Elephant cartoon 1980s
Manitoba Historical Society Keeping history alive for over years. The cartoon character of Elmer the Safety Elephant was invented in Toronto, in , to help reduce the incidence of accidents between cars and children. Safety officials in Toronto worried that, as traffic levels increased following the Second World War, the number of children who would be injured would increase. Lectures from teachers and police officers did not seem to have the desired effect. Instead, they introduced Elmer and, in the very first year, the number of accidents decreased by 44 percent. A seventh rule, to always wear a seat-belt in the car, was added in the s as seat belts became more common.
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The storyline alone is enough to give thoughtful audiences pause: the elephant-headed Hindu deity Ganesh treks to World War II—era Germany to reclaim the swastika, an ancient Sanskrit symbol, from the Nazis, meeting Hitler, Mengele, and a fleeing Jewish Holocaust survivor along the way. When you started developing Ganesh Versus the Third Reich nearly four years ago, did you have any hesitation about the themes you were pursuing?
So we endeavored then to make it. Did you know that bringing together the Holocaust and a Hindu sacred deity would cause anger, or did you assume the theater was a safer place to create stories and explore issues? We were very conscious about that. With the Hindu themes, we, of course, researched as much as possible.
I think to some degree we always felt reasonably confident that what we were presenting was acceptable within the palate of previous presentations.
But, you know, you can never calculate where and what will be fired at you. Did some event spark your decision to do so? The last work we made, Food Court , was well received when it toured for several seasons in Europe, Australia, and the US. But some of the criticisms about the work that arose were about authorship.
Are the actors empowered in the decision-making process? Has someone put words in their mouth? Are they ultimately puppets within the work—which is really a question of exploitation. We thought it was a great opportunity to explore those issues in a work, which really is a fictionalized autobiography of the company and our process of making something. The two narratives in the piece play off ideas about power.
These are more subtle manipulations of power that exist in our everyday life. For it to be funny, the audience has to be a willing participant. Any representation of it is in some ways disrespectful to the actual experience of what it was.
It could be the biggest, most expensive Hollywood film production and it would still be inadequate representation. Both performances are inadequate, and both great.
Your process involves a lot of improvisation. All of it. Toward the end of the process, the actors became so fluid between shifting from discussing the work to creating it through improvisations.
There was a lot of blurring of the two realities—of us as makers and as the characters. She told him to fuck off and then stormed out the room because she was so outraged by his behavior. We had to bring Nicki back in and explain what had happened. Even though there was often a blurring or confusion, what was important is that we understood that everyone had consented to that going into that process.
At times, it was blurred for all of us, but there was an agreement that there was a value in that blurring. What we would discover in that territory, where there was confusion, was something that would be theatrically engaging for us and ultimately for our audiences.
That gauzy line between reality and fiction is an explicit theme in the work. Are there other ways you see your company doing that? The audience had headphones and the actors were radio-miked, really discretely, and they blended in the crowd in the garden.
For me, the character is illustrating a point about the blurring. Also, what he proposes is also depends what you as an audience member bring to the show. That can be incredibly confronting. It goes back to our earlier conversation about humor.
And as much as the work brings people together in some sort of understanding of what humanity is, it also separates them. It creates a sense of division and debate.
Or, to what degree are any of us David? And to some degree, I am David. I feel like I can say those lines quite regularly.
Tell me about about the founding of Back to Back Theatre. Was it initially founded as a social service or was it more exclusively focused on artistic production? It started at the point of deinstitutionalization in the mid- to lates.
There was a shift in governmental policy about housing and support for people with intellectual disabilities. Previous to that, a large percentage of people with intellectual disabilities were institutionalized in large Victorian buildings on the outside of cities.
As those institutions got closed down, resources were made available for housing, activities, and employment for people with disabilities. I think those initial artists were driven by a kind of outsider, brute art aesthetic, but that genre of art is so associated with the visual arts, which is about solo vision, the obsessive vision of artists.
Theater is different. That was the interesting mash-up of those initial ideas. The company has evolved since then.
The scale of the works they made early on was quite small, and they toured to small community art centers and theaters. Before Back to Back, you went to school for animation and drawing and worked as a freelance actor and director.
Has this company stretched you in unexpected ways? I find an incredible sense of freedom in the company. Part of my challenge is to curate a work that is going to engage each individual actor on a creative journey that will push or challenge them. Not all the actors see themselves as having a disability. Simon has never talked to me about disability. Scott will engage in a discussion about the politics of disability.
It seems more appropriate, really. Get Walker Reader in your inbox. Sign up to receive first word about our original videos, commissioned essays, curatorial perspectives, and artist interviews. Skip to main content. Ganesh, Nazis, and the Elephant in the Room. Schmelzer Your process involves a lot of improvisation. Gladwin All of it. Schmelzer That gauzy line between reality and fiction is an explicit theme in the work.
Schmelzer It goes back to our earlier conversation about humor. Gladwin Yeah. Schmelzer Tell me about about the founding of Back to Back Theatre. Gladwin It started at the point of deinstitutionalization in the mid- to lates. Schmelzer Before Back to Back, you went to school for animation and drawing and worked as a freelance actor and director.
