place in animation is secure, and this fond biography allows us to appreciate his contributions to the art.
		Max Fleischer (1883-1972) was for years considered Walt Disney's only real rival in the world of cartoon animation.
		Max Fleischer's story is also one of a creative genius struggling to fit in with the changing culture of golden age cinema.
	www.law-books.info /stuff-0813123550.html (987 words)

	Biography for Max Fleischer (Site not responding. Last check: 2007-10-21)
		His brother Dave Fleischer donned a clown's costume and posed for Max's camera, and thus became the model for Koko the Clown.
		Max was awarded a patent for his invention, called the rotoscope, but was unable to sell the idea as a practical means of making movies because the work was too time-consuming.
		For these films, Fleischer perfected a process in which cartoon cels were suspended on the edge of a revolving turntable, on which miniature sets were built of cardboard and papier-mâché; the result was an amazing, three-dimensional look.
	www.imdb.com /name/nm0281502/bio (949 words)

	Don Markstein's Toonopedia: Max Fleischer Studio
		When it finally did go under, it was because Fleischer was outmatched in business — not because there was anything wrong with his cartoons.
		When, in 1921, Max and Dave Fleischer formed a partnership to produce animated films on their own (with Max as producer and Dave as director), the Bray studio lost its brightest light.
		Another Fleischer invention, the Three-Dimensional Setback (a tiny stage with animation cels hung in front, creating a startlingly three-dimensional effect) was every bit as effective as Disney's multi-plane camera.
	www.toonopedia.com /fleischr.htm (841 words)

	Fleischer Popeye Tribute
		In November of 1932, Max Fleischer, one of the greatest animation pioneers, signed an agreement with Hearst's King Features Syndicate for the right to cast Popeye in his animated films.
		At the time, Max Fleischer, the head of the New York-based Fleischer Studios, which operated under Paramount Pictures, and his directing brother, Dave, were looking for a new cartoon "star" to compete with the growing popularity of other studios' animated products (mainly Disney's Mickey and Donald).
		Fleischer, whose creations included such popular cartoon characters as the mischievous Ko-Ko the Clown and Betty Boop, an internationally-recognized curly-haired flapper, was a big fan of Segar's comic strip.
	www.calmapro.com /popeye/history.php?section=fleischer_popeye¤t=history (1017 words)

	Max Fleischer Biography / Biography of Max Fleischer Biography
		Max Fleischer was born into a family of inventors on July 17, 1883, in Vienna, Austria.
		Fleischer didn't finish high school, but attended numerous trade schools and art programs in his youth.
		Fleischer's animation career began at Joseph Randolph Bray's studio, where he made instructional films during a short World War I commission.
	www.bookrags.com /biography-max-fleischer (204 words)

	DVD Review of Max Fleischer's Ko-Ko Song Car-tunes - DVDtoons! (Site not responding. Last check: 2007-10-21)
		It was Max Fleischer who hit upon the idea of actually “animating” these presentations in such a way that the tempo and pace of the song could be more easily determined by the audience.
		It is believed that Fleischer drew his inspiration from the earlier WW I days, during which he had served as a “trainer” of sorts for the new recruits, using film presentations augmented by the use of a long pointer.
		“Max Fleischer's Ko-Ko Song Car-tunes” is a welcome addition to my DVD animation archives, and the opportunity to view such film rarities from the silent era is very rare indeed.
	www.dvdtoons.com /reviews/286 (2025 words)

	Richard Fleischer, Out of the Inkwell: Max Fleischer and the animation revolution
		It was Max Fleischer who invented "rotoscoping" by which photographed movement was traced to achieve the perfect illusion.
		Max started fooling around with the old Moy movie projector that he had inhgerited from the outdoor movie theater debacle to see whether it might somehow be adapted for use as a one-frame-at-a-time projector as well as a stop-frame camera.
		The Max Fleischer who is described on these pages is a fascinating, almost obsessive man. He is described this way, "It seems that Max's aim in life was to be fully occupied and challenged all the time.
	www.greenmanreview.com /book/book_fleischer_inkwell.html (884 words)

	Betty Boop's Forum & Community - Inkwell Images (Site not responding. Last check: 2007-10-21)
		Fleischer's concepts and techniques produced the first lifelike animation of cartoon figures, and inspired a young Walt Disney in his ALICE COMEDIES (1923-1927).
		My connection to Max Fleischer is almost one of psychic phenomena that started when I was a preschooler in the mid 1950s.
		MAX FLEISCHER’S FAMOUS OUT OF THE INKWELL is an award-winning look at not only the man, but even more importantly, his work.
	www.bettyboop.com /forums/printthread.php?t=218 (1848 words)

