 Final logo, used from 1988 to 2001. The red variant shown here was first introduced in 1990. | |
 The Hanna-Barbera headquarters inLos Angeles in the 1990s. The "swirling star" logo on the right was designed bySaul Bass in 1979. | |
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| Founded | July 7, 1957; 67 years ago (1957-07-07) |
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| Defunct | 2001; 24 years ago (2001) |
| Fate | Absorbed intoWarner Bros. Animation |
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| Website | https://warnerbros.com/brands/hanna-barbera |
Hanna-Barbera Cartoons, Inc. (/bɑːrˈbɛərə/bar-BAIR-ə;[1][2] formerly known as H-B Enterprises,Hanna-Barbera Productions, Inc. andH-B Production Co.) was an Americanproduction company, which was active from 1957 until its absorption intoWarner Bros. Animation in 2001. Founded on July 7, 1957 byTom and Jerry creators and formerMGM Cartoons employeesWilliam Hanna andJoseph Barbera along withGeorge Sidney,[3] it was headquartered in Los Angeles at theKling Studios from 1957 to 1960, then onCahuenga Boulevard from 1960 to 1998, and subsequently at theSherman Oaks Galleria inSherman Oaks from 1998 to 2001.
Notable among the productions that the company produced includeThe Huckleberry Hound Show, the incarnations, movies and specials ofThe Flintstones,Yogi Bear andScooby-Doo (until 2001), the opening credits ofBewitched, andThe Smurfs. With these productions, Hanna-Barbera may have usurpedDisney as the most successfulanimation studio in the world, with its characters becoming ubiquitous across different types of media and myriad consumer products.[4][5][6]
By the 1980s, however, the company's fortunes were in decline, as the profitability ofSaturday-morning cartoons was eclipsed by weekday afternoonsyndication.Taft Broadcasting acquired Hanna-Barbera in 1966 and retained ownership until 1991. It was in this year whenTurner Broadcasting System acquired the company,[7] using the back catalog to establishCartoon Network the following year.[8][9][10]
By the time Hanna died in 2001, Hanna-Barbera as a standalone company and studio were absorbed intoWarner Bros. Animation in the same year, however; the brand is still active, and it is used for copyright, marketing and branding purposes for former properties now produced byWarner Bros.
William Denby "Bill" Hanna andJoseph Roland "Joe" Barbera met at theMetro-Goldwyn-Mayer (MGM) studio in 1938, while working at itsanimation unit. Having worked at other studios since the early 1930s, they solidified a six decade working partnership, leading to their very first collaborative success,Tom and Jerry, centering on the madcap comical adventures of a cat and a mouse.
Hanna supervised the animation,[11] while Barbera did the stories and pre-production. Seven of the 114 cartoons won seven Oscars for"Best Short Subject (Cartoons)" between 1943 and 1953, and five additional shorts were nominated for twelve awards during this period. However, they were awarded to producerFred Quimby, who was not involved in the development of the shorts.[12]: 83–84
Sequences forAnchors Aweigh,Dangerous When Wet andInvitation to the Dance and shortsSwing Social,Gallopin' Gals,The Goose Goes South,Officer Pooch,War Dogs andGood Will to Men were also made. With Quimby's retirement in May 1955, Hanna and Barbera became the producers in charge of the MGM animation studio's output.[13]
In addition to continuing to write and direct newTom & Jerry shorts, now inCinemaScope, Hanna and Barbera supervised the last seven shorts ofTex Avery'sDroopy series and produced and directed the short-livedSpike and Tyke, which ran for two entries. In addition to their work on the cartoons, the two men moonlighted on outside projects, including title sequences and commercials forI Love Lucy.[14]
MGM decided in mid-1957 to close its cartoon studio, as it felt it had acquired a reasonable backlog of shorts for re-release.[13] While contemplating their future, Hanna and Barbera began producing additional animated television commercials.[15] During their last year at MGM, they had developed a concept for a new animated television program about a cat and a dog.[15]
After failing to convince the studio to back their venture,George Sidney, who had worked with Hanna and Barbera on several of his movies for MGM, offered to serve as their business partner and convincedScreen Gems to make a deal with the producers.[3] A coin toss gave Hanna precedence in naming the new studio.Harry Cohn, president and head of Columbia Pictures, took an 18% ownership inH-B Enterprises,[3] and provided working capital.
