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Styles and Genres in Film: A History of Classical Animation  ENG 5060:
 T, TH 6-9 pm State Hall

Professor Kirsten Thompson : (313) 577-3358 (office), (313) 577-2450 (Dept.)
Office Hours Tues. 4.30—5.30 or at other times by appointment, Room 5057 Woodward, 9th Floor English, Rm. ?
E: mail: kirsten_thompson@wayne.edu,
Professor’s Web Page: http://www.english.wayne.edu/fac_pages/thompsonk/index2.html
Animation web links: http://www.english.wayne.edu/fac_pages/thompsonk/animationlinks.html

This class surveys the history of classical American studio animation  from its beginnings until 1960.   From Mickey Mouse to Bugs Bunny, and from Pepe le Pew to the Simpsons we will look at cartoons produced by Warner Bros, Disney, the Fleischer Bros., Otto Messmer, Columbia, UPA, MGM and others and learn the formal, historical and ideological analysis of animation.  Class will consist of a lecture format and class discussions/close analysis.
Coursework: 20% class participation,  30 % final paper, 30 % midterm , 20 %  short test

Required Texts;
1) Maureen Furniss, Art in Motion: Animation Aesthetics (John Libbey: NY) 1998
2) Leonard Maltin, Of Mice and Magic; A History of American Animated Cartoons, (Plume: NY) 1987
Recommended Texts:
1) Loony Toons and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons  (eds.) Jerry Beck and Will Friedwald (Henry Holt: 1989).  NOTE THIS BOOK IS OUT OF PRINT BUT SECOND HAND COPIES MAY BE AVAILABLE ON AMAZON.COM ETC. OPTIONAL ONLY
2) Reading the Rabbit: Explorations in Warner Bros. Animation, ed Kevin Sandler, (Rutgers University Press, 1998).
3) readings on reserve at Ademany Undergraduate Library Reserve desk, identified as R
Short Test  will be a short test administered in the third  week requiring  students to have a basic grasp of a selection of key animation terms
Midterm: Test will include remainder of animation terms, and also include key animation studios, personnel and historical and technical innovations.
Assignment #3  (10-15 pages maximum) will require an extended examination of a particular animator (or) team (or) studio, in relation to questions of form, thematics and ideological implications. There will be a handout of suggested questions or you can design your own topic. You should attempt to engage with the different discursive issues that the class has been discussing, and will be expected to connect a range of issues  between several cartoons by the same or different studios.
Attendance is required at all classes and a roll will be taken. Any student missing 3 classes without an explanation will automatically receive an F. Plagiarism will result in an automatic fail for the class. Failure to hand in assignments on time, without an appropriate explanation will also result in grade penalization. Students are expected to actively participate in class discussion.
Supplementary readings for  class and final paper
There will also be a number of recommended photocopied articles useful for research for final papers. These will be available for photocopy from the Ademany Undergraduate Library Reserve desk.  These are marked R in the syllabus.

1 ORIGINS OF ANIMATION  & ANIMATION FORM / Sept 7 & 9
Course Outline/ readings/ screenings
Screenings
•     Enchanted Drawings (1900) J.Stuart Blackton
* Humorous Phases of Funny Faces (1906) J. Stuart Blackton
 • Duck Amuck (1953) Chuck Jones
* Feline Follies (1919) Otto Messmer (Paramount)
 • How A Mosquito Operates (1912) Winsor McCay
 • Gertie The Dinosaur (1914) Winsor McCay
 • Koko’s Hypnotism Fleischer Bros.
 • Alice’s Egg Plant (1925) Ub Iwerks/Walt Disney
 • Steamboat Willie (1928) Disney
 • In a Cartoon Studio/ (aka) Making Them Move (1931) Van Beuren Studios
 Comparitive Screenings: European Animation
* Lotte Reiniger --selections of fairy tales & silhouette animation  (Austria)
* The Cameraman’s Revenge (1912) Lareslas Starevich/Khanzhonkov (Russia)
 Readings; Kristin Thompson "Implications of Cel Animation Technique" R; chaps. 1  Klein & Maltin
 
