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The Fleischer Story
The Fleischer brothers, Max and Dave, were animation pioneers. Creators of Betty Boop, Koko the Clown, and the Bouncing Ball, they also brought Popeye the Sailor Man to the screen and produced the first feature-length animated cartoon—on the theory of relativity! Max invented the Rotoscope and for a while the brothers kept pace with Disney in performance and profit. But after 1942 the studio closed and their films vanished. What happened and how they developed are examined for the first time in this work—for many years out of print and a collector's item. It is here, updated and enlarged with hundreds of sketches and storyboard layouts where these classic cartoons can once again receive the attention and adulation they deserve.
Out of the Inkwell
Max Fleischer (1883–1972) was for years considered Walt Disney’s only real rival in the world of cartoon animation. The man behind the creation of such legendary characters as Betty Boop and the animation of Popeye the Sailor and Superman, Fleischer asserted himself as a major player in the development of Hollywood entertainment. Out of the Inkwell: Max Fleischer and the Animation Revolution is a vivid portrait of the life and world of a man who shaped the look of cartoon animation. Also interested in technical innovation, Fleischer invented the rotoscope—a device that helped track live action and allowed his cartoons to revolutionize the way animated characters appeared and moved on-s...
The Art and Inventions of Max Fleischer
The history of animated cartoons has for decades been dominated by the accomplishments of Walt Disney, giving the impression that he invented the medium. In reality, it was the work of several pioneers. Max Fleischer--inventor of the Rotoscope technique of tracing animation frame by frame over live-action footage--was one of the most prominent. By the 1930s, Fleischer and Disney were the leading producers of animated films but took opposite approaches. Where Disney reflected a Midwestern sentimentality, Fleischer presented a sophisticated urban attitude with elements of German Expressionism and organic progression. In contrast to Disney's naturalistic animation, Fleischer's violated physical laws, supporting his maxim: "If it can be done in real life, it isn't animation." As a result, Fleischer's cartoons were rough rather than refined, commercial rather than consciously artistic--yet attained a distinctive artistry through Fleischer's innovations. This book covers his life and work and the history of the studio that bore his name, with previously unpublished artwork and photographs.
Artist File
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Fleischer #1
If Family Guy and Justice League had a love child, it would be Fleischer. He means well, but Fleischer is the proverbial fool in a China shop. In his debut adventure, he must defend Generic City from Cyber-Abe and a little girl with a bad attitude, aided by the ever-drunk Green Latrine, with a guest appearance by Frosty the Snowman. The world needs a hero... we've got Fleischer.
Max Fleischer
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Fleischer #2
The ultimate struggle between good and evil is waged asÉ ah, who are we kidding? ItÕs just the further adventures of that oblivious but lovable putz, Fleischer. In his second outing, Fleischer teams up with Shatman and his pint-sized sidekick Spocky as they go up against the evil Cyber-Abe 2.0 and begin to learn the secrets ofÉ Epa!!!!
The Fleischer Story
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Markus Fleischer
Markus Fleischer, businessman, former military officer, and now a criminal or is he? What would you do if you met Markus and what question would you ask him? This is why he wrote his own journal to show the world that he was no criminal and that his rival, Hans Schweitzer was the one who provoked him to turn to revenge. The journal is sweet, and his true love for Sasha is refreshing. After reading his journal you will want to meet Markus Fleischer and perhaps shake his hand.
The Art and Inventions of Max Fleischer
The history of animated cartoons has for decades been dominated by the accomplishments of Walt Disney, giving the impression that he invented the medium. In reality, it was the work of several pioneers. Max Fleischer--inventor of the Rotoscope technique of tracing animation frame by frame over live-action footage--was one of the most prominent. By the 1930s, Fleischer and Disney were the leading producers of animated films but took opposite approaches. Where Disney reflected a Midwestern sentimentality, Fleischer presented a sophisticated urban attitude with elements of German Expressionism and organic progression. In contrast to Disney's naturalistic animation, Fleischer's violated physical laws, supporting his maxim: "If it can be done in real life, it isn't animation." As a result, Fleischer's cartoons were rough rather than refined, commercial rather than consciously artistic--yet attained a distinctive artistry through Fleischer's innovations. This book covers his life and work and the history of the studio that bore his name, with previously unpublished artwork and photographs.
