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.jpg){kind=logo} Talkartoons promotional poster with studio logo | |
| Industry | Motion pictures |
|---|---|
| Predecessor | Bray Productions Out of the Inkwell Studios |
| Founded | 1929; 96 years ago (1929) |
| Founder | Max Fleischer Dave Fleischer |
| Defunct | July 3, 1942; 83 years ago (1942-07-03) |
| Fate | Renamed and reorganized asFamous Studios after its acquisition byParamount Pictures and the resignation of its founders. |
| Successors | Studio: Famous Studios (fully-owned subsidiary ofParamount Pictures, renamed to Paramount Cartoon Studios in 1956) Paramount Animation Library: Paramount Pictures (throughMelange Pictures) Warner Bros. (throughTurner Entertainment Co. andDC Entertainment) (Popeye the Sailor andSuperman only) |
| Headquarters | Broadway,New York City, New York, U.S. (1929–1938) Miami, Florida, U.S. (1938–1942) |
| Products | Animatedshort subjects andfeature films |
| Owner | Paramount Pictures Inc. (1941–42) |
Number of employees | Approx. 800 (1939) |
| Website | fleischerstudios |
Fleischer Studios (/ˈflaɪʃər/) was an Americananimation studio founded in 1929 by brothersMax andDave Fleischer, who ran the pioneering company from its inception until its acquisition byParamount Pictures in 1942, the parent company and the distributor of its films. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, withWalt Disney Productions being its chief competitor in the 1930s.
Fleischer Studios includedOut of the Inkwell andTalkartoons characters like,Koko the Clown,Betty Boop,Bimbo,Popeye the Sailor, andSuperman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers' most successful characters were humans (with the exception of Bimbo, a black-and-white cartoon dog, and Betty Boop, who started off as an anthropomorphized dog, but evolved into a human). The cartoons of the Fleischer Studio were very different from those of Disney, both in concept and in execution. As a result, they were rough rather than refined and consciously artistic rather than commercial, but in their unique way, their artistry was expressed through a culmination of the arts and sciences.[1][failed verification] This approach focused on surrealism, dark humor, adult psychological elements, and sexuality. Furthermore, the environments were grittier and urban, often set in squalid surroundings, reflecting theGreat Depression as well asGerman Expressionism.
The Fleischer Studio was built onMax Fleischer's novelty film seriesOut of the Inkwell (1918–1927). The novelty was based largely on the results of the "rotoscope", invented by Fleischer to produce realistic animation. The firstOut of the Inkwell films were produced throughBray Productions. They featured Fleischer's first character, "The Clown", who later became known asKo-Ko the Clown in 1924.
In 1921, Bray Productions ran afoul of legal issues, having contracted for more films than it could deliver to its distributor,Goldwyn Pictures. The Fleischer Brothers left and began their own studio, Out of the Inkwell Films, withDave Fleischer as director and production supervisor, and Max as producer, at 129 East 45th Street, and later at1600 Broadway, both inManhattan.[2][3][4] In 1924, animatorDick Huemer joined the studio and redesigned "The Clown" for more efficient animation. Huemer's new design and experience as an animator moved them away from their dependency on the rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines.[citation needed] In addition, Huemer created Ko-Ko's companion, Fitz the Dog, who would evolve intoBimbo in 1930.
Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations. These innovations include the "Rotograph", an early "Aerial Image" photographic process for compositing animation with live action backgrounds. Other innovations includedKo-Ko Song Car-Tunes and sing-along shorts (featuring the famous "bouncing ball"), a precursor tokaraoke.
In 1924, distributor Edwin Miles Fadiman and Hugo Riesenfeld formed the Red Seal Pictures Corporation. Riesenfeld was the theatrical manager of the Strand, Rivoli, and Rialto theaters on Broadway. Because the Out of the Inkwell films were a major part of the program in Riesenfeld's theaters, the Fleischers were invited to become partners. The Red Seal Company committed to an ambitious release schedule of 26 films with The Inkwell Studio as the primary supplier. The following year, Red Seal released 141 films that included documentaries, short comedy subjects, and live-action serials. Carrie of the Chorus, also known as Backstage Comedies, was one of the Red Seal series that featured Max's daughter, Ruth, in a supporting role.Ray Bolger made his screen debut in this series and dated Ruth for a short time.
