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Kenneth Anger and the Filmed-Archive Reenactment

Kenneth Anger and the Filmed-Archive Reenactment anthony l. silvestri Prelude: Mickey Mouse and the Fight legal assault. They claimed that the graphic de- for Pop-Cultural Agency pictions in the Air Pirates Funnies were actually positive retorts to Disney’s slanderous portrayal in 1971, dan o’neill , an out-of-work cartoon- of a variety of stereotyped socioeconomic and ist formerly in the employ of the San Francisco racial groups, rectifying the studio’s depiction Chronicle, gathered an assortment of rogue of poor Southern whites and Jewish lawyers, cartoonists to form a team he called the “Air for instance. Their legal team also claimed “fair Pirates.” Naming the collective after a group of use”: the product may well have replicated the cartoon characters that had tormented Mickey contours of Disney’s characters, but the actions Mouse during Walt Disney’s 1930s output func- represented on paper differed quite dramati- tioned less as a playfully antagonistic nod than cally from the studio’s productions. Moreover, as a statement of intent. Shortly after coming the demographic O’Neill and his co-animators together, the illustrators produced two comics were courting, mostly aging hippies, did not that would come under fire. Much to the ire of overlap with that of Walt Disney Studios, thus Walt Disney Studios, O’Neill http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Kenneth Anger and the Filmed-Archive Reenactment

Journal of Film and Video , Volume 73 (4) – Dec 1, 2021

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

anthony l. silvestri Prelude: Mickey Mouse and the Fight legal assault. They claimed that the graphic de- for Pop-Cultural Agency pictions in the Air Pirates Funnies were actually positive retorts to Disney’s slanderous portrayal in 1971, dan o’neill , an out-of-work cartoon- of a variety of stereotyped socioeconomic and ist formerly in the employ of the San Francisco racial groups, rectifying the studio’s depiction Chronicle, gathered an assortment of rogue of poor Southern whites and Jewish lawyers, cartoonists to form a team he called the “Air for instance. Their legal team also claimed “fair Pirates.” Naming the collective after a group of use”: the product may well have replicated the cartoon characters that had tormented Mickey contours of Disney’s characters, but the actions Mouse during Walt Disney’s 1930s output func- represented on paper differed quite dramati- tioned less as a playfully antagonistic nod than cally from the studio’s productions. Moreover, as a statement of intent. Shortly after coming the demographic O’Neill and his co-animators together, the illustrators produced two comics were courting, mostly aging hippies, did not that would come under fire. Much to the ire of overlap with that of Walt Disney Studios, thus Walt Disney Studios, O’Neill

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Dec 1, 2021

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