Gladwin I find an incredible sense of freedom in the company. Gladwin Not all the actors see themselves as having a disability.
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Can You Identify the Canadian Cartoon From an Image?
A number of advents in animation largely emerged in the 80s. But, another prevalent phenomenon was the relationship between American and Japanese animators. Anime, the Japanese word for animation used in America to describe animation from Japan made for Japanese audiences , was not new to the United States. The series would also prove successful in the United States running until where G-Force: Guardians of Space would begin the following year as a more faithful adaptation of Gatchaman. Sadly, the show was mysteriously pulled off the air after only running for a week where it then ran in syndication internationally. The series was groundbreaking in that it involved sophisticated characters in overarching story arcs generally absent in American animation to that point Star Blazers edited significantly less than Battle of the Planets.
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The show has been dubbed in 30 languages in over countries. In , a computer-animated sequel series spin-off of Babar titled Babar and the Adventures of Badou was premiered on Disney Junior in the U. The new series takes place several years after the original and focuses on a majority of new characters including Badou, Babar's grandson and Pom's son, but only one human character appears on the show. Based on the books by Jean de Brunhoff and Laurent de Brunhoff , the plot of the first two seasons focuses on the story of Babar as it is told by him to his children. He returns to his home forest full of ideas for progress and, following the previous elephant king's death from eating poisonous mushrooms, hatches a plan to drive out the unnamed hunter and his men. For his heroism, Babar is crowned king of the elephants, plans and builds Celesteville, and grows up to become a father himself. While the first two seasons focus on Babar's recollections of his childhood and early years as king, as well as some two stories told by his children, the series shifts its focus in the third season to Babar's family life in the present day. David Knox at TV Tonight commented on the subject of death and the way it is depicted in Children's Television, citing the pilot of Babar as an example, "This week ABC replayed the pilot episode of the animated series in which the baby elephant loses his mother to a hunter after being shot by a rifle. Produced by a Canadian company in it doesn't shy away from the separation of mother and child, as written in the original Babar the Elephant stories.
Nostalgia is a look at what we loved, way back when. Teri is a journalist who enjoys writing about life and the cool stuff of yesteryear. But before televisions became a part of American life, cartoons were shown to audiences in movie theaters. Remember all of the cartoons you loved as a kid? The spinning disk reflecting in a mirror shows the images moving.
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The storyline alone is enough to give thoughtful audiences pause: the elephant-headed Hindu deity Ganesh treks to World War II—era Germany to reclaim the swastika, an ancient Sanskrit symbol, from the Nazis, meeting Hitler, Mengele, and a fleeing Jewish Holocaust survivor along the way. When you started developing Ganesh Versus the Third Reich nearly four years ago, did you have any hesitation about the themes you were pursuing? So we endeavored then to make it. Did you know that bringing together the Holocaust and a Hindu sacred deity would cause anger, or did you assume the theater was a safer place to create stories and explore issues? We were very conscious about that. With the Hindu themes, we, of course, researched as much as possible.
Vintage Chinese elephant cartoon miniature poker playing cards (1 pack)
The '80s weren't only known for its extreme fashion — big hair, don't care — it was also a time where TV cartoons were all the rage. From Jem and the Holograms to DuckTales , the shows were action-packed and full of memorable characters. Why it's awesome: Inspector Gadget was almost an animated version of iconic TV detective Maxwell Smart, a bumbling detective oblivious to danger around him. Don Adams' comedic touch made this show so much fun to watch, and every kid wanted Penny's computer book which was kind of a proto-iPad. Why it's awesome: In an era dominated by cartoons aimed at guys, Jem was one for the girls. She lived a double life as a rockstar while trying to keep her real identity a secret.
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It seems silly to say, but we will: A man watches cartoons. Not watched. He watches for nostalgia. Or to appease his kid.
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Artemis Fowl is a year-old genius and descendant of a long line of criminal masterminds. A true Disney classic! John Carter finds himself transported to Mars, where he learns about his superhuman capabilities. Things take a turn when he rescues a princess who is on the run.
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Animation has always been a media that has always been traditionally geared towards a younger audience. What would normally be a rather simple tale of a puppet becoming a boy takes a turn into madness from a subplot involving an island populated by nothing but mischievous boys who are tricked and transformed into animals and sold into slavery. Most of the film was relatively tame, with a few subtle moments of racism peppered in throughout the story. With a really creepy bassoon-heavy musical number! Sleep tight, kids! Fast forward to the Eighties, an entire generation after these films came out. These scenes gave us all something interesting to tell our therapists about twenty years in the future.
Back in the s and s, television scheduling was not quite the refined art it is now. As such programmes sometimes over-ran or in some cases under-ran meaning that the schedule for the next show could be out by as much as five minutes. To fill these floating gaps, broadcasters, most notably the BBC, would and did on numerous occasions run Looney Tunes or Silly Symphony cartoons in these gaps. As well as introducing us to the worlds of Tex Avery, Hanna-Barbara and Chuck Jones these little slots also introduced us to other animation from across the globe.