Red Seal released cartoon novelty series such asThe Animated Hair cartoons by cartoonist "Marcus", andInklings.The Animated Hair series resembled the on-screen hand drawing gimmick established inOut of the Inkwell. In this case, "Marcus" produced high-quality ink line portraits of celebrities and political figures. Then through stop motion animation techniques, the lines and forms would break away to entertainingly re-form the portrait into another.Inklings was similar in concept to theAnimated Hair films, but was more of a visual puzzle novelty using a variety of progressive scratch-off/reveal techniques and rearranged animated cutouts to change the images.
It was during this time thatLee de Forest started filming hisPhonofilms experiments featuring several of the major Broadway headliners. The Red Seal company began acquiring more theaters outside of New York and equipped them with sound equipment produced byLee de Forest, displaying "talkies" three years before the sound revolution began. Because of Max's interest in technology, Riesenfeld introduced him to de Forest. It was through this partnership that Max produced a number of the Ko-Ko Song Car-tunes as sound releases. Of the 36 song films produced between 1924 and 1927, 12 were produced as sound films beginning in 1926 with standard silent versions as well. The first sound release wasMother Pin a Rose on Me. Other sound releases includedDarling Nellie Gray,Has Anybody Here Seen Kelly?,When the Midnight Choo-Choo Leaves for Alabam',Coming Through the Rye,My Wife's Gone to the Country,Margie, Oh, How I Hate to Get Up in the Morning,Sweet Adeline,Old Black Joe,Come Take A Trip in My Airship, andBy the Light of the Silvery Moon.
Red Seal owned 56 theaters, extending as far west as Cleveland, Ohio. But after only two years of operation, Red Seal was broke. Max Fleischer sought an appointment of receiver in bankruptcy in October 1926. Just as the situation looked hopeless, Alfred Weiss offered a Paramount contact.[5]
The Paramount deal provided financing and distribution, but due to legal complications of the bankruptcy, the title toOut of the Inkwell was changed toThe Inkwell Imps (1927–1929) and the studio was renamed Inkwell Studios. One year into the relationship, the Fleischer Brothers discovered mismanagement under Weiss and left before the end of theImps contract. Out of the Inkwell Films, Inc. filed bankruptcy in January 1929. In March, Max formed Fleischer Studios with Dave as his partner. Operations were first set up at the Carpenter-Goldman Laboratories in Queens. With a skeleton staff, Fleischer Studios started out doing industrial films, most notably,Finding His Voice, a technical demonstration film explaining Western Electric's Variable Density recording and reproduction system. Max Fleischer secured a new contract with Paramount to produce a revival of the "Bouncing Ball" song films, re-branded asScreen Songs, withThe Sidewalks of New York as the first release on February 5, 1929.
The early experiments with sound synchronization gave Fleischer Studios experience in perfecting the post-production method of recording, aided by several inventions by founder, Max Fleischer. With the conversion to sound, Paramount needed more sound films, and cartoons could be produced faster than feature films. As theScreen Songs returned Fleischer to the established song film format, a new sound series,Talkartoons replaced the silentInkwell Imps, the first beingNoah's Lark released on October 25, 1929. Earlier entries in the series were one-shot cartoons, until the appearance ofBimbo as of the fourth entry. Bimbo evolved through several redesigns in each cartoon for the first year. While the intent was to develop him as the star of the series, it was the cameo appearance of aHelen Kane caricature in the seventh entry,Dizzy Dishes that took center stage. Audience reactions to the New York preview were so great that Paramount encouraged the continued development of the most famous character to come from the Fleischer Studio by that time,Betty Boop. While originated as a hybrid human/canine character, Betty Boop was transformed into the human character she is known as by 1932. Having become the main attraction of theTalkartoons, she was given her own series, which ran until 1939.