 II TWENTIES AND THIRTIES ANIMATION  I  Sept 14 & 16
 THE FLEISCHER BROS. STUDIO
* Minnie the Moocher (1932)
* Dizzy Dishes
* Boop-Oop-A-Doo (1932)
* Snow White (1933)
* Betty Boop's Bamboo Isle (1932)
* Popeye the Sailor Meets Sindbad the Sailor
* Selections from Superman, e.g. Japoteurs (1942)
* Comparison Viewing
* Felix Saves the Day (1922) Otto Messmer (Sullivan Studios)
* Mickey’s Gala Premiere (1933) Disney
* Selections from Paul Terry’s Aesop’s Fables
 Readings: Klein c. 5, 8 & 11; Maltin c. 2; Mark Langer “Max and Dave Fleischer” R
 
 III  TWENTIES & THIRTIES II/ THE WARNER BROTHERS STUDIO; SELF REFLEXIVITY & INTERTEXTUALITY/ Sept 21 & 23
 QUIZ
Cartoon Stars As Star Personas & The Origins Of Daffy Duck & Bugs Bunny
 Screenings;
 Firsts:       Intertextuality
* Sinkin’ in the Bathtub (1930) Harman/Ising       Coo-Coo Nut Grove (1936) Friz Freleng
 • Porky's Duck Hunt ( 1937)  Tex  Avery
* The Daffy Doc (1938)  Bob Clampett          Hollywood Steps Out (1941) Tex Avery
 • A Wild Hare (1940) Tex Avery
 • Porky’s Hare Hunt  (1938) Ben Hardaway
 • Musicals
 • Smile, Darn Ya Smile (1931) Harman/Ising
 • Book Revue (1946)  Bob Clampett
 Readings: Maltin c. 9. klein c.2; Donald Crafton "The View from Termite Terrace; Caricature and parody in Warner Bros. animation "R
 Recommended Readings: Barry Putterman “A Short Critical History of Warner Bros. Cartoons” R; Hank Sartin “From Vaudeville to Hollywood” R
 
 IV TWENTIES & THIRTIES III/DISNEY’S DIFFERENCE; DISCOURSES OF THE PERVERSE & MONSTROUS/Sept. 28 & 30
 Screenings;      Excerpts from:
 • Skeleton Dance (1929) Ub Iwerks   Snow White & the Seven Dwarfs
 • The Mad Doctor (1933) Dave Hand/Disney (1937)
 • Pluto’s Judgement Day (1935) Dave Hand Sleeping Beauty (1959)
 • The Telltale heart (1953) UPA    The Little Mermaid (1991)
* The Old Mill (1934),Disney
* Flowers and Trees (1932)
* Comparison
 Selections from Ub Iwerks cartoons
 Readings; chap. 2 Maltin, Klein 3, 4 & 12; David Smith “ New Dimensions-Beginning of the Multiplane Camera” R
 Recommended Readings: Robert Sklar “The Making of Cultural Myths-Walt Disney “R;  John Canemaker “Disney Design” R
 
 V  COLOR: SOUND AND MUSIC / Oct. 5 & 7
 Screenings;
 • Miss Glory (1936) Tex Avery
 • Corny Concerto (1943)  Bob Clampett     Three Little Bops (1957) Friz Freleng
 • Long Haired Hare (1949) Chuck Jones
* Bubbles MGM
 Comparison viwings;
 • The Band Concert (1933) Disney
* The Tortoise and the Hare (1943) Disneyexcerpts from Fantasia (1940) Disney
 Readings; Maltin c. 4, Klein  c.6
 Recommended readings: Scott Curtis “The Sound of The Early Warner Bros. Cartoons” R Recommended: Ross Care “ Cinesymphony; Music and Animation at the Disney Studio 1928-42” R
 
 VI MASOCHISM AND THE CHASE / Oct. 12 & 14
 • The Tortoise and the Hare (1934) Disney Mouse Cleaning (1947) MGM
 • Puss N’ Boots (1947)  (MGM) ??             King Size Canary (1947) Tex  Avery
* Tweetie Pie (1947) Friz Freleng   I Taw a Putty Tat (1948) Friz Freleng
 
