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Finally, Gonzo snaps a photo of the audience and promises to send copies to everyone.ĭuring the end credits the various characters are shown in their current situations, including Mayor Calo riding Bubbles the elephant as she water skis.Īnimal can be heard saying, "Buh-bye! Buh-bye! Buh-bye!. The characters sing over the end credits while floating down in parachutes.
This trend would continue in the sequels.
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Pranked Morty awakens from his bed on a raft in the middle of the lake constantly falling into the water and calling out for help throughout the end credits.Ī series of characters getting their mugshot taken is shown throughout the end credits.īlooper reel of Peter Sellers (removed in non-theatrical releases).Ī taxicab passenger, abandoned by the lead at the beginning of the film, grumbles that he will give the driver twenty more minutes to return.Ī collection of bloopers from the movie plays throughout the credits.Ī collection of bloopers from the movie. Outtakes of stunts performed in the film are shown throughout the entirety of the credits. Woodstock types the credits on Snoopy's typewriter. The apparently dead body of Barnabas Collins transforms into a bat and flies away.
Still images of bodies being piled are shown throughout the credits, followed by a shot of a bonfire. Queen rejoins her gang waiting for her outside the town's jail and they all ride out of town for places unknown. In the end, the graphical interfaces of early personal computers and video games borrowed the economical model of limited animation, building a foundation for future digital media devices.Matt Helm lounges on a bed with several scantily-clad women while overlain text reads: "Coming up next: Matt Helm meets Lovey Kravezit in Murderers' Row." This is how animation survived in new forms, and the industry transformed.
These include rationalization, story, character, style, sound, and performance. This dissertation builds upon the tentative consensus of earlier accounts to proposes a theoretical model to explain the early television cartoon as a media form through seven familiar principles, largely in Part 2. Bill Hanna and Joe Barbera then undertook a decades-long enterprise of sending simple but entertaining characters out to viewers. Jay Ward and Alex Anderson first succeeded in producing a “comic strip of television” in 1950. In the 1940s, Disney’s elaborate animation process caused a counter-reaction, and newer studios chose to limit animation. The creators of early television cartoons trained at early cinema cartoon studios. Part 1 begins by uncovering media precedents that made this possible, including print cartoons and radio comedy. What remained after the radical reforms needed to adapt to television, the first home screen-based electronic medium, was a new kind of designed cartoon. Traditional artistic animation may be a technique particular to cinema, I suggest. This vibrant media form has long since outgrown comparisons with cinema animation, for today its influence is everywhere. The television cartoon emerged in the postwar United States when animation mediated television and television simplified animation.