The "Jazz Baby" Flapper character, Betty Boop lifted the spirits of Depression Era audiences with her paradoxical mixture of childlike innocence and sexual allure. Being a musical novelty character, she was a natural for theatrical entertainment. Several of her early cartoons were developed as promotional vehicles for some of the top Black Jazz performers of the day includingLouis Armstrong (I'll Be Glad When You're Dead You Rascal, You),Don Redman (I Heard), and most notably, the three cartoons made withCab Calloway,Minnie the Moocher,Snow-White, andThe Old Man of the Mountain. This was considered a bold action in light of the Jim Crow policies active in the South where such films would not be shown.
In 1934, theHays Code resulted in severe censorship for films. This affected the content of all of Paramount's films as well, which tended to reflect a more "mature" tone in the features of theMarx Brothers,W.C. Fields, and most of all,Mae West. As a result, each of these stars was released as Paramount changed the content of its films to reflect a more "general audience" in order to comply with the new Code and stay in business. Paramount had also gone through three reorganizations from bankruptcy between 1931 and 1936. The new management underBarney Balaban set out to make more general audience films of the type made at MGM, but for lower budgets. This change in content policy affected the content of cartoons that Fleischer was to produce for Paramount, which urged emulation of the Walt Disney product.
While Paramount was a large organization with a network of theaters, its fiscal consciousness was largely responsible for preventing Fleischer Studios from acquiring the three-stripTechnicolor process, leaving it available for a four-year exclusivity withWalt Disney, who created a new market for color cartoons, established by Academy Award winner,Flowers and Trees (1932).
Paramount acquiesced to the release of theColor Classics series starting in 1934, but with the exclusivity of the three-color process still held by Disney, Fleischer Studios used the available two-color processes,Cinecolor, a two-emulsion red and blue process, andTwo-color Technicolor, using red and green. By 1936, the Disney exclusivity had expired, and Fleischer Studios used the three-color process in its color cartoons beginning withSomewhere in Dreamland and continued using it for the remainder of its active years.
The Fleischer Studio's greatest success came with the licensing ofE.C. Segar'scomic strip characterPopeye the Sailor beginning in 1933.Popeye eventually became the most popular series the studio ever produced, and its success surpassedWalt Disney'sMickey Mouse cartoons, documented by popularity polls. With the availability of full spectrum color, the Fleischer Studios produced three two-reelPopeye featurettes,Popeye the Sailor Meets Sindbad the Sailor (1936),Popeye the Sailor Meets Ali Baba's Forty Thieves (1937), andPopeye the Sailor Meets Aladdin's Wonderful Lamp (1939). This series of longer-format cartoons were an indication of the emergence of the animated feature film as a commercially viable project beginning with Walt Disney'sSnow White and the Seven Dwarfs (1937).
The Fleischer Studios had reached its zenith by 1936, with four series and 52 annual releases. Due to the phenomenal success of the Popeye cartoons, Paramount demanded more, and the Fleischer Studio experienced rapid expansion in order to balance out the increased workload. The crowded conditions, production speedups, drawing quotas, and internal management problems resulted ina labor strike beginning in May 1937 which lasted for five months. This strike was a test case, the first launched in the motion picture industry, and produced a nationwide boycott of Fleischer cartoons for the duration.
Max Fleischer had been petitioning Paramount for three years about producing an animated feature. Paramount vetoed his proposals until the proven success of Disney'sSnow White and the Seven Dwarfs (1937). Paramount now wanted an animated feature for a 1939 Christmas release. This request came at the time of preparations for relocating toMiami, Florida. While the relocation had been a consideration for some time, its final motivation was made a reality due to lower corporatetax structures and an alleged escape from the remaining hostility from the strike.
The new Fleischer Studio opened in October 1938, and production on its first feature,Gulliver's Travels (1939), went from the development stage begun in New York to active production in Miami. The score was by Paramount staff composer, Victor Young and recorded at the Paramount west coast facilities. While limited to only 60 theaters in a one-month release,Gulliver's Travels earned more than $3 million in the United States alone, exceeding its original $500,000 estimated cost. Accordingly, a second feature was ordered for the Christmas period,Mr. Bug Goes to Town (1941).
