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WIKIMAG n. 6 - Maggio 2013
Hanna-Barbera
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Hanna-Barbera Productions, Inc. (pron.:
/ˌhænə
bɑrˈbɛrə/,
also known at various times as H-B Enterprises, H-B Production
Company, and Hanna-Barbera Cartoons) was an American
animation studio that dominated American television animation for nearly
three decades in the mid-to-late 20th century.
The company was originally formed in 1957 by former
Metro-Goldwyn-Mayer (MGM) animation directors
William Hanna and
Joseph Barbera (creators of
Tom and Jerry) and live-action director
George Sidney in partnership with
Columbia Pictures'
Screen Gems television division.[2]
Over the next four decades, the studio produced many successful animated
television shows, including
The Huckleberry Hound Show,
The Flintstones,
The Yogi Bear Show,
Jonny Quest,
The Jetsons,
Scooby-Doo, and
The Smurfs, among others. The studio also produced several
theatrical films, short subjects,
telefilms,
specials and commercials, earning Hanna-Barbera eight
Emmys,[3]
a
Golden Globe Award, and a star on the
Hollywood Walk of Fame, among other merits.
In the mid-1980s, the company's fortunes began to decline after the
profitability of
Saturday morning cartoons was eclipsed by weekday afternoon
syndication. In late 1991, the company was purchased by
Turner Broadcasting System, who used much of the H-B back catalog to
program it's new channel,
Cartoon Network.[4][5]
Both Hanna and Barbera went into semi-retirement after Turner purchased
the company, continuing to serve as mentors and creative consultants.
During the mid-1990s, Hanna-Barbera began producing original programming
for Cartoon Network, including
Cartoon Cartoons shows such as
Dexter's Laboratory,
Johnny Bravo,
Cow and Chicken,
I
Am Weasel,
The Powerpuff Girls, and
Courage the Cowardly Dog.
In 1996, Turner merged with
Time Warner, and Hanna-Barbera became a subsidiary of
Warner Bros. Animation. With William Hanna's death in 2001, the
studio was absorbed into its parent, and the spinoff
Cartoon Network Studios continued the projects for Cartoon Network
output. Joseph Barbera continued to work for Warner Bros. Animation
until his death in 2006.
Hanna-Barbera Productions currently exists as an in-name-only company
used to market properties and productions associated with the studio's
"classic" works such as Yogi Bear, Scooby-Doo and
Huckleberry Hound.
History
Beginnings of Hanna-Barbera
Melrose, New Mexico native
William Hanna and
New York City-born
Joseph Barbera first teamed together while working at the
Metro-Goldwyn-Mayer cartoon studio in 1939. Their first directorial
project was a cartoon entitled
Puss Gets the Boot (1940), which served as the genesis of the
popular
Tom and Jerry series of cartoon theatricals. Hanna and Barbera
served as the directors and story men for the shorts for eighteen years.
Seven Tom & Jerry cartoons won the
Academy Awards for Best Short Subject (Cartoons) between 1943 and
1953, though the trophies were awarded to their producer
Fred Quimby, who was not involved in the creative development of the
shorts.[6]:83–84
With Quimby's retirement in 1955, Hanna and Barbera became the
producers in charge of the MGM animation studio's output.[7]
Outside of their work on the MGM shorts, Hanna and Barbera moonlighted
on outside projects, including the original title sequences and
commercials for the hit television sitcom
I
Love Lucy.[8]
MGM decided in early 1957 to close its cartoon studio, as it felt it
had acquired a reasonable backlog of shorts for re-release.[7]
Hanna and Barbera, contemplating their future while completing the final
Tom and Jerry and
Droopy
cartoons, began producing animated television commercials.[1]
During their last year at MGM, they developed a concept for an animated
television program about a dog and cat pair who found themselves in
various misadventures.[1]
After they failed to convince MGM to back their venture, live-action
director
George Sidney, who'd worked with Hanna and Barbera on several of his
features – most notably
Anchors Aweigh in 1945 – offered to serve as their business
partner and convinced
Screen Gems, the television subsidiary of
Columbia Pictures, to make a deal with the animation producers.[2]
Screen Gems took a twenty percent ownership in Hanna and Barbera's
new company, H-B Enterprises,[2]
and provided working capital to produce. H-B Enterprises opened for
business in rented offices on the lot of Kling Studios (formerly
Charlie Chaplin Studios)[8]
