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Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television.
How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.
- Sales Rank: #1445497 in eBooks
- Published on: 2004-05-14
- Released on: 2004-05-14
- Format: Kindle eBook
Review
"a masterful job...a welcome addition to the current literature in the field of animation" -- Society for Animation Studies Newsletter
"a pioneering effort that will stand the test of time.... Recommended highly for all types of audiences" -- Choice
"an interesting study...sheds new light on some little known episodes...a valuable addition to your animation library" -- The Pegboard
"chronicles the perpetuation of racial stereotypes and the studios' efforts to stop producing such animation. Recommended for film collections and the larger reference sections" -- Public Library Quarterly
"detailed career overview" -- Film Review
"investigates the subjects of racist imagery, blacklisting and so-called 'uncensored' adult-oriented animation-and how studios have responded to censorship pressures" -- Animation Journal
"thorough, informative and wholly entertaining" -- Film Arts Foundation
"very accessible and interesting" -- Anymator
"well researched...an interesting view of the industry" -- Film & History
About the Author
Karl F. Cohen teaches animation history classes at San Francisco State University and is also an independent film distributor.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Animation - not just cartoons
By J. J. Kwashnak
Animation has always been a reflection of popular culture, sometimes on the cutting edge, sometimes just a mainstream reaction. Yet because of the popular idea that animation is "kids stuff," it is sometimes not taken seriously. Cohen tries to shine a light on how animation goes way beyond "kids stuff" and reflects on the social forces that went into the creation of animated shorts and features. Despite being seen as a niche, animation has been subjected to a lot of self imposed rules of what can and cannot be shown, and to a lot of outside forces by both organized efforts such as the Hayes Office and less organized efforts such as popular protests against films like Coonskin or Fritz the Cat.
You do not have to know a lot about animation to enjoy this book. It helps, but most of us have been exposed to a number of the examples cited over the course of growing up. And what is politically incorrect is a moving target, so what was acceptable in one era is wholly out now. We see it even today with the television censorship of violence in classic cartoons.
It's also important to note that despite being seen as a less serious medium that could often get away with more than film, animators were still subject to the same winds of politics as illustrated by the final chapter on blacklisting. Animators were asked to name names to the HUAC, and many did not work in Hollywood again for defying the committee. Until I read this book I had no idea of the breadth of this blacklisting upon animators and it reinforces the shame of this era of our history.
Rather than passing judgment, Cohen uses mostly illustrations to show his point, letting the reader decide how much was/is too much. And he brings this battle of content into the late 20th century with examples of battles over The Simpsons, and Ren and Stimpy. Overall a very fascinating look into an area that is usually glossed over or ignored.
13 of 13 people found the following review helpful.
This book is a thorough look into the history of animation.
By A Customer
I enjoyed "Forbidden Animation". I am a huge fan of animation history, and I am happy that books about the political censoring of animation in the past and present are finally being produced. Karl Cohen should be commended for his thorough research of the subject, he definetly tried his hardest to bring an objectional perspective to the recorded documents involving the censoring of cartoons and animators. The books only real downfall is its lack of images-I'm not someone who has to have pictures, but when art and animation is the subject, you understand it more when you have something to look at-. I highly recommend this book to any animation historians out there, as well as people who want a better understanding of cartoons and their makers.
3 of 4 people found the following review helpful.
Disappointing
By John Hourigan
While the subject matter is fascinating, the book itself is in serious need of tighter editing. In fact, I got so frustrated with the author's disjointed writing style (it jumps all over the place) that I could only make it through half of the book. Every time I go back to the book to attempt to finish it, I'm quickly reminded why I couldn't finish it in the first place.
I really want to like this book, but its lack of a coherent structure prevents me from recommending it. I have found that other books from this particular publisher (McFarland) would benefit from more aggressive editing.
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