The personal relationship between Max and Dave Fleischer deteriorated during the Miami period due to complications associated with the pressures of finishing the studio's first feature film and Dave's very public adulterous affair with his secretary, Mae Schwartz. Max and Dave stopped speaking to each other altogether by the end of 1939, communicating solely by memo.[6]
Dave gained total control of production in 1940, relegating Max to business affairs and research. The studio was in need of new products going into the new decade, but the new shorts series that debuted in 1939 and 1940,Gabby,Stone Age Cartoons, andAnimated Antics, were unsuccessful. Theater operators complained, with thePopeye cartoons having the only value.
Paramount acquired the rights tocomic booksuperheroSuperman in 1941, and the Fleischers were assigned to work on a series of animatedSuperman shorts.[7] The first entry,Superman, had a budget of $50,000,[7] the highest ever for a Fleischer theatrical short, and was nominated for anAcademy Award.
The animatedSuperman series, with its action-adventure and science fiction fantasy content, was a huge success, but that did not help the studio out of its financial trouble. It was penalized $350,000 for going over budget onGulliver's Travels, and the revenues earned from the rentals of thePopeye cartoons had to be used to offset the loss of $250,000 incurred by the rejection of cartoons in 1940.
While profits dwindled, Paramount continued to advance money to Fleischer Studios to continue the production of cartoons with its focus mainly onPopeye,Superman, andMr. Bug Goes to Town, a new feature film for the 1941 Christmas season. On May 24, 1941, Paramount demanded reimbursement on the penalties still owed after 18 months and assumed full ownership of Fleischer Studios, Inc.[8] The Fleischers remained in control of production until that November.Mr. Bug Goes to Town, intended for release in December 1941, was not released until February 1942, and never recouped its costs.
In spite of living up to his contractual obligations and delivering the film, Max Fleischer was asked to resign. Dave Fleischer had resigned the month before, and Paramount finished out the last five months of the Fleischer contract without the Fleischer brothers. The last cartoon produced at the credited Fleischer Studios was theSuperman cartoonTerror on the Midway.[8] Paramount formed a new company,Famous Studios, as a successor to Fleischer Studios effective on July 3, 1942.
With the exception of theSuperman andPopeye cartoons, Paramount's cartoon library of releases prior to October 1950 was originally sold toU.M. & M. TV Corporation in 1955. A condition of the purchase required the removal of the Paramount logos and copyright lines from the main titles.[9]
As soon as the Fleischer library was sold to television, Max Fleischer noticed that some of the cartoons were being shown without his name in the credits, which was a violation of his original contracts. On June 17, 1956, Max Fleischer filed suit against Paramount and its TV distribution partners, seeking $2,750,000 in damages. The infringement on his name was corrected on all subsequent prints exhibited on television.[10]
Before U.M.& M. had finished the title alterations, the company was bought byNational Telefilm Associates. NTA placed their logo at the heads and tails of the films and blacked out references to Paramount,Technicolor,Cinecolor andPolacolor. The majority of the Fleischer cartoons were off the air by the mid 60s when the original copyrights were due for renewal. NTA failed to renew the copyrights, which placed the majority of the Fleischer film library (including theColor Classics series, theScreen Songs series, andGulliver's Travels) into thepublic domain.Mr. Bug Goes to Town, variousBetty Boop cartoons, and the 1938Color Classic,The Tears of an Onion, are among the few films that remain under copyright to Melange Pictures, LLC.
In the mid-1970s, NTA converted 85 black and whiteBetty Boop cartoons to color through Fred Ladd's Color Systems company. The process was done by having the cartoons traced and re-colored by Korean animators. These were packaged in 1976 under the titleBetty Boop for President. This was refashioned as a compilation feature,Hooray for Betty Boop, and ran on HBO in 1980.
Paramount has reacquired ownership of the original Fleischer film library (through their acquisition ofRepublic Pictures) since 1996 and continues to own the theatrical rights.