 Case Study Wile E. Coyote v RR/Bugs v Elmer
 • Rabbit Fire (1951), Chuck Jones   Fast & Fury-ous  (1949) Chuck Jones
 • Rabbit Seasoning (1952),Chuck Jones  Gee Whizzz (1956), Chuck Jones
 Readings; Maltin c. 5, Klein 15, 16 & 21; Greg Ford  “Warner Bros.” R
 
 VII CAMP HUMOR:  BUGS BUNNY & TRANSVESTISM/ Oct 19 & 21
 Screenings;
 • What’s Opera Doc? (1957) Chuck Jones    The Rabbit of Seville (1950) Chuck Jones
 • Mississipi Hare (1949) Chuck Jones  Hare Raising Hare (1946) Chuck Jones
 • Hare Ribbin' (1944) Bob Clampett    The Unruly Hare (1945) Frank Tashlin
 • Bunny Hugged (1951) Chuck Jones             Hare Trimmed (1953) Friz Freleng
 • Hillbilly hare (1950) Bob McKimson
 Readings:, Maltin,c. 6; Klein , c. 10 Kevin Sandler “Bugs Bunny in Drag” R
 Recommended readings: Sean Griffin “Pronoun Trouble; The “Queerness of Animation” R
 
 VIII DISCOURSES  OF RACE AND ETHNICITY; RACISM  & EXOTICISM IN THE CONSTRUCTION OF "THE  OTHER" / Oct. 26 & 28
* Jungle Jitters F. Freeling   1938            Bugs Bunny Nips the Nips 1943 F. Freleng
 • Tokio Jokio 1943 Norman McCabe Clean Pastures (1937) Friz Freleng
 Comparison viewing;
 • Snow White (1933) Fleischer Bros
 • Jungle Book (1967)     Minnie The Moocher (1932)  Fleischer Bros.
 • Little Black Sambo (Ub Iwerks, 1935)
 • Scrub Me Mamma with a Boogie Beat (1941) Walter Lantz Studios
* Coal Black and De Sebben Dwarfs (1943)Bob Clampett
 • I’ll be glad when you’re dead, you rascal you (1932) Fleischer Bros.
 • Popeye & Aladdin and His Wonderful Lamp (1939) Fleischer Bros
* Red Hot Mama Fleischer Bros.
 Readings; Maltin c. 7 , Lindvall/Fraser “Darker Shades of Animation: African-American Images in Warner Bros. Cartoons” R
 
 IX  WAR CARTOONS AND PROPAGANDA/ Nov. 2 & 4
 Screenings;
 • Daffy the Commando (1943) F. Freleng       The Weakley Reporter (1944) Chuck Jones
 • Plane Daffy (1944) Frank Tashlin       Draftee Daffy (1945) Bob Clampett
 • Herr Meets Hare (1945)  F. Freleng               Russian Rhapsody (1946) Bob Clampett
 Comparative viewings:
 • Der Führer’s Face (1943) Disney  & Education for Death  (1943) Disney
* Peace On Earth (1942) MGM
 • The Ducktators (1942) Norman McCabe, Disney
 Readings; Maltin c. 8; Susan Dalton “Bugs and Daffy Go to War” R
 Recommended: Phil Giller, “Animation Goes To War”
 
 X GENRE PARODY/  Nov. 9 & 11
 Screenings:
 • The Great Piggy Bank Robbery (1943)Bob Clampett
 • Scarlet Pumpernickel (1950) Chuck Jones
 • Scent-imental Romeo (1947) Chuck Jones
 • Dripalong Daffy (1951) Chuck Jones
 • Duck Dodgers in the 24 &1/2 century (1953)Chuck Jones
 • Sahara hare (1955) Friz Freleng
 Readings; Klein “Intermission”,; Maltin c. 11
 Recommended Reading: Kirsten Thompson “Ah Love Zee grand  Illusion!; Pepe Le Pew and Cats in the Casbah” R
 