on July 7, 1957, two months after the MGM animation studio closed down.[1]
Sidney and several Screen Gems alumni became members of H-B's original
board of directors, and much of the former MGM animation staff –
including animators
Carlo Vinci,
Kenneth Muse,
Lewis Marshall,
Michael Lah, and
Ed
Barge and layout artists
Ed Benedict and Richard Bickenbach – as H-B's production staff.[1]
Television
cartoons
Hanna-Barbera was one of the first animation studios to successfully
produce cartoons especially for television.[9]
Previously, animated programming on television had consisted primarily
of rebroadcasts of theatrical cartoons. Their first cartoon series for
television,
The Ruff & Reddy Show, featuring live-action host Jimmy Blaine
and several older Columbia-owned cartoons as filler, premiered on
NBC in
December 1957. In 1958, H-B had their first big success with
The Huckleberry Hound Show, a syndicated series aired in most
markets just before primetime. The program was a ratings success, and
introduced a new crop of cartoon stars to audiences, in particular
Huckleberry Hound and
Yogi
Bear. The show won the 1960
Emmy Award for Outstanding Achievement in the Field of Children's
Programming. The studio began to expand rapidly following the success of
Huckleberry Hound, and several animation industry alumni – in
particular former
Warner Bros. Cartoons storymen
Michael Maltese and
Warren Foster, who became H-B's new head writers – joined the staff
at this time.[1]
By 1959, H-B Enterprises was reincorporated as Hanna-Barbera
Productions, and was slowly becoming a leader in television
animation production. After introducing a second syndicated series,
The Quick Draw McGraw Show, in 1959, Hanna-Barbera migrated into
network primetime production with the animated
ABC sitcom
The Flintstones in 1960. Loosely based upon the popular
live-action sitcom
The Honeymooners, yet set in a fictionalized stone age of
cavemen and dinosaurs, The Flintstones ran for six seasons in
prime time on ABC, becoming a ratings and merchandising success. It was
the longest-running animated show in American prime time television
history until being beaten out by
The Simpsons in 1996. During the early and mid-1960s, the studio
debuted several new successful programs, among them prime time ABC
series such as
Top Cat,
The Jetsons and
Jonny Quest. New shows produced for syndication and Saturday
mornings included
The Yogi Bear Show – a syndicated spinoff from The
Huckleberry Hound Show,
The Hanna-Barbera New Cartoon Series featuring
Wally Gator,
The Magilla Gorilla Show,
The Peter Potamus Show and
The Atom Ant/Secret Squirrel Show.
Hanna-Barbera also produced several television commercials, often
starring their own characters, and animated the opening credits for the
ABC sitcom
Bewitched; the Bewitched characters would also appear as
guest stars in an episode of The Flintstones. The studio also
produced a few theatrical projects for Columbia Pictures, including
Loopy De Loop, a series of theatrical cartoon shorts, and two
feature film projects based on its television properties,
Hey There, It's Yogi Bear! (1964) and
The Man Called Flintstone (1966) and two TV specials,
Alice in Wonderland (or What's a Nice Kid Like You Doing in a Place Like
This?) (1966) and Jack and the Beanstalk (1967 special)|Jack
and the Beanstalk (1967), the first ever Hanna-Barbera television
production done entirely in live-action/animation.
The former Hanna-Barbera building at 3400 Cahuenga Blvd. in
Studio City, California, seen in a 2007 photograph. The
small yellow structure (lower right) was originally the
"guard shack" for the property entrance to the east of the
building.
Hanna-Barbera moved off of the Kling lot in 1963 and by then renamed
the
Red Skelton Studios – when the Hanna-Barbera Studio, located at 3400
Cahuenga Blvd. in
Studio City, California, was opened. This California contemporary
office building was designed by architect
Arthur Froehlich. Its ultra-modern design included a sculpted
latticework exterior, moat, fountains, and after later additions, a
Jetsons-like tower. Starting in 1965, Hanna-Barbera tried its hand at
being a record label for a short time.
Danny Hutton was hired by Hanna-Barbera to become the head of Hanna
Barbera Records or HBR from 1965 to 1966.[10]
HBR Records was distributed by
Columbia Records, with artists such as
Louis Prima,
Five Americans,
Scatman Crothers (who later lent his voice to a few Hanna-Barbera
cartoons, such as
Hong Kong Phooey), and The
13th Floor Elevators. Previously, children's records with
Hanna-Barbera cartoon characters were released by
Colpix Records.