Screen Gems became the new distributor and its licensing agent, handling merchandizing of the characters from the animated programs[16] as the cartoon firm officially opened for business in rented offices on the lot ofKling Studios (formerlyCharlie Chaplin Studios)[14] on July 7, 1957, one year after the MGM animation studio closed.[15]
Sidney and several Screen Gems alumni became members of the studio's board of directors and much of the former MGM animation staff—including animatorsCarlo Vinci,Kenneth Muse, Lewis Marshall,Michael Lah andEd Barge and layout artistsEd Benedict andRichard Bickenbach—became the new production staff[15] whileHoyt Curtin was in charge of providing the music.
The Ruff and Reddy Show,[17] the company's first television series, premiered onNBC on December 14, 1957,[18] thenThe Huckleberry Hound Show debuted one year later, in 1958, airing in most markets, and was also the first cartoon to win anEmmy. Several animation alumni joined – in particular formerWarner Bros. Cartoons storymenMichael Maltese andWarren Foster as head writers,Joe Ruby andKen Spears as film editors andIwao Takamoto as character designer.[15]
After reincorporating asHanna-Barbera Productions, Inc.,The Quick Draw McGraw Show and the theatrical cartoon short seriesLoopy De Loop followed in 1959.Walt Disney Productions laid off several of its animators afterSleeping Beauty (1959)bombed on the box-office during its initial theatrical run, with many of them moving to Hanna-Barbera shortly afterwards.[19] In August 1960, it moved into a window-less, cinder block building at 3501Cahuenga Boulevard West.[20] Though too small to house the staff, some of its employees worked at home.
The Flintstones premiered onABC on September 30, 1960, becoming so the first animated series airing in prime time. It is loosely based onThe Honeymooners and is set in a fictionalized Stone Age of cavemen and dinosaurs.Jackie Gleason considered suing Hanna-Barbera forcopyright infringement, but decided not to because he did not want to be known as "the man who yankedFred Flintstone off the air".[21] For six seasons, it became the longest-running animated show in American prime time at the time (untilThe Simpsons beat it in 1997), a ratings and merchandising success and the top-ranking animated program in syndication history. It initially received mixed reviews from critics, but its reputation eventually improved and it is now considered a classic.
The Yogi Bear Show,Top Cat,The Hanna-Barbera New Cartoon Series (consisting ofWally Gator,Touché Turtle and Dum Dum, andLippy the Lion and Hardy Har Har) andThe Jetsons soon followed in 1961 and 1962. Several animated television commercials were produced as well, often starring their own characters (including thePebbles cereal commercials forPost) and the opening credits forBewitched, in which animated caricatures of Samantha and Darrin appeared. These characterizations were reused inThe Flintstones' sixth season episode "Samantha".
In 1963, Hanna-Barbera's operations moved to 3400Cahuenga Boulevard West inHollywood Hills/Studio City. This contemporary office building was designed by architectArthur Froehlich. Its ultra-modern design included a sculpted latticework exterior, moat, fountains, and aJetsons-like tower.The Magilla Gorilla Show,Jonny Quest,The Peter Potamus Show,Atom Ant, andSecret Squirrel followed in 1964 and 1965.