 XI QUESTIONS OF THE AUTEUR; TEX AVERY AT MGM  /DISCOURSES OF RACE GENDER AND DESIRE Nov.  16 & 18
* The Isle of Pingo Pongo (1938) Tex Avery
• Big Heelawatha (1944) Tex Avery, MGM
• Little Red Walking Hood (1937)Tex Avery,MGM
• Cinderella meets Fella (1938)Tex Avery,MGM
• Swing Shift Cinderella  (1943) Tex Avery, MGM
• Uncle Tom’s Cabana (1947) Tex Avery, MGM
Comparative Viewing:
• Old Man of the Mountain (1933)  Fleischer Bros.Boop-Oop a Doo (1932) Fleischer Bros
Readings; Maltin c. 10; Jane Gaines “The Showgirl and the Wolf” R

XII Alternative Animation  Nov.  23
Triplets of Belleville (2004, Canda/France)

• Porky In Wackeyland (1938)Bob Clampett The Big Snooze (1946) Bob Clampett

Readings:

Thanksgiving Recess Nov. 25--27.  No Thursday class- Happy eating!

XIII FRIZ FRELENG AND THE PHYSICAL GAG,  FRANK TASHLIN; SURREALISM & UPA STYLE/ Nov. 30 & Dec 2
• Rhapsody in Rivets (1941) Freleng  Racketeer Rabbit (1946) F Freleng
• Knighty Knight Bugs (1958) F Freleng
Comparative viewing:
• The Dover Boys (1942) Chuck Jones   One Froggy Evening (1955) Chuck Jones
• Porkey in Wackyland (1938) Frank Tashlin Swooner Crooner (1944) Frank Tashlin
• Porky’s Poultry Plant (1936)Frank Tashlin
•     The Aristo-cat (1943) Chuck Jones  Broomstick Bunny (1956) Chuck Jones
Readings; Maltin c. 12 ; Klein c. 20 & 22
Recommended: Greg Ford & Richard Thompson “Chuck Jones” R; Ronnie Scheib “Tex Arcana; the Cartoons of Tex Avery” R
 
XV DECLINE AND RENAISSANCE /CGI ANIMATION /Dec 7 & 9
Screenings:
• Finding Nemo (2002, John Lasseter) PIXAR
Luxor, Jr
Comparative viewings: Ren & Stimpy
•  Space Madness (1990) John Kricfalusi
Selections: The Simpsons
 Readings; Klein c. 23 & Conclusion; Maltin c. 13; Mark Langer  “Animatophilia, Cultural Production and Corporate interests; the Case of Ren and Stimpy ” R
 