After the success of The Atom Ant/Secret Squirrel Show in
1965, H-B debuted two new Saturday morning series the following year:
Space Ghost, which featured action-adventure, and
Frankenstein, Jr. and The Impossibles, which blended
action-adventure with the earlier Hanna-Barbera humor style. A number of
H-B action cartoons followed in 1967, among them
Shazzan,
Birdman and the Galaxy Trio,
Moby Dick and the Mighty Mightor,
Young Samson and Goliath,
The Herculoids and an adaptation of
Marvel Comics'
Fantastic Four along with new syndicated shows based on famous
celebrities such as
The Abbott and Costello Cartoon Show and
Laurel and Hardy. The Columbia/Hanna-Barbera partnership lasted
until 1967, when Hanna and Barbera sold the studio to
Taft Broadcasting while retaining their positions there.
In 1968, Hanna-Barbera mixed live-action and animated comedy-action
for its NBC anthology series,
The Banana Splits Adventure Hour, while the successful
Wacky Races, and its spinoffs
The Perils of Penelope Pitstop,
Dastardly and Muttley in Their Flying Machines, aired on CBS,
returning H-B to straight animated slapstick humor. Hanna-Barbera's next
runaway hit came in 1969 with
Scooby-Doo, Where Are You!, a CBS program which blended elements
of the H-B's comedy series, the action series, and rival
Filmation's then-current hit program
The Archie Show. Scooby-Doo centered on four teenagers
and a dog solving supernatural mysteries, and was popular enough to
remain on the air and in production until 1986. A cavalcade of H-B
Saturday morning cartoons featuring mystery-solving/crime-fighting
teenagers with comic pets/mascots soon followed, among them
Josie and the Pussycats,
The Funky Phantom,
The Amazing Chan and the Chan Clan,
Speed Buggy,
Butch Cassidy & The Sundance Kids,
Goober and the Ghost Chasers,
Clue
Club,
Jabberjaw,
Captain Caveman and the Teen Angels and
The New Shmoo.
Cattanooga Cats came next and aired on ABC in 1969. By 1977,
Scooby-Doo was the centerpiece of a two-hour ABC program block
titled
Scooby's All-Star Laff-a-Lympics, which also included
Dynomutt, Dog Wonder, Captain Caveman and the Teen Angels,
and
Laff-a-Lympics. During the 1970s in particular, the majority of
American television animation was produced by Hanna-Barbera. The only
competition came from
Filmation,
DePatie-Freleng Enterprises,
Ruby-Spears, and a few other companies that specialized primarily in
prime time specials, such as
Rankin-Bass,
Chuck Jones and
Lee Mendelson-Bill
Meléndez. Filmation, in particular, lost ground to Hanna-Barbera
when the failure of Filmation's
Uncle Croc's Block led ABC president
Fred Silverman to drop Filmation and give Hanna-Barbera the majority
of the network's Saturday morning cartoon time. Besides Scooby-Doo
and the programs derived from it, Hanna-Barbera also found success with
new programs such as
Harlem Globetrotters,
Where's Huddles,
The Addams Family,
These Are The Days and
Hong Kong Phooey along with the hit 1973 feature film
Charlotte's Web. The syndicated
Wait Till Your Father Gets Home returned Hanna-Barbera to
adult-oriented comedy, although the show was more provocative than
The Flintstones or The Jetsons had been.
The studio revisited its 1960s stars with Flintstones
spin-offs such as
The Pebbles and Bamm-Bamm Show and
The Flintstone Comedy Hour, both aired on CBS. In 1980, all four
Flintstones specials aired in primetime on NBC as a
limited-run revival of the original 1960s series. "All-star" shows
featuring Yogi Bear, Huckleberry Hound, Magilla gorilla, Quick Draw
McGraw, Snagglepuss, and other H-B animal stars included
Yogi's Gang and
Yogi's Space Race and the Scooby-Doo spin-offs,
The New Scooby-Doo Movies,
The Scooby-Doo Show, and
Scooby-Doo and Scrappy-Doo. Hanna-Barbera also produced new
shows starring older cartoon characters from the theatrical era of
cartoons such as
Popeye
(The
All-New Popeye Hour),
Casper the Friendly Ghost (Casper
and the Angels) and its founders' own Tom and Jerry (The
New Tom and Jerry/Grape
Ape Show).
