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Acartoon is a type ofvisual art that is typically drawn, frequentlyanimated, in anunrealistic or semi-realistic style. The specific meaning has evolved, but the modern usage usually refers to either: an image or series of images intended forsatire,caricature, orhumor; or a motion picture that relies on a sequence of illustrations for its animation. Someone who creates cartoons in the first sense is called acartoonist, and in the second sense they are usually called ananimator.
The concept originated in theMiddle Ages, and first described a preparatory drawing for a piece of art, such as a painting,fresco,tapestry, orstained glass window. In the 19th century, beginning inPunch magazine in 1843, cartoon came to refer – ironically at first – to humorous artworks in magazines and newspapers. Then it also was used forpolitical cartoons andcomic strips. When the medium developed, in the early 20th century, it began to refer toanimated films that resembled print cartoons. (Full article...)

In print media, a cartoon is a drawing or series of drawings, usually humorous in intent. This usage dates from 1843, whenPunch magazine applied the term to satirical drawings in its pages,[1] particularly sketches byJohn Leech.[2] The first of these parodied the preparatory cartoons for grand historical frescoes in the then-newPalace of Westminster in London.[3]

SirJohn Tenniel—illustrator ofAlice's Adventures in Wonderland—joinedPunch in 1850, and over 50 years contributed over two thousand cartoons.[4]
Fritz the Cat is a 1972 Americananimated film written and directed byRalph Bakshi(pictured) as his feature film debut. Based on thecomic stripof the same name byRobert Crumb, the film was the first animated feature film to receive anX rating in the United States. It focuses on Fritz (voiced bySkip Hinnant), ananthropomorphic feline in mid-1960sNew York City who explores the ideals of hedonism and sociopolitical consciousness. The film is asatire focusing on American college life of the era, race relations, thefree love movement, andleft- andright-wing politics.Fritz the Cat was the most successful independent animated feature of all time, grossing over$100 million worldwide. The film had a troubled production history and controversial release. Creator Robert Crumb is known to have had disagreements with the filmmakers, claiming in interviews that his first wife signed over the film rights to the characters, and that he did not approve the production. Crumb was also critical of the film's approach to his material.Fritz the Cat was controversial for its rating and content, which viewers at the time found to be offensive.
Anarky is afictional character in theDC ComicsUniverse. Co-created byAlan Grant andNorm Breyfogle, he first appeared inDetective Comics #608 (November 1989) as an adversary ofBatman. Stories revolving around Anarky often focus on political and philosophical themes. Named after the philosophy ofanarchism, the primary philosophical element that has underscored the character's appearances has beenanti-statism. With Grant's transition to the philosophy ofNeo-Tech, Anarky was transformed from a vehicle forsocialist andpopulist philosophy, torationalist,atheist, andfree market based thought. Inspired by multiple sources, early stories to feature the character often included homages to political and philosophical books. The creation of the character was also partially influenced byAlan Moore's character "V" fromV for Vendetta. Originally intended to only be used in the debut story in which he appeared, positive reception by readers and his editor convinced Grant to continue using Anarky as a recurring character throughout the early 90s. This popular acclaim culminated, however, in a financially and critically unsuccessful ongoing solo series. The 1999Anarky series, in which even Alan Grant has expressed his distaste, was quickly canceled after eight issues.
Theepisodes ofThe Bellflower Bunnies, a children's animated series based on theBeechwood Bunny Tales books byGeneviève Huriet,Amélie Sarn andLoïc Jouannigot. It debuted onTF1, a French television network, on 24 December 2001. The series is written by Valérie Baranski, and produced by Patricia Robert. The show centres on the adventures and exploits of the Bellflower family, a clan of sevenrabbits who live in Beechwood Grove. The two adults in the family, Papa Bramble and Aunt Zinnia, take care of their five children: Periwinkle, Poppy, Mistletoe, Dandelion and Violette. The series has also been broadcast onCBC Television andTFO in Canada,KI.KA in Germany, Portugal'sRTP in theAzores, and in several other countries. The show has fifty-two episodes: four in the first season, twenty-two in the second, and twenty-six in the third. In the entire series, thirteen are based directly on installments inBeechwood Bunny Tales, published byMilan Presse of France andGareth Stevens in the United States; the rest are based on scripts by Valérie Baranski. Distributors in Europe, North America, and South Korea have released DVDs of the first two seasons.
Billy West (born April 16, 1950) is anAmericanvoice actor. Born inDetroit but raised in theRoslindale neighborhood of Boston, Massachusetts, Billy launched his career in the early 1980s performing daily comedic routines on Boston'sWBCN. He left the radio station to work on the short-lived revival ofBeany and Cecil. He was also a writer and castmember onThe Howard Stern Show during the early to mid 1990s, where he gained nationwide fame with his impersonations ofLarry Fine and lateCincinnati Reds ownerMarge Schott. West is best known for his voice-work onRen & Stimpy,Doug andFuturama. His favorite characters arePhilip J. Fry (Futurama) andStimpy (Ren and Stimpy), both of which he originated. West's most notable film work was inSpace Jam (1996) providing the voice of bothBugs Bunny andElmer Fudd. He has provided the same voices for otherLooney Tunes films and video games. West has been very outspoken over his displeasure about the influx of movie star actors providing voice-over for films and major shows. As well as a voice artist, West is also a guitarist and singer-songwriter with a band called Billy West and The Grief Counselors.
| In the early days, I was writing scripts for virtually all the books, and it was very hard to keep all the artists busy; poor little frail me, doing story after story. So I'd be writing a story for Kirby, and Steve Ditko would walk in and say, 'Hey, I need some work now.' And I'd say, 'I can't give it to you now, Steve, I'm finishing Kirby's.' But we couldn't afford to keep Steve waiting, because time is money, so I'd have to say, 'Look Steve, I can't write a script for you now, but here's the plot for the next Spider-Man. Go home and draw anything you want, as long as it's something like this, and I'll put the copy in later.' So I was able to finish Jack's story. Steve in the meantime was drawing another story.....Okay, it started out as a lazy's man's device...but we realized this was absolutely the best way to do a comic.....Don't have the writer say, 'Panel one will be a long shot of Spider-Man walking down the street.' The artist may see it differently; maybe he feels it should be a shot of Spider-Man swinging on his web, or climbing upside-down on the ceiling or something. |

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