ThePopeye series, a property licensed fromKing Features Syndicate, was acquired byAssociated Artists Productions (a.a.p.), which later became part ofUnited Artists (for info on thePopeye retitling, see the a.a.p. article) andMetro-Goldwyn-Mayer.Turner Entertainment Co., after briefly owning MGM outright, settled for ownership of the library, including thePopeye cartoons, in 1986. A small number ofPopeye cartoons have also entered the public domain.
Superman, the other series based on licensing, reverted toNational Comics after Paramount's rights to the character expired. TV syndication rights were initially licensed to Flamingo Films, distributors of the 1950sAdventures of Superman TV series. All 17 entries in this series entered the public domain in the late 1960s, when National failed to renew their copyrights.[citation needed]
Nevertheless, theSuperman andPopeye cartoons are now under the ownership ofWarner Bros., a subsidiary ofWarner Bros. Discovery; Warner bought the original film elements to theSuperman series in 1969, after becoming a sibling (and later the parent) to DC Comics.[citation needed]
Most of the Fleischer color titles have been widely available on video since the 1980s, often on inexpensive videotapes sold in supermarkets and discount stores. Animation fans, theUCLA Film and Television Archive, and more recently the Max Fleischer estate and Paramount Pictures (via the Republic/Melange library) have worked to release high-quality restored editions of the Fleischer cartoons. These have also been made available on pay-cable, home video,DVD, and online onYouTube.[11] Many of these restored versions now include the original front-and-end Paramount titles.
Most of the silent Fleischer titles from theOut of the Inkwell/Inkwell Imps series have entered the public domain.
An officialBetty BoopVHS set,Betty Boop Confidential, was released by Republic Pictures in 1995, included several black-and-whiteBetty Boop cartoons as well as Betty's only color appearance,Poor Cinderella.
There have been several video releases for theSuperman series. These include a 1991 VHS set produced by Bosko Video, titledThe Complete Superman Collection: Golden Anniversary Edition – The Paramount Cartoon Classics of Max & Dave Fleischer released as two volumes which featured transfers from 35mm prints. It was reissued on DVD asThe Complete Superman Cartoons — Diamond Anniversary Edition in 2000 byImage Entertainment, andSuperman Adventures in 2004 by Platinum Disc Corporation.
A third (and more "official") compilation using restored and remastered materials was released in November 2006 byWarner Home Video as part of their DVDbox set of Superman films. In 2009, Warner gave these Superman shorts their own stand-alone 2-disc DVD release,Max Fleischer's Superman: 1941–1942.
Olive Films, under exclusive license from Melange/Viacom, acquired the rights to the 66 non-public domain Betty Boop cartoons, and released four volumes ofBetty Boop DVDs and Blu-rays.[12]
Warner Home Video has released all of the Fleischer Popeye cartoons in three volumes as part of thePopeye the Sailor DVD collection.
VCI Entertainment/Kit Parker Films' DVD compilation of all theColor Classics (exceptThe Tears of an Onion), entitledSomewhere In Dreamland, was released in 2003. It includes only a fraction of shorts remastered from 35mm film, but otherwise taken from the best available sources Kit Parker could provide VCI, and digitally recreating the original front-and-end Paramount titles. Animation archivistJerry Beck served as consultant for this box set, as well as providing audio commentary for select shorts.
VCI Entertainment also released a DVD compilation of all the public domainPopeye cartoons (both Fleischer and Famous) entitledPopeye the Sailor Man Classic Cartoons: 75th Anniversary Collector's Edition in 2004.
