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Book Review: Out of the Inkwell: Max Fleischer and the Animation Revolution

Book Review: Out of the Inkwell: Max Fleischer and the Animation Revolution book reviews Book Reviews Richard Fleischer, Out of the Inkwell: Max Fleischer and the Anima- tion Revolution. Lexington: University Press of Kentucky, 2005. 232 pp., 63 illus. ISBN 0–8131–2355–0 (hbk). DOI: 10.1177/1746847706065848 Max Fleischer’s cartoon studio was responsible for creating some of the most eccentric and funny animated pictures in the medium’s rela- tively short history. The studio’s cartoon universe projected a very distinct aura throughout the 1910s, 1920s and 1930s. Fleischer films’ ‘cartoony’ language of metamorphic extravagance, their idiosyncratic characters and gloomy East coast urban feel made them stand out as the creative antithesis to Walt Disney’s bright, attractive, ‘realistic’ and overtly didactic cartoon universe. However, despite patenting some innovative technological devices, such as the Rotoscope, the Roto- graph, and the Stereoptical process, and introducing to the big screen animated icons such as Betty Boop (see Figure 1), Popeye, and the first animated superhero (Superman), Max Fleischer never became a house- hold name like Walt Disney. Until now, there has been only one English-language book dedicated to the works of this multitalented man – Leslie Cabarga’s influential, yet outdated The Fleischer Story (1976). Other writings on Max Fleischer’s studio have generally been limited to essays in anthologies and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Animation: An Interdisciplinary Journal SAGE

Book Review: Out of the Inkwell: Max Fleischer and the Animation Revolution

Calma, Gordan
Animation: An Interdisciplinary Journal , Volume 1 (1): 5 – Jul 1, 2006
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Publisher
SAGE
Copyright
Copyright © by SAGE Publications
ISSN
1746-8477
eISSN
1746-8485
DOI
10.1177/1746847706065848
Publisher site
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Abstract

book reviews Book Reviews Richard Fleischer, Out of the Inkwell: Max Fleischer and the Anima- tion Revolution. Lexington: University Press of Kentucky, 2005. 232 pp., 63 illus. ISBN 0–8131–2355–0 (hbk). DOI: 10.1177/1746847706065848 Max Fleischer’s cartoon studio was responsible for creating some of the most eccentric and funny animated pictures in the medium’s rela- tively short history. The studio’s cartoon universe projected a very distinct aura throughout the 1910s, 1920s and 1930s. Fleischer films’ ‘cartoony’ language of metamorphic extravagance, their idiosyncratic characters and gloomy East coast urban feel made them stand out as the creative antithesis to Walt Disney’s bright, attractive, ‘realistic’ and overtly didactic cartoon universe. However, despite patenting some innovative technological devices, such as the Rotoscope, the Roto- graph, and the Stereoptical process, and introducing to the big screen animated icons such as Betty Boop (see Figure 1), Popeye, and the first animated superhero (Superman), Max Fleischer never became a house- hold name like Walt Disney. Until now, there has been only one English-language book dedicated to the works of this multitalented man – Leslie Cabarga’s influential, yet outdated The Fleischer Story (1976). Other writings on Max Fleischer’s studio have generally been limited to essays in anthologies and

Journal

Animation: An Interdisciplinary Journal – SAGE

Published: Jul 1, 2006

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