Super Friends, a Hanna-Barbera produced adaptation of
DC
Comics'
Justice League of America comic book, remained on ABC Saturday
mornings from 1973 to 1986.
The 60-minute shows
CB
Bears and
The Skatebirds aired on NBC and CBS respectively in 1977. H-B
introduced new productions like,
The Kwicky Koala Show,
Yogi's First Christmas,
A Flintstone Christmas,
Amigo and Friends (a joint production of Hanna-Barbera and
Televisa and remake of the
Mexican
animated series
Cantinflas Show),
Robin Hoodnik,
Yogi Bear's All Star Comedy Christmas Caper,
The Last of the Curlews,
The New Fred and Barney Show, the 1982 feature film
Heidi's Song,
The Flintstone Comedy Show,
Great Comedy Concert,
Casper's First Christmas,
Cyrano
and
Scooby Goes Hollywood.
A number of live shows and rides based on classic Hanna-Barbera
series and characters were made for various theme parks including
Kings Dominion. The studio also made a string of live-action
television and film projects, including
The Gathering,
Going Bananas,
C.H.O.M.P.S.,
The Runaways,
Benji, Zax and the Alien Prince,
Korg: 70,000 B.C. and
Kiss Meets the Phantom of the Park. Annual specials on both
The Flintstones and Hanna-Barbera aired, including
Hanna-Barbera's All-Star Comedy Ice Revue, centering on Fred
Flintstone's birthday,
The Flintstones' 25th Anniversary Celebration, focusing on the
show's 25 years on air,
The Flintstone Kids' "Just Say No" Special, focusing on Fred and
the gang refusing to do drugs and
Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration, centering
on the 50-year partnership of Hanna and Barbera in animation.
Quality
controversy
One of the first logos used by Hanna-Barbera
From 1957 to 1995, Hanna-Barbera produced prime-time, weekday
afternoon, and
Saturday morning cartoons for all three major networks and
syndication in the United States. The small budgets television animation
producers had to work within prevented them, and most other producers of
American television animation, from working with the full
theatrical-quality animation the duo had been known for at MGM. While
the budget for a seven-minute Tom and Jerry entry of the 1950s
was about $35,000, Hanna-Barbera was required to produce five-minute
Ruff and Reddy episodes for no more than $3,000 a piece.[2]
To keep within these tighter budgets, Hanna-Barbera modified the concept
of
limited animation (also called semi-animation) practiced and
popularized by the
United Productions of America (UPA) studio, which also once had a
partnership with Columbia Pictures.
Character designs were simplified, and backgrounds and animation
cycles (walks, runs, etc.) were regularly re-purposed. Characters were
often broken up into a handful of levels, so that only the parts of the
body that needed to be moved at a given time (i.e. a mouth, an arm, a
head) would be animated. The rest of the figure would remain on a held
animation cel. This allowed a typical 10-minute short to be done with
only 1,200 drawings instead of the usual 26,000. Dialogue, music, and
sound effects were emphasized over action, leading
Chuck Jones – a contemporary who worked for Hanna and Barbera's
rivals at
Warner Bros. Cartoons when the duo was at MGM, and one who, with his
short
The Dover Boys practically invented many of the concepts in
limited animation – to disparagingly refer to the limited TV cartoons
produced by Hanna-Barbera and others as "illustrated radio".[11]
In a story published by
The Saturday Evening Post in 1961, critics stated that
Hanna-Barbera was taking on more work than it could handle and was
resorting to shortcuts only a television audience would tolerate.[12]
An executive who worked for
Walt Disney Productions said, "We don't even consider [them]
competition".[12]
Ironically, during the late 1950s and early 1960s, Hanna-Barbera was the
only animation studio in Hollywood that was actively hiring, and it
picked up a number of Disney artists who were laid off during this
period. The studio's solution to the criticism over its quality was to
go into features. The studio produced six theatrical features, among
them higher-quality versions of its hit television cartoons and
adaptations of other material. They were the first animation studios to
have their animation work produced overseas. Many incorrectly thought
the Jay Ward studio was the first.[13]
Slow rise and fall
In the 1980s, competing studios such as Filmation and Rankin/Bass
began to introduce successful syndicated cartoon series based upon
characters from popular toy lines and action figures. These included
Filmation's
He-Man and the Masters of the Universe and
She-Ra: Princess of Power and Rankin/Bass's
ThunderCats. Because of those shows, the Hanna-Barbera studio
fell behind; they continued to produce for Saturday mornings, but no
longer dominated the market as they had previously. Hanna-Barbera's
then-parent Taft Broadcasting purchased
Ruby-Spears Productions – founded in 1977 by former H-B employees
Joe
Ruby and
Ken
Spears – from
Filmways in 1981, and Ruby-Spears often paired their productions
with Hanna-Barbera shows. Taft also bought
Worldvision Enterprises in 1979, which then became the syndication
distributor for most of Hanna-Barbera's shows throughout the 1980s. It
was also during this time that the studio switched from
cel animation to
digital ink and paint for some of their shows. Both Hanna-Barbera
and Worldvision had their own home video labels –
Hanna-Barbera Home Video,
Worldvision Home Video, and many of the company's productions were
released by other VHS distributors.