FINAL CLASS DEC 14  FINAL PAPER DUE IN CLASS
 

 THE FINE PRINT
Note on Grading: All assignments MUST be submitted for successful completion of the course.
Failure to submit one or more assignments will result in a final grade of C or worse.
Attendance Policy:
Since regular attendance is important for the success of the class, students are expected to be able to arrange their schedules around class meeting times. (That includes work schedules, vacations, etc.).  In the event that a student’s final attendance record is very poor (say, more than two unexcused absences; or a pattern of arriving late and/or leaving early), points will be subtracted from the final grade.  The penalty for poor attendance can be severe, resulting in a final grade of C or worse.  In my view, a student with a poor attendance record has not really taken the course at all.
Late enrollment, withdrawal, and other special policies:
Withdrawals: The last day to drop the course is Oct. 15.  You cannot drop the class because of poor assignment grades after this date.
1.  There are no makeup screenings of films, so if you must miss a screening, try to rent the videotape or laser disc version. Ademany has most of the class titles.  Attendance at film screenings is a requirement of the course.
2.  In previous courses, I have received some complaints about talking and noise during film screenings, so please use common sense and be courteous to others during screenings.  Please don’t talk during the films (or during class discussion, for that matter).  I don’t object to food and drink in the screening room, as long as you eat quietly. PLEASE take all trash out with you when you leave the room.
Also, please keep in mind that the end of a film is just as important as the beginning.  Please do not walk out in the middle of films, and please do not start packing up to leave until the auditorium lights go up.
3.  All written assignments for the course are due in class.  Please do not leave papers for me at the English Department, unless you have first secured my permission.  (This is to prevent papers from getting lost; and please do not slide papers under my office door!)
4.  Please photocopy your papers prior to submitting them, or keep a backup copy on computer.  If your paper gets lost, I will ask you for the backup copy. Computers or printers  crashing  are not acceptable excuses
5. GRADING SCHEDULE: I will try to return assignments as soon as possible, but it will usually take me at least one week to grade a given paper or test.  It is important that students receive assignments back promptly, but it is also very important that I have the time to make detailed comments and suggestions.  I try to grade quickly, but also carefully—and that takes time.
6. Handing in an assignment late will result in loss of points, unless a valid excuse is provided.  For every two days the assignment is late, the score drops by half a letter grade.  Except for dire emergencies, I will not accept papers that are more than 2 weeks late.
7 . Makeups for missed tests or quizzes require a valid excuse, and under most circumstances I will ask for written documentation about the reason for absence (doctor’s receipt, auto repair bill, etc.).  If for some reason you miss a test, PLEASE notify me as soon as possible—generally within 1 or 2 days.
8.  If you cannot make it to a scheduled office meeting with me, please call to cancel as soon as possible.
9. PLAGIARISM.  Plagiarism (unacknowledged use of another person’s work) and cheating are both serious offenses.  Like most American universities, Wayne State Univ. has a fairly severe policy about penalties for both.  Evidence of plagiarism (or fabrication of sources) or cheating will result in a zero for the assignment and an F for the class.  Prior to submission of the final paper, students will be given the opportunity to discuss what constitutes plagiarism.
10. Students must put away ALL papers, notebooks, clipboards, and books during tests.  You will be given paper for the test.  I will circulate around the classroom during exams.  CHEATING WILL RESULT IN AN F FOR THE TEST AND CLASS