The partnership with Screen Gems would last until 1965 when Hanna and Barbera announced the sale of their studio toTaft Broadcasting.[16] Taft's acquisition of Hanna-Barbera was delayed for a year by a lawsuit from Cohn's family, wifeJoan Perry and sons John and Harrison Cohn, who felt the studio undervalued the Cohns' 18% share in when it was sold a few years previously.[22]
In 1966,Frankenstein Jr. and The Impossibles andSpace Ghost debuted, and by December of that year the litigation had been settled, Taft finally acquired Hanna-Barbera for $12 million and folded the studio into its corporate structure in 1967 and 1968,[16] becoming its distributor. Hanna and Barbera stayed on while Screen Gems retained licensing and distribution rights to their previous produced cartoons[16] and trademarks to the characters into the 1970s and 1980s.[16][23]
Shazzan,The Banana Splits,Wacky Races, and its spin-offs (Dastardly and Muttley in Their Flying Machines andThe Perils of Penelope Pitstop) andCattanooga Cats followed from 1967 to 1969. The studio's record and music label, Hanna-Barbera Records,[24] was headed byDanny Hutton and distributed byColumbia. Children's records featuring its characters were released byColpix. Hanna-Barbera teamed up with the National Catholic Office for Radio and Television to produce 26 half-hour animated films in 1970, which never materialized.[25]
Scooby-Doo, Where Are You! debuted onCBS on September 13, 1969; it is a mystery-based program which blended comedy, action, and elements fromI Love a Mystery andThe Many Loves of Dobie Gillis.[26][27] For two seasons, it centered on four teenagers and a dog solving supernatural mysteries, and became one of Hanna-Barbera's most successful creations, spawning several new spin-offs, such asThe New Scooby-Doo Movies,Scooby-Doo and Scrappy-Doo and many others, which were regularly in production at Hanna-Barbera into the 1990s.[28]
Referred to as "TheGeneral Motors of animation", Hanna-Barbera produced nearly two-thirds of allSaturday-morning cartoons in a single year.Josie and the Pussycats,The Funky Phantom,The Amazing Chan and the Chan Clan,Speed Buggy,Butch Cassidy and the Sundance Kids,Goober and the Ghost Chasers,Inch High, Private Eye,Clue Club,Jabberjaw,Captain Caveman and the Teen Angels andThe New Shmoo built upon the mystery-solving template set byScooby-Doo, with further shows built around teenagers solving mysteries with a comic relief pet of some sort.
Starting in 1971, many newspin-offs, such asThe Pebbles and Bamm-Bamm Show, featuring Fred and Barney's now teenaged children along withThe Flintstone Comedy Hour,The Tom and Jerry Show,The New Fred and Barney Show and "all-star" showsYogi's Gang,Laff-A-Lympics,Yogi's Space Race andGalaxy Goof-Ups came to the airwaves.
Hanna-Barbera teamed up withAvco Broadcasting Corporation in 1971, a company that was once a rival to its owner Taft at that time, who maintains rivalry in theColumbus andCincinnati markets, to produce two holiday specials for the syndicated market by way of its syndicated division.[29] In 1972, H-B opened an animation studio in Australia, with the Hamlyn Group acquiring a 50% stake in 1974.
Hamlyn was acquired byJames Hardie Industries.Hanna-Barbera Australia bought itself out from Hardie and Taft in 1988, changing its name toSouthern Star Group, since becomingEndemol Shine Australia, a division ofBanijay Entertainment.Super Friends, an action-adventure show adapted fromDC Comics'Justice League of America and the first of many iterations of theSuper Friends series, premiered on ABC on September 8, 1973. It returned to production in 1976, remaining on ABC through 1985 withThe All-New Super Friends Hour,Challenge of the Superfriends andThe World's Greatest Super Friends.
WhileHelp!... It's the Hair Bear Bunch!,Sealab 2020,Wait Till Your Father Gets Home andHong Kong Phooey aired,Charlotte's Web, an adaptation of thenovel of the same name, was released on March 1, 1973 byParamount Pictures, to moderate critical and commercial success, and was the first of only four Hanna-Barbera films not to be based upon one of their famous television cartoons (the other three beingC.H.O.M.P.S.,Heidi's Song andOnce Upon a Forest).