	DVD Verdict Review - Somewhere In Dreamland: The Max Fleischer Color Classics
		It was during that period, 1924 to be exact, that Max Fleischer began to experiment with sound in his cartoons.
		Max Fleischer was an animator who has never received the credit he deserves.
		Max left things in the capable hands of his son-in-law Seymour Kneitel, who renamed the unit Famous Studios and continued to make high-quality shorts until Paramount shut down the animation department for good in 1959.
	www.dvdverdict.com /reviews/somewhereindreamland.php (3241 words)

	Silent Era : Books : Out of the Inkwell: Max Fleischer and the Animation Revolution by Richard Fleischer
		Max Fleischer is well-known to animation fans who grew up, as I did, with the Fleischer Popeye cartoons and Song Car-Tunes that were shown on weekday afternoon kids’ television programs — perhaps not by name but by animation style.
		During the silent era, the Fleischer studio pioneered the sound cartoon — utilizing the sound system developed by Lee de Forest — years before the appearance of Steamboat Willie (1928).
		Max Fleischer’s son, Richard, has written a personal memento celebrating his father’s accomplishments, painting an intimate portrait of his creative, moral and regretably too-trusting father, and lamenting Max’s reduction by Paramount’s immoral legal manuevering to a second-rate producer of training films and would-be victor of a long overdue legal action against his former distributor.
	www.silentera.com /books/fleischer-inkwellBK.html (478 words)

	Superman Super Site - Max Fleischer's Superman
		The character was only four years old when Paramount Pictures contracted Max and Dave Fleischer to produce a series of cartoons based on the popular character.
		After all, the Fleischers only made seventeen shorts over a period of almost three years; compare that to the relative factory line production rate of the modern Warner Bros. series.
		The animation is consistently good, and frequently atmospheric, often using shadows to lend a moody aspect to the proceedings — Superman changes into his costume in silhouette, villains obsess over their plots in extreme shadow, entire scenes unfold as dark forms against a wall.
	www.supermansupersite.com /animated2.html (625 words)

	Life Story Of Animation Pioneer Max Fleischer Hits Bookshelves - Betty Boop's Forum & Community
		The long awaited life story of Max Fleischer, the legendary animation pioneer who brought to the screen such characters as Betty Boop, Koko the Klown, Popeye, and Superman, has recently arrived in bookstores.
		"Max Fleischer was one of the great visionaries of his time," Richard Fleischer said.
		Out of the Inkwell: Max Fleischer and the Animation Revolution is a vivid portrait of the life and world of a man who shaped the look of cartoon animation and became a major player in the development of Hollywood entertainment.
	www.bettyboop.com /forums/showthread.php?t=2109 (456 words)

	The ORIGINAL SUPERMAN CARTOONS! (Site not responding. Last check: 2007-10-21)
		Launched in September 1941 with the release of the initial entry, Superman, the cartoons were produced by Max Fleischer.
		The Fleischer studio was initially based in New York and was famous for its rambunctios, rough-and-ready presentation of characters like Betty Boop and Popeye.
		In 1942 Paramount Studios acquired Fleischer Studios and gave it the new name of "Famous Studios." They produced the last 8 of the 17 shorts and continued the series until 1943.
	superman.ws /fos/thescreen/cartoons (436 words)

	Fleischer, Max - Hutchinson encyclopedia article about Fleischer, Max (Site not responding. Last check: 2007-10-21)
		With his younger brother, Dave (1894–1972), as director, Fleischer animated and produced cartoon films from 1917.
		His first major series was Out of the Inkwell (1918) starring Koko the Clown.
		This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.
	encyclopedia.farlex.com /Fleischer,+Max (110 words)

	MRC FilmFinder-Full Record: Max Fleischer's Superman
		A collection of famed animator Max Fleischer's Superman serial based on the durable comic strip.
		Fleischer's Paramount animation is far and away the best available and the collection in this DVD are superb illustrations of the animated serials.
		A bonus feature of one of Fleischer's prototypical works from the '30s, Play Safe, is also included in the package.
	www.lib.unc.edu /house/mrc/films/full.php?film_id=7329 (929 words)