11. Writing Standards:Although I can provide some writing tips, this class is too large for extensive individual tutoring in basic writing techniques.  Students who  have difficulties with English grammar or spelling should contact the Writing Center for assistance: 313/577-2544; 337 State Hall.  Hours of operation vary from semester to semester.  You will be penalized if your writing standards are insufficient for university work
12. Personal Problems/  Physical or Mental Health: If you feel overwhelmed or stressed out, there is always help available at the WSU Counseling Services at 1001 Faculty Administration  Building --call (313)577-3398.  Alternatively there is the Detroit-Wayne Community Mental Health Emergency Telephone Service (313)224-7000 (24 hour service).  Don't drop your classes--talk to someone first!  If you are feeling overwhelmed, depressed or seriously stressed, TELL your professors in your classes so they can help you if you are having difficulties. If you have a physical or mental impairment that may interfere with your ability to complete successfully the requirements for this course, please contact EAS in Room 583 of the SCB to discuss appropriate accommodations on a confidential basis. Telephone: 577-1851.
Bibliography of Animation Reading * =RECOMMENDED
Early Animation Cinema
Before Mickey- Donald Crafton (MIT Press; London) 1982  *
Emile Cohl- Donald Crafton (MIT Press; London) 1991
Winsor McCay; His Life And Art  John Canemaker (New York; Abbeville Press)
Classical Animation- The Studio Era/Disney
Disney Animation ;The Illusion Of Life- Frank Thomas & Ollie Johnston (Walt Disney Prods; Burbank) 1981*
Eisenstein On Disney (Ed) Jay Leyda (Methuen;  London)  1988 ( Introduction By Naum Kleiman)
How To Read Donald Duck; Imperialist Ideology In The Disney Comic (International General; NY ) 1984
 Disney's Art Of Animation; From Mickey Mouse To Beauty And The Beast Ed. Bob Thomas  (Hyperion; NY) 1991
Mickey Mouse - His Life And Times- Produced By Disney Studios (Harper & Row; New York)  1986
Walt Disney & Assorted Other Characters- Jack Kinney
The Disney Version- Richard Schickel( Simon & Schuster; NY) 1965,1985
Disney's World- Leonard Mosley
 Walt in Wonderland; The Silent Films of Walt Disney Russell Merritt & J.B.Kaufmann (John Hopkins; (Baltimore) 1994 *
Donald Duck Joins Up; The Walt Disney Studio during World War II Richard Shale (Ann Arbor; UMI Research) 1982 *
Disney Discourse; Producing the Magic Kingdom Eric Smoodin (Routledge; NY) 1994 *
Snow White and The Seven Dwarfs; The Making of The Movie  Richard Hollis & Brian Sibley (Walt Disney; Burbank) 1994, (1987)
The Disney Villain Ollie Johnston & Frank Thomas (Hyperion; NY) 1993 *
Warner Bros.
Chuck Amuck- Life And Times Of An Animated Cartoonist- Chuck Jones (Avon Books; New York ) 1989 *
That's All Folks! The Art Of Warner Bros. Animation (Ed) Steve Schneider
(Henry Holt & Co; NY ) 1988
Bugs Bunny; Fifty Years And Only One Gray Hare- Joe Adamson (Henry Holt & Co; NY) 1990 *
General
Doing Their Bit; Wartime Animated Short Films, 1939-1945 Michael Shull & David Wilt ( Jefferson, North Carolina; McFarland& Co) 1987 *
Masters Of Animation  John Halas  (Salem House; MA) 1987
The American Animated Cartoon) Eds. Daniel & Gerald Peary  1980 *
The Fleischer Story Leslie Carbaga  (Da Capo; NY ) 1988 *
Experimental Animation - Cecile Starr (Da Capo; NY )1978
Talking Animals and Other People Shamus Culhane
Cartoon Confidential Jim Korkis & John Cawley (Malibu Graphics; CA) 1991
Felix The Cat- John Canemaker (Abbeville Press; NY ) 1990 *
Tex Avery; King Of Cartoons Joe Adamson (Da Capo; NY) 1975
The Art of Hanna-Barbera Ted Sennett (New York; Viking) 1989
Tom & Jerry; Fifty Years of Cat and Mouse (New York; Crescent Books) 1991
Tom & Jerry; The Definitive guide to  their animated adventures Patrick Brion trans. A. Michelson ( New York; Harmony Books ) 1990, orig. Paris 1987
I Tawt I taw a Putty Tat; Fifty Years of Tweety and Sylvester Jerry Beck (Henry Holt; New York) 1991
The Encyclopedia Of Animated Cartoons  (Ed) Jeff Lenburg (Facts On File Press; NY ) 1991 *
The History Of Animation ; Enchanted Drawings Charles Solomon (Knopf; NY) *1989
The Art Of The  Animated Image; An Anthology vol. 1  (ed.) Charles Solomon (AFI; CA) 1987 & vol. 2 (ed.) John Canemaker (1988)*
Animating Culture; Hollywood Cartoons From The Sound Era-Eric Smoodin (Rutgers; New Jersey) 1993 *