With the majority of American television animation during the second half of the 20th century made by Hanna-Barbera and more cartoons likeCB Bears,Buford and the Galloping Ghost,The All New Popeye Hour andGodzilla, major competition was coming fromFilmation andDePatie–Freleng. Then-ABC presidentFred Silverman gave its Saturday-morning time to them after dropping Filmation for its failure ofUncle Croc's Block.[citation needed]
New live-action material was produced, as well as new live-action/animated combos since the mid-1960s. In 1975, former MGM executiveHerbert F. Solow joined the company to start a live-action unit, Hanna-Barbera Television, to produce prime time programming,[30] which later spun off and became Solow Production Company in 1976.[31][32]
Along with the animation industry in the U.S., it moved away from producing in-house in the late 1970s and early 1980s. WhileThe Great Grape Ape Show andThe Mumbly Cartoon Show aired, Ruby and Spears worked with Hanna-Barbera in 1976 and 1977 as ABC network executives to create and develop new cartoons before leaving in 1977 to start their company,Ruby-Spears Enterprises, withFilmways as its parent division.[27] In 1979, Taft boughtWorldvision Enterprises, which became Hanna-Barbera's new distributor.
Super Friends,The Fonz and the Happy Days Gang,Richie Rich,The Flintstone Comedy Show,Space Stars,The Kwicky Koala Show,Trollkins andLaverne and Shirley in the Army debuted in 1980 and 1981, while Taft purchased Ruby-Spears from Filmways (which was eventually absorbed intoOrion Pictures the following year), making it a sister company to Hanna-Barbera and as a result, several early-1980s series were shared between both companies.[33]
While Filmation,Sunbow Productions,Marvel Productions,Rankin/Bass,DIC,Saban Entertainment and other Hollywood animation studios introduced successful animated seriessyndicated, including some based on licensed properties, Hanna-Barbera fell behind, as it no longer dominated the TV animation market as it did years earlier and lost control over children's programming, going down from 80% to 20%.
The Smurfs, adapted fromthe Belgian comic byPeyo and centering on a group of tiny blue creatures led byPapa Smurf, debuted on NBC on September 12, 1981, and ran for nine seasons until December 2, 1989, becoming so the longest-runningSaturday-morning cartoon series in broadcast history, a significant ratings success, the top-rated program in eight years and the highest for an NBC show since 1970.[34]The Gary Coleman Show,Shirt Tales,Pac-Man,The Little Rascals,The Dukes,Monchhichis andThe Biskitts followed in 1982 and 1983.
Followinga 1982 strike,[35] more cartoons were outsourced toCuckoo's Nest Studios,Mr. Big Cartoons,Toei Animation and Fil-Cartoons in Australia and Asia, which provided production services to the studio from 1982 to the end of its existence.Challenge of the GoBots,Pink Panther and Sons,Super Friends: The Legendary Super Powers Show,Snorks,The Greatest Adventure: Stories from the Bible,[36]Galtar and the Golden Lance,Yogi's Treasure Hunt,The Super Powers Team: Galactic Guardians,The 13 Ghosts of Scooby-Doo andPaw Paws debuted in 1984 and 1985.
Pound Puppies,The Flintstone Kids,Foofur,Wildfire,Sky Commanders andPopeye and Son arrived in 1986 and 1987. After its financial troubles affected Hanna-Barbera, theAmerican Financial Corporation acquired Taft in 1987 and renamed it Great American Broadcasting.[37]A Pup Named Scooby-Doo,The Completely Mental Misadventures of Ed Grimley,Fantastic Max,The Further Adventures of SuperTed andPaddington Bear followed in 1988 and 1989.
Hanna-Barbera Poland, aPolish branch of the company, opened up and dealt with the promotion and distribution of animated H-B content and is most well known for releasing VHS tapes with Polish music distributor P.P. Polskie Nagrania, which mostly consisted of numbered compilation releases of Hanna-Barbera shows on one tape. This would last until 1993, when the company separated and reincorporated itself as Curtis Art Productions.