	Max Fleischer’s "Popeye" cartoons: Forever Withheld from DVD?
		Not only was the series the most successful the Fleischer’s produced for Paramount pictures, they are filled with inventiveness, outstanding animation and wonderful under the breath mutterings of various voice performers.
		Popeye first appeared in one of the Fleischer's Betty Boop cartoons and the film was such a smash the sailor’s own series began shortly after.
		When the Fleischer cartoons debuted on television in September 1956, they were such a hit with children that King Features Syndicate decided to produce their own series of television cartoons.
	www.biganimation.com /magazine/news/article.asp?articleid=95&zoneid=3 (807 words)

	MSN Encarta - Search Results - Max Fleischer
		Beckmann, Max (1884-1950), German expressionist painter and printmaker, whose works convey his pessimistic view of society.
		Weber, Max (economist) (1864-1920) German economist and social historian, known for his systematic approach to world history and the development of...
		Exclusively for MSN Encarta Premium Subscribers--quickly search thousands of articles from magazines such as Time, Newsweek, The Atlantic Monthly, and Smithsonian.
	encarta.msn.com /Max_Fleischer.html (109 words)

	Classic Science Fiction Reviews
		The Animated World of Max and Dave Fleischer: Superman and Popeye provides a revelatory glimpse into their amazing and impressive oeuvre, offering both entertainment and subtle education in a manner that, notwithstanding a few minor packaging and presentation flaws, is extraordinarily entertaining.
		Still, The Animated World of Max and Dave Fleischer: Superman and Popeye remains a commendable collection, providing contemporary viewers with a respectable introduction to the landmark Superman cartoon and its pioneering creators.
		Though I'd have liked more background text and perhaps one or two fantastical Fleischer Betty Boop cartoons, compared to many of the non-restored sets presently on the market, this assemblage is certainly pleasing and passable.
	www.scifi.com /sfw/issue320/classic.html (581 words)

	Amazon.com: Cartoon Madness: Fantastic Max Fleischer / Animate (1994) : Video (Site not responding. Last check: 2007-10-21)
		In a process devised and patented by Fleischer himself, animation cels were photographed vertically against miniature sets, allowing characters to move in a world with real depth.
		Alas, for all his technical brilliance, Max was a poor businessman and an even poorer judge of public taste.
		When Walt premiered "Snow White" in December 1937, Max persuaded Paramount executives to build a brand-new, ultramodern animation complex in Miami, where he would start work on his first feature, an adaptation of "Gulliver's Travels." Audiences, however, failed to warm up to Gulliver as they had Snow White and her seven companions.
	www.amazon.com /exec/obidos/tg/detail/-/6302729971?v=glance (1488 words)

	The Superhero Hype! Boards - How many would have been okay with Max Fleischer's design? (Site not responding. Last check: 2007-10-21)
		And while I might not like the shield at least the Fleischer outfit is unquestionably red and blue.
		That image looks nothing like Fleischer's Superman, so if I voted positively, I'd be validating the offensively absurd claim that it does look like it, and if I voted negatively, I'd be claiming that I wouldn't accept a design that actually looks like Fleischer's Superman when I haven't seen one yet.
		You are one of the main cancers on these boards, and you've spread way to far throughout all these forums, nitpicking little items such as grammer in a vain attempt to try and prove you have some sort of argument other than "I can read quickly written posts for grammer".
	www.superherohype.com /forums/printthread.php?t=173622 (2539 words)

	MAX FLEISCHER - PRINTED ART SIGNED CIRCA 1932
		Cartoonist Max Fleisher's studio, which pioneered sound cartoons in 1924, introduced such animated creations as Koko the Clown, Betty Boop, Popeye and Superman.
		Koko, the star of Out of the Inkwell, was known for "escaping" from the drawing to interact with Fleischer.
		Betty Boop, introduced in Dizzy Dishes in 1930, was censored in 1934 -- her skirt had to be lowered and her famous garter removed.
	www.galleryofhistory.com /archive/9_2001/artists/MAX_FLEISCHER.htm (250 words)

	: Max Fleischer's Color Classics: Somewhere in Dreamland - DVD film (Site not responding. Last check: 2007-10-21)
		These Fleischer shorts have morals and messages that really get to you.
		It seems that the majority of these newer animated series have lost perspective of it's target audience and have been putting out mellowdramatic garbage since the mid-nineties.
		Despite "OK" video quality and rather vanilla audio commentaries, this is the only DVD I know of that took the effort to preserve these rare master works.
	www.totaltiorden.dk /shop/dvd_details.php/B0000687E3\|dvd (540 words)

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