Clay Animation  Michael Frierson (Twayne Press; NY) 1994
The Great Cartoon Directors Jeff Lenburg (Da Capo; NY) 1993 *
Articles in Periodicals
Robin Allan “Before Snow White; European Influences on early Disney” Animatrix #6 (1992)
Giselle Boras “The Psychological Beast of Disney’s Beauty and the Beast”Animatrix #7 (1993)
Bhabha, Homi “The Other Question; on the Stereotype and Colonial Discourse” Screen 24:6 (1983)
John Canemaker “The Fantasia That Never Was " (On Disney's Proposed Fantasia II)  Print Jan /Feb 1988
----------------------"Tex Avery"  AFI The Art of the Animated Image vol. 2 (ed.) Canemaker
----------------------- “Vlad Tytla; Animation’s Michelangelo” Cinéfantastique Winter 1976
---------------------- “Grim Natwick” Film Comment 11.1 (Jan/Feb 1975)
---------------------- “Chuck Jones” Cartoonist Profiles March 1980
---------------------- “Winsor McCay’s Little Nemo and How a Mosquito  Operates
------------------ “ Beginnings of ‘Personality’ Animation” Art of Animated Film vol. 1(ed.)
Ross Care “Cinesymphony; Music and Animation at The Disney Studio” Sight & Sound vol. 46 # 1 (1976/77)
Donald Crafton “Walt Disney’s Peter Pan; Women Trouble on the Islandin Art of the Animated Image (ed.)John  Canemaker  (AFI, vol. II,1988)
---------------- “The View from Termite Terrace: Caricature and Parody in Warner Bros. Animation” Film History  vol. 5 #2 (1993)
Scott Curtis “The Sound of The Early Warner Bros. Cartoons” in Sound Theory/Sound Practice (ed.) Rick Altman (Routledge; NY) 1992
Susan Dalton “Bugs and Daffy Go To War” in The American Animated Cartoon (eds) Daniel & Gerald Peary
Richard Dyer   “White” Screen vol. 29 #4 (1988)
Greg Ford & Richard Thompson  "Chuck Jones " Film Comment 11.1 (Jan/Feb 1975)
Atom Klein “La Verne Harding: Hollywood’s First Animator” Animation Journal vol. 2 # 2 (Spring 1994)
Jim Korkis & John Cawley “Prime-time Animation B.C. (before Simpsons)” in Cartoon Confidential  Korkis et. al; (Malibu Graphics; Calif.) 1991
Mark Langer “Designing Dumbo; an annotated Interview with  Kendall O’Connor” Animation Journal vol. 2 #1 (1993)
------------------ “ Max and Dave Fleischer “ Film Comment 11.1  (Jan/Feb 1975)
------------------ “Animatophilia, Cultural Production and Corporate Interests: The Case of Ren and Stimpy” Film History  vol. 5 #2 (1993)
Leonard Maltin “TV Animation” Film Comment 11.1 (Jan/Feb) 1975
Karin Merritt “The Little Girl/Little Mother Transformation; the American evolution of Snow White” in Art of the   Animated Image (ed.) Canemaker; AFI, vol. II (1988)
Judith O’Sullivan “In Search of Winsor McCay” American Film Institute vol. 5 #2 (Summer 1974)
Susan Ohmer “Who Framed Roger Rabbit?; the Presence of the Past” in The Art of the Animated Image (ed.) Canemaker (AFI, volII, 1988)
-------------------- “That Rags to Riches Stuff: Disney’s Cinderella and the Cultural Space of Animation” Film History vol. 5 #2 (1993)
Gerald and Daniel Peary (eds)  “Testimony of Walter E. Disney before House Committee on un-American Activities” in The American Animated Cartoon (Dutton; NY) 1980
William Paul"Art , Music, Nature And Walt Disney " Movie # 24  (Spring 1977)
Lauren Rabinowitz “Animation, Postmodernism and MTV” Velvet Light Trap #24 (Fall 1989)
Jonathan Rosenblaum “Tex Avery "  Film Comment 11.1  Jan/Feb 1975
Richard Shale “Donald Duck Joins Up” Funnyworld # 17
Michael Shull & David Wilt “Meet John Doughboy: 1939-1941); chaps 4, 5 & 6 from Doing Their Bit; Wartime American Animated Short Films, 1939-1945 (McFarland, North Carolina) 1987
Robert Sklar “The Making of Cultural Myths-Walt Disney” in American Animated Cartoon (Peary) op.cit
Jennifer Tabbush “ Disney’s Animated Shorts and Features during World War II years; 1940-45” Animatrix #6 (1992)
Richard Thompson"Duck Amuck" Film Comment  11.1 (Jan /Feb 1975)
Kristen Thompson"Implications of the Cel animation Technique" in The Cinematic Apparatus (eds) Teresa de Lauretis & Stephen Heath (St Martin's Press; New York) 1980
Kirsten Moana Thompson “Ah Love! Zee Grand Illusion! Pepé Le Pew, Narcissism and Cats in the Casbah”, in Reading the Rabbit; Explorations in Warner Bros. Animation, ed Kevin Sandler (Rutgers University Press, 1998)
Timothy White "From Disney to Warner Bros.; The Critical Shift" Film Criticism vol 16 # 3 (Spr 1992)