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Animation in the United States in the television era. Television animation developed from the success of animated movies in the first half of the 2. The state of animation changed dramatically in the three decades starting with the post- World War II proliferation of television. While studios gave up on the big- budget theatrical short cartoons that thrived in the 1.

By the end of the 1. Golden Age animators had retired or died, and their younger successors were ready to change the industry and the way that animation was perceived.

From the big screen to the small screen[edit]Cartoons in the Golden Age, such as Red Hot Riding Hood, contained topical and often suggestive humor, though they were seen primarily as "children's entertainment" by movie exhibitors. This point of view prevailed when the new medium of television began showing cartoons in the late 1. One of the first images to be broadcast over television was that of Felix the Cat.

In 1. 93. 8, cartoonist Chad Grothkopf's eight- minute experimental Willie the Worm, cited as the first animated film created for TV, was shown on NBC.[1][2]As TV became a phenomenon and began to draw audiences away from movie theaters, many children's TV shows included airings of theatrical cartoons in their schedules, and this introduced a new generation of children to the cartoons of the 1. Cartoon producer Paul Terry sold the rights to the Terrytoons cartoon library to television and retired from the business in the early 1. This guaranteed a long life for the characters of Mighty Mouse and Heckle and Jeckle, whose cartoons were syndicated and rerun in children's television programming blocks for the next 3. There were a number of early experiments in limited animation television cartoons.

These cartoons usually were about five minutes in length and were episodic in nature, allowing stations to flexibly program them. One of the first cartoons produced expressly for television was Crusader Rabbit, a creation of Alexander Anderson and Jay Ward. A small studio in Florida was responsible for another early adventure serial, Colonel Bleep. Often, existing programs would be a launching ground for new cartoon characters. In 1. 95. 6, the Howdy Doody show aired the first Gumbyclay animated cartoon from creator Art Clokey. Sam Singer earned a certain degree of infamy for his efforts at television animation, which included an animated adaptation of The Adventures of Paddy the Pelican (which may or may not have made it to air) and the original series Bucky and Pepito, both of which have been cited as among the worst of their kind. On the other hand, a long- running series of animated shorts named Tom Terrific was produced by Terrytoons for the Captain Kangaroo show, and this series was praised by film historian Leonard Maltin as "one of the finest cartoons ever produced for television." [3]Beginning in 1.

Walt Disney capitalized on the medium of television with his own weekly TV series, Disneyland. This ABC show popularized his new Disneylandtheme park and began a decades- long series of TV broadcasts of Disney cartoons, which later expanded into the show Walt Disney's Wonderful World of Color. While Disney recognized that the economics of the medium could not support his production standards and refused to go into TV animation, he still ordered the creation of one character exclusive to TV, Ludwig Von Drake.

The character's segments would link compilations of the company's archived theatrical shorts as complete episodes. Walt continued to host the show for the rest of his life, and he became as recognizable to the TV audience as his studio's cartoon characters.[citation needed]Hanna- Barbera[edit]The first major animation studio to produce cartoons exclusively for television was Hanna- Barbera Productions. Popeye`S Voyage: The Quest For Pappy Review more. When MGM closed its cartoon studio in 1.

Hanna- Barbera began producing cartoons directly for television, finding an audience in the evening "family hour" time. The first animated series from Hanna- Barbera were NBC's The Ruff & Reddy Show and the first- run syndication entry The Huckleberry Hound Show. However, the studio hit its stride in 1.

ABC's The Flintstones, the first half- hour animated sitcom. Like many of its immediate successors it was originally aired during prime time when the whole family would be watching television. The Flintstones was the first of several prime- time animated series from Hanna- Barbera, which included The Jetsons, Top Cat, and Jonny Quest. But after the end of The Flintstones in 1. Hanna- Barbera largely turned its efforts to the growing market for Saturday morning cartoons, outside of isolated series for first run syndication in the 1.

Wait Till Your Father Gets Home. Hanna- Barbera was notorious for using common tropes in its series. Its original series of the late 1. After the immense success of Scooby- Doo, Where Are You!, which premiered on CBS in 1.

Hanna- Barbera's animated output would follow that show's formula: a group of teenagers solving mysteries or fighting crime, usually with the help of a wacky animal or a ghost. The many incarnations of Scooby- Doo ran uninterrupted on CBS and then ABC for 1.

During the late 1. Hanna- Barbera turned to adaptations of prime time sitcoms. It was not until The Smurfs in 1. H- B once again had anything successful outside the Scooby template; it, in turn, led to derivative series (The Snorks and Paw Paws). The late 1. 98. 0s and early 1. Hanna- Barbera join the numerous studios producing younger and junior versions of cartoon characters for the Saturday morning cartoon market. Limited animation[edit]One of the problems with producing animation for television was the extremely labor- intensive animation process.

While theatrical short subjects were previously produced in six- month cycles or longer, network television needed a season of 1. This led to a number of shortcut techniques to speed up the production process, and the techniques of limited animation were applied to produce a great number of quickly- produced, low- budget TV cartoons. The UPA studio was one of the first victims of the TV- animation market.

In 1. 95. 2, because of his left- wing social activism, John Hubley was dismissed from the studio under pressure from Columbia Pictures (who was itself under pressure from the HUAC). The creative atmosphere post- Hubley was not the same and UPA's theatrical shorts ended in 1. In order to stay afloat financially, UPA turned to television to sustain itself. The TV versions of Mister Magoo and Dick Tracy were not successful and did nothing to reverse the studio's financial decline. In spite of the 1.

Gay Purr- ee (distributed by Warner Bros.), which featured the voices of Judy Garland and Robert Goulet and a Harold Arlen/Yip Harburg song score, and the beloved animated special Mr. Magoo's Christmas Carol, UPA was shut down in 1. The Jay Ward studio, producer of The Rocky and Bullwinkle Show, used limited animation in its series, but compensated with its satire of Cold War politics and popular culture and its off- beat humor.

Like the earlier Crusader Rabbit, the Rocky and Bullwinkle adventures were multi- part serials. The Ward studio also produced George of the Jungle, Super Chicken, and Tom Slick. It later produced a series of popular television commercials for Quaker Oats cereals Cap'n Crunch, Quisp and Quake. Another company that used the same animation studios as Jay Ward did was Total Television, most famous for The Underdog Show. Total Television and Jay Ward animated productions were often mixed and aired together in syndication, leading to the two companies' shows to sometimes be confused with each other. Filmation, headed by Lou Scheimer and Norm Prescott, was another television animation studio that arose in the 1.