In 1981, H-B launched not just a show, but a phenomenon.
The Smurfs, based on a Belgian comic strip by
Pierre
Culliford (Peyo), centered around the society of tiny, cute, largely
blue creatures with uniform white pants and hats. Papa Smurf, the leader
of the gang, who by nature of his position is allowed to wear red and
Smurfette, the female Smurf, who has lovely blonde hair and wears a
dress. The evil wizard Gargamel and his cat Azrael were the Smurfs'
natural enemies while their friends were Johan and Peewit. The Smurfs
spoke in "Smurf-talk", a form of English in which "smurfy" is the most
popular adjective. The series ran for an incredible nine seasons on NBC
with seven new specials alongside it and picked up two Emmys for
Outstanding Children's Entertainment Series.
Hanna-Barbera followed the lead of its competitors by introducing
shows based on familiar licensed properties such as
Pac-Man,
Mork and Mindy,
Snorks,
The Fonz and the Happy Days Gang,
Pound Puppies,
Richie Rich,
Challenge of the GoBots,
Laverne & Shirley in the Army,
Shirt Tales,
The
Dukes,
Monchhichis,
The Little Rascals,
The Gary Coleman Show,
Foofur,
Lucky Luke and also produced several ABC Weekend Specials.
Other new shows from H-B were
Trollkins and
The Biskitts. Some of their shows were produced at their
Australian-based studio, a partnership with Australian media company
Southern Star Entertainment, including
Drak
Pack,
The Berenstain Bears,
Teen Wolf and almost all of the
CBS Storybreak specials. The studio worked on more new
productions with less fanfare during the 1980s, such as
The Greatest Adventure: Stories from the Bible,
The Little Troll Prince: A Christmas Parable,
Star Fairies,
GoBots: Battle of the Rock Lords,
Rock Odyssey and
Ultraman: The Adventure Begins.
After the success of CBS's hit 1984 Saturday morning cartoon series
Muppet Babies, which featured toddler versions of the popular
Muppets characters, Hanna-Barbera began producing shows featuring "kid"
versions of popular characters, based upon both their own properties (The
Flintstone Kids,
A Pup Named Scooby-Doo) and properties from other companies (Pink
Panther and Sons,
Popeye and Son). In 1985, Hanna-Barbera launched
The Funtastic World of Hanna-Barbera, a weekend-only syndication
package which introduced new versions of old favorites like Yogi Bear
(Yogi's
Treasure Hunt) and Jonny Quest (The
New Adventures of Jonny Quest) alongside reruns of Saturday
morning shows and brand new originals such as
Galtar and the Golden Lance,
Young Robin Hood,
The Further Adventures of SuperTed,
Paw
Paws,
Midnight Patrol: Adventures in the Dream Zone,
Paddington Bear,
Fantastic Max and
Sky Commanders along with the block's filler segment
HBTV.
