Term
| Otto Messmer and Joe Oriolo, Felix the Cat, 1919 (US) |
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| Fernand Leger, Ballet Mécanique, 1924 (FR) |
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| Production Code (or the Hays Code) |
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| Cartoons like Betty Boop and Popeye lead to the development of _______ in 1934 to control the content of movies |
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| Lotte Reiniger, The Adventures of Prince Achmed, 1925 (Germany) |
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| Max Fleischer, Dizzy Dishes, 1930 (US) |
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| Disney, The Three Little Pigs, 1933 (US) |
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| Pablo Picasso, Les Demoiselles d’Avignon, 1907 |
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| Fleischer Studios, Popeye the Sailor, 1933 (US) |
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| John Randolph Bray, Colonel Heeza Liar in Africa, 1913 – 1917 (USA) |
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| Mary Ellen Bute, Rhythm in Light, 1934 (US) |
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| Toy Box: Picture Book, 1936 (Japan) |
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| Disney, Snow White and the Seven Dwarfs, 1937 (US) |
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| Interest in spontaneity, the unconscious, dreams, imagination |
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| Warner Bros, Porky’s Duck Hunt, 1937 (US) |
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| Winsor McCay, The Sinking of the Lusitania, 1918 (US) |
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| Revolutionized way that artists looked at space of canvas and in sculptures |
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| Len Lye, A Colour Box, 1936 (UK/ New Zealand) |
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| Interested in dynamism, energy, movement as linked to industry and machines |
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| post WWI involved dealing with a sense of loss, despair, psychological trauma of warfare In art, this pessimism and sense of desolation came out as [insert art movement here] |
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- Mid 1930s, New York avant-garde developed styles based on abstraction
- term refers to nonfigurative and nonrepresentational painting
- A. E. is the style that put the US on the map and join the international art world |
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| United Productions of Canada (UPA) formed among the animator strike at Disney during which many animators left (1941) |
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| UPA have a unique, sparse, modern drawing style – and were focused on human characters |
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| Chuck Jones, Fast and Furry-ous, 1949 (US) |
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| UPA, Gerald McBoing-Boing, 1951 (US) |
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| Norman McLaren, Neighbours, 1952 (Canada) |
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