InJapan,Mr. Bug Goes to Town was released on DVD in April 2010 byWalt Disney Studios Home Entertainment as part of theStudio Ghibli'sGhibli Museum Library collection.[13]
In 1985, DC Comics named Fleischer Studios as one of the honorees in the company's 50th anniversary publicationFifty Who Made DC Great for its work on theSuperman cartoons.[14]
Today, a new iteration of Fleischer Studios effectively holds the rights to Betty Boop and associated characters such as Koko the Clown, Bimbo andGrampy, though courts have never supported their ownership claims. It is headed by Max's grandson Mark Fleischer, who oversees merchandising activities.[15] Fleischer Studios utilizes King Features Syndicate to license Fleischer characters for various merchandise.[16]
In 2021, after decades of being shown in altered and worn prints, the Fabulous Fleischer Cartoons Restored company was started by Max Fleischer's granddaughter, Jane Fleischer Reid, to focus on the restoration and screening of the Fleischer Studios library. The restoration efforts are a collaboration between film archives around the world includingParamount Pictures which owns the original camera negatives. Beginning withSomewhere in Dreamland; the restored cartoon had its premiere on theMeTV network in December of the same year.[17] In March 2023, a week long screening event took place at theMuseum of Modern Art which showcased around 60 brand new Fleischer restorations.
Theloose, improvisatory animation, frequentlysurreal action generally termed "The New York Style" (particularly in films such asSnow White andBimbo's Initiation), grungy atmosphere, and racypre-Code content of the early Fleischer Studios cartoons have been a major influence on manyunderground andalternative cartoonists.Kim Deitch,Robert Crumb,Jim Woodring, andAl Columbia are among the creators who have specifically acknowledged their inspiration. Much ofRichard Elfman's 1980cult filmForbidden Zone is a live actionpastiche of the early Fleischer Studios style. The Fleischer style was also used in the 1995 animated seriesThe Twisted Tales of Felix the Cat. The studio's art style and surreal atmosphere was a central influence on the 2017 independent-developed video gameCuphead, with the studio being described as "magnetic north" for the game's art style,[18] even as well featuring other independent-developed video games between besides Cuphead, includingBendy and the Ink Machine andEnchanted Portals, that they honored the 1930s Fleischer Studios' art style at all.Genndy Tartakovsky has also cited the works of the studio as a major inspiration for the look of his 2023 animated seriesUnicorn: Warriors Eternal.
Note: An animator who is credited first in a Fleischer cartoon is a director of animation. Dave Fleischer's role during production is more in line with a creative supervisor.
Public domain | Partially public domain | Copyrighted material | Status unclear |
| Title | Production period | Notes |
|---|---|---|
| Experiment No. 1 | 1914–1916 | IncludesBoy Scout Semaphore andRotoscope Patent Demonstration — now lost. |
| Experiment No. 2 | 1914–1916 | Chaplin Cartoon (unreleased) — now lost. |
| Experiment No. 3 | 1914–1916 | Clown Antics — now lost. |
| Theodore Roosevelt and the Chanticleer | 1914–1916 | First commercial job forPathé (unreleased) — now lost. |
| Title | Theatrical release | Copyright status | Notes |
|---|---|---|---|
| VariousWorld War One training films | 1916–1917 | Public domain | IncludesThe Submarine Mine Layer,How to Read an Army Map,How to Operate a Stokes Mortar,How to Fire the Lewis Machine Gun, andContour Map Reading. No known prints survive. |
| Out of the Inkwell | 1918–1921 | Public domain | – |
| The Eclipse of the Sun | July 1918 | Public domain | – |
| The Electric Bell | April 4, 1919 | Public domain | – |
| The Elevator | June 19, 1919 | Public domain | – |
| How the Telephone Talks | 1919 | Public domain | Reissued June 12, 1924 |
| The Birth of the Earth[22] | June 19, 1919 | Public domain | – |
| Hello, Mars | January 25, 1920 | Public domain | – |
| All Aboard for the Moon | February 2, 1920 | Public domain | Also known asAll Aboard for a Trip to the Moon. |