Great American sold Worldvision toAaron Spelling Productions, while Hanna-Barbera and its library remained with them. Hanna-Barbera split off from Worldvision Home Video in early 1989 to start out its own home video division, Hanna-Barbera Home Video.[38] In January 1989, while working onA Pup Named Scooby-Doo,Tom Ruegger got a call fromWarner Bros. to resurrect its animation department.[39]
Ruegger, along with several of his colleagues, left Hanna-Barbera at that time to developTiny Toon Adventures at Warner Bros.[39]David Kirschner, known forAn American Tail andChild's Play, was later appointed as the studio's new CEO.[40] Later that year, the company had a licensing agreement with MicroIllusions, a video game publisher, to produce video games based on its properties, namelyJonny Quest,The Jetsons and others.[41]
In 1990, while Kirschner and the company formed Bedrock Productions[42] and Great American putting Hanna-Barbera and Ruby-Spears up for sale,Midnight Patrol: Adventures in the Dream Zone,Rick Moranis in Gravedale High,Tom & Jerry Kids,Bill and Ted's Excellent Adventures,The Adventures of Don Coyote and Sancho Panda andWake, Rattle, and Roll debuted that year.The Pirates of Dark Water,Yo Yogi! andYoung Robin Hood would follow in 1991.
Turner Broadcasting System outbidMCA (then-parent company ofUniversal Pictures),Hallmark Cards and other major companies in acquiring Hanna-Barbera while also purchasing Ruby-Spears as well.[citation needed] The two companies were acquired in a 50-50 joint venture between Turner Broadcasting System andApollo Investment Fund for $320 million.[43][44] Turner purchased these assets to launch a then-new all-animation network aimed at children and younger audiences.
Scott Sassa hiredFred Seibert to head Hanna-Barbera, who filled the gap left by Great American's crew with new animators, directors, producers and writers, includingCraig McCracken,Donovan Cook,Genndy Tartakovsky,David Feiss,Seth MacFarlane,Van Partible andButch Hartman.[45] After being newly named asH-B Production Co.,Capitol Critters andFish Police followed in 1992.Cartoon Network launched on October 1 of that year, and became the first 24-hour all-animation channel, to air its library of cartoon classics, of which Hanna-Barbera was the core contributor.[46]
In 1993, the company again renamed itself toHanna-Barbera Cartoons, Inc. (though the Hanna-Barbera Productions name was still used in regards to the pre-1992 properties) and, while Turner acquired its remaining interests from Apollo Investment Fund for $255 million,[47]2 Stupid Dogs,Droopy, Master Detective,The New Adventures of Captain Planet andSWAT Kats: The Radical Squadron debuted that year. Turner refocused the studio to produce new shows exclusively for its networks.
In 1995, while Bruce Johnson would leave the company,[48]Dumb and Dumber debuted, while Seibert launchedWhat a Cartoon! for Cartoon Network. During 1996,Dexter's Laboratory,The Real Adventures of Jonny Quest andCave Kids debuted, while Turner merged withTime Warner (nowWarner Bros. Discovery). WhileJohnny Bravo andCow and Chicken aired, the Hanna-Barbera studio faced demolition after many of its staff vacated the facilities in 1997, despite the efforts of preserving it.
In 1998, followingThe Powerpuff Girls, Hanna-Barbera moved from Cahuenga Blvd. toSherman Oaks Galleria inSherman Oaks, California, where Warner Bros. Animation was located.I Am Weasel would be its final show in 1999. After the company's absorption into Warner Bros. Animation,[49][50] Hanna died of throat cancer on March 22, 2001, at the age of 90 years old.
WhileCartoon Network Studios took over production of programming,[51] theLos Angeles City Council approved a plan to preserve the Cahuenga Blvd. headquarters in May 2004, while allowing retail and residential development on the site.[52]
Barbera died of natural causes on December 18, 2006, at the age of 95 years old.[53] Warner Bros. Animation continues to produce new productions based on the Hanna-Barbera properties since then.[54][55][56][57][58][59][60][61][62]Cartoon Network Studios Europe was rebranded asHanna-Barbera Studios Europe paying tribute to the company in April 2021.[63]
The small budgets that television animation producers had to work within prevented Hanna-Barbera from working with the full theatrical-quality animation that Hanna and Barbera had been known for at Metro-Goldwyn-Mayer. While the budget for MGM's seven-minuteTom and Jerry shorts was about $35,000, the Hanna-Barbera studios were required to produce five-minuteRuff and Reddy episodes for no more than $3,000 apiece.[3] To keep within these tighter budgets, Hanna-Barbera furthered the concept oflimited animation (also called "planned animation")[64] practiced and popularized by theUnited Productions of America (UPA) studio, which also once had a partnership with Columbia Pictures. Character designs were simplified, and backgrounds and animation cycles (walks, runs, etc.) were regularly re-purposed.
