Max and Dave Fleischer
Max and Dave Fleischer started in
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Max and Dave Fleischer started in animation in the silent era and continued into sound and through the heyday of short film animation. They were one of the few silent studios aside from that of Disney to last into the 1940s, continuing beyond studios like Van Buren or Ub Iwerks (though Iwerks did return to the Disney fold and work on animated films after his own studio folded). The Fleischer's created a number of characters of lasting value, two of the most notable being Betty Boop and Popeye, and form the silent era, Koko the Klown. Betty Boop was a character who epitomized a certain attitude in the Depression years, though in some ways she was out of her proper time and is more a flapper of the 1920s than the showgirl of the 1930s. She can be seen as evoking the sort of optimism needed in the years of the Great Depression, and much of her success derives form that sense of optimism along with her sexuality, something not usually seen in cartoon characters of either sex. an analysis of her creators and of some of her shorts shows how the Fleischers used all the elements of filmmaking to create a mood, to enhance a character, and to communicate a different perception of the world and of animation to the audience. Max and Dave Fleischer were the founders of the animation studio that would be eventually called the Fleischer Studio. They were brothers from a family of inventors that had emigrated from Europe to New York in 1887. A
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top-billed female cartoon character of any significance" and soon had a daily newspaper strip of her own as well. Dave Fleischer continued tinkering with the character until her appearance was standardized and was fully feminine. The fully developed Betty Boop character was evident first in "Minnie the Moocher" (1932), with Cab Calloway and his orchestra. Betty Boop would continue to have sexual themes until the mid-1930s, when censorship laws were directed at the character so that she was redrawn once more: "Her garter, short skirt, and decolletage were soon gone, undermining her appeal" (Lenburg 51).
Leonard Maltin rightly notes that the Betty Boop character was a holdover from the 1920s and represented the perfect flapper, "who could flirt and tease but remain pure and innocent" (Maltin 97): "She really had no other personality traits, but the sheer novelty of such a character in animated cartoons kept her afloat for several years" (Maltin 970. Actually, Maltin is wrong about her having no other character traits, for Boop was very much the liberated woman of her time, usually smarter than those around her, always the center of attention, eager to avenge a slight or help anyone being set upon by the bullies of this worl
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Approximate Word count = 2494
Approximate Pages = 10 (250 words per page)
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