| If You Could Shrink | August 31, 1920 | Public domain | – |
| If We Lived on the Moon | September 26, 1920 | Public domain | Solo release ofAll Aboard for the Moon. |
| A Word About Miss Liberty | October 21, 1920 | Public domain | – |
| Through the Earth | November 8, 1920 | Public domain | – |
| Title | Theatrical release | Copyright status | Notes |
|---|---|---|---|
| Out of the Inkwell | 1921–1926 | Public domain | Inherited fromBray Productions. |
| Evolution | 1923 | Public domain | Also known asDarwin's Theory of Evolution. |
| The Einstein Theory of Relativity | 1923 | Public domain | Derivative work of German director Hanns Walter Kornblum'sDie Grundlagen der Einsteinschen Relativitäts-Theorie (The Basics of Einstein's Theory of Relativity) — now lost. |
| Fun from the Press | 1923 | Public domain | – |
| Adventures in the Far North | May 7, 1923 | Public domain | Also known asCaptain Kleinschmidt's Adventures in the Far North, a documentary film following German explorerFrank Kleinschmidt in the Yukon. |
| Ko-Ko Song Car-Tunes | 1924–1926 | Public domain | "Ko-Ko's" name was hyphenated until the bankruptcy of Red Seal Pictures where after it was simply "Koko". The hyphenated version returned periodically until it became permanent at the end of 1928. |
| Keep 'em Guessing | September 1, 1926 | Public domain | for the Magician's Society of America |
| Now You're Talking | 1927 | Public domain | for AT&T |
| That Little Big Fellow | 1927 | Public domain | for AT&T |
| Inklings | 1927–1928 | Public domain | Eighteen known issues produced from 1924 to 1925 with few surviving today; later rebranded as "Snipshots" in the UK with added music and narration. |
| Inkwell Imps | 1927–1929 | Public domain | – |
| Title | Theatrical release | Copyright status | Notes |
|---|---|---|---|
| Screen Songs | 1929–1938 | Partially public domain | Inherited byFamous Studios. |
| Finding His Voice | June 21, 1929 | Public domain | For Western Electric. |
| Talkartoons | 1929–1932 | Partially public domain | – |
| In My Merry Oldsmobile | March 1, 1931 | Public domain | For Olds Motor Division. |
| A Jolt for General Jerm | May 21, 1931 | Public domain | For Lysol. |
| Step on It | May 21, 1931 | Public domain | For Texaco. |
| Tex in 1999 | 1931 | Public domain | For Texaco. |
| Suited to a Tea | 1931 | Public domain | For Indian Tea Company. |
| Betty Boop | 1932–1939 | Partially public domain | – |
| Popeye the Sailor | 1933–1942 | Partially public domain | Inherited byFamous Studios. |
| Popeye the Sailor Meets Sindbad the Sailor | November 27, 1936 | Public domain | Popeye Color Special |
| Popeye the Sailor Meets Ali Baba's Forty Thieves | November 26, 1937 | Public domain | Popeye Color Special |
| Aladdin and His Wonderful Lamp | April 7, 1939 | Public domain | Popeye Color Special |
| Color Classics | 1934–1941 | Partially public domain | All 36 shorts are currently public domain except forLittle Dutch Mill,[23]Educated Fish,[24]Little Lamby,[25]The Tears of an Onion andThe Playful Polar Bears.[26] |
| Stone Age Cartoons | 1940 | Public domain | – |
| Animated Antics | 1940–1941 | Unclear | – |
| Gabby | 1940–1941 | Partially public domain | All 8 shorts are currently public domain except forThe Constable.[27] |
| Raggedy Ann and Raggedy Andy | April 11, 1941 | Unclear | Copyright renewed by National Telefilm Associates (now Melange Pictures) in 1968.[28] |
| Superman | 1941–1942 | Public domain | Inherited byFamous Studios; ancillary rights (such as merchandising) retained by Warner Bros. Entertainment, but all original episodes are public domain. |
| The Raven | April 3, 1942 | Unclear | Copyright renewed by National Telefilm Associates (now Melange Pictures) in 1970. |
| Title | Theatrical release | Director | Copyright status | Notes |
|---|---|---|---|---|
| Gulliver's Travels | December 22, 1939 | Dave Fleischer | Public domain | – |
| Mr. Bug Goes to Town | December 5, 1941 | Unclear | Copyright currently held by Melange Pictures (managed by parent companyParamount Global), but film has been regularly rereleased by unrelated public domain companies. |
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