Characters were often broken up into a handful of levels so that only the parts of the body that needed to be moved at a given time (i.e. a mouth, an arm, a head) were animated. The rest of the figure remained on a held animation cel. This allowed a typical seven-minute short to be done with only nearly 2,000 drawings instead of the usual 14,000.[65] Dialogue, music, and sound effects were emphasized over action, leadingChuck Jones—a contemporary who worked for Warner Bros. Cartoons and whose shortThe Dover Boys practically invented many of the concepts in limited animation — to disparagingly refer to the limited television cartoons produced by Hanna-Barbera and others as "illustrated radio".[66]
In a story published byThe Saturday Evening Post in 1961, critics stated that Hanna-Barbera was taking on more work than it could handle and was resorting to shortcuts only a television audience would tolerate.[67] An executive who worked for Walt Disney Productions said, "We don't even consider [them] competition".[67] Animation historian Christopher P. Lehman argues that Hanna-Barbera attempted to maximize theirbottom line by recycling story formulas and characterization instead of introducing new ones. Once a formula for an original series was deemed successful, the studio reused it in subsequent series.[68] Besides copying their own works, Hanna-Barbera drew inspiration from the works of other people and studios.[68]
Lehman considers that the studio served as the main example of how animation studios that focused on TV animation differed from those that focused on theatrical animation. Theatrical animation studios tried to maintain full and fluid animation and consequently struggled with the rising expenses associated with producing it.[68] Limited animation as practiced by Hanna-Barbera kept production costs at a minimum. The cost in quality of using this technique was that Hanna-Barbera's characters only moved when necessary.[68]
Its solution to the criticism over its quality was to go into films. It produced six theatrical feature films, among them are higher-quality versions of its television cartoons and adaptations of other material. It was also one of the first animation studios to have their work produced overseas. One of these companies was a subsidiary began by Hanna-Barbera in November 1987 called Fil-Cartoons in thePhilippines,[69][70] with Jerry Smith as a consultant for the subsidiary.[71]Wang Film Productions got its start as an overseas facility for the studio in 1978.[72]
Hanna-Barbera was among the first animation studios to incorporate digital tools into their pipeline. As early as the 1970s, they experimented with usingScanimate, avideo synthesizer, to create an early form of digitalcutout style. A clip of artists using the machine to manipulate scanned images ofScooby-Doo characters, scaling and warping the artwork to simulate animation, is available at theInternet Archive.[73]
Likewise, Hanna-Barbera was perhaps the first proponent ofdigital ink and paint, a process wherein animators' drawings were scanned into computers and colored using software. Led byMarc Levoy, Hanna-Barbera began developing a computerized digital ink and paint system in 1979 to help bypass much of the time-consuming labor of painting and photographing cels.[74] The process was implemented on a third of Hanna-Barbera's animated programs, televised feature films and specials from 1982 through 1996.[74][75]
Hanna-Barbera was known for its large library of sound effects, which have been featured in exhibitions at theNorman Rockwell Museum.[76]
After Hanna-Barbera's partnership with Screen Gems ended in 1966, it was sold to Taft Broadcasting,[77] where it remained its owner until 1991 when Turner Broadcasting System acquired the company and its library for its flagship network, Cartoon Network.[78][79] In 1996, Turner merged with Time Warner, then WarnerMedia, now Warner Bros. Discovery.[80]
The company was separated from Cartoon Network Studios and absorbed into Warner Bros. Animation in 2001. Since its closure, Hanna-Barbera became an in-name-only brand of Warner Bros., the latter of which has continued to produce new material and programming based on its classic intellectual property, and the classic Hanna-Barbera logo occasionally appears as a homage to the company’s founders, and to market the intellectual properties themselves.
In 1998, the rights to Hanna-Barbera's productions for Cartoon Network (excluding The Real Adventures of Jonny Quest) were transferred to the latter entity, Cartoon Network claimed ownership of later Hanna-Barbera co-productions beginning with Cow & Chicken's third season.
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