Also in 1985, DC Comics named Hanna-Barbera as one of the honorees in
the company's 50th anniversary publication
Fifty Who Made DC Great for its work on the Super Friends
cartoon series. New shows were introduced featuring Yogi Bear (The
New Yogi Bear Show) and Scooby-Doo (Scooby
and Scrappy-Doo,
The New Scooby and Scrappy-Doo Show,
The 13 Ghosts of Scooby-Doo) along with
The Completely Mental Misadventures of Ed Grimley,
Wildfire and a revival of The Jetsons. In 1987, the
studio began
Hanna-Barbera Superstars 10, an anthology series of ten original
syndicated movies based on their popular stable of classic characters
such as the Yogi movies (The
Great Escape,
The Magical Flight of the Spurce Goose,
The Invasion of the Space Bears), the Scooby movies (The
Boo Brothers,
The Ghoul School,
The Reluctant Werewolf), and other features (The
Jetsons Meet the Flintstones,
Top Cat and the Beverly Hills Cats,
Rockin' with Judy Jetson,
The Good, the Bad, and Huckleberry Hound).
Throughout all of this, both Hanna-Barbera and Ruby-Spears were
affected by the financial troubles of their parent company, Taft
Broadcasting, which had just been acquired by the American Financial
Corporation in 1987 and had its name changed to Great American
Broadcasting the following year. Many of the business deals were
overseen by CEO of Taft Broadcasting, Charles Mechem. Along with much of
the rest of the American animation industry, Hanna-Barbera had gradually
begun to move away from producing everything in-house in the late 1970s
and early 1980s. Much of the Hanna-Barbera product was outsourced to
studios in Australia and Asia, including
Wang Film Productions,
Cuckoo's Nest Studios,
Mr. Big cartoons,
Mook Co., Ltd.,
Toei Animation, and Hanna-Barbera's own
Philippines-based studio Fil-Cartoons. In 1989, much of
Hanna-Barbera's staff responded to a call from
Warner Bros. to resurrect their animation department. Producer
Tom Ruegger and a number of his colleagues left the studio at this
time, moving to Warners to develop hit cartoon programs such as
Tiny Toon Adventures,
Animaniacs, and
Batman: The Animated Series.
In the late-1980s and 1990s, the Hanna-Barbera characters were
licensed to
Universal Studios, who produced the live-action film adaptations (The
Flintstones,
The Flintstones in Viva Rock Vegas) of The Flintstones,
the pre-show and ride film for
The Funtastic World of Hanna-Barbera attraction and a
feature-length version of The Jetsons. Hanna-Barbera launched
Timeless Tales from Hallmark, made in association with
Hallmark Cards. It is a series of adaptations based on classic fairy
tales hosted by
Olivia Newton-John.
David Kirschner was appointed as the head of the Hanna-Barbera
studio in 1989, with Hanna and Barbera remaining as co-chairmen.[14]
He launched new shows such as
Yo
Yogi!, the adventures of teen-aged Yogi and other Hanna-Barbera
characters in a mall,
The Pirates of Dark Water, a Kirschner original, and a second
Addams Family series, adapted from the
1991 feature film. Less than successful, in 1990, burdened with
debt,
Carl Lindner, Jr.'s Great American put both Hanna-Barbera and
Ruby-Spears up for sale. Also in 1990, the Smurfs made their final
television appearance in the drug pervention special
Cartoon All-Stars to the Rescue, produced by the
Academy of Television Arts & Sciences Foundation.
Turner rebound
In November 1991, the Hanna-Barbera studio and library, as well as
much of the original Ruby-Spears library, were acquired by a 50-50 joint
venture between Turner Broadcasting – which by that time had also bought
the pre-May 1986 MGM library – and Apollo Investment Fund for
$320 million.[15]
Turner's president of entertainment
Scott Sassa hired
Fred Seibert, a former executive for
MTV Networks, to head the Hanna-Barbera studio. He immediately
filled the gap left by the departure of most of their creative crew
during the Great American years with a new crop of animators, writers,
and producers, including Pat Ventura,
Craig McCracken,
Donovan Cook,
Genndy Tartakovsky,
David Feiss,
Seth MacFarlane,
Van Partible,
Stewart St. John, and
Butch Hartman and new production head
Buzz Potamkin. In 1992, the studio was renamed H-B Productions
Company, changing its name once again to Hanna-Barbera Cartoons,
Inc. a year later, the same year that Turner acquired the remaining
interests of Hanna-Barbera from Apollo Investment Fund for $255 million.[16]
In the early 1990s, the studio introduced new versions of classic
properties such as
Tom & Jerry Kids and its spin-off
Droopy: Master Detective. H-B's first new live-action/computer
animated special,
The Last Halloween, aired in the fall of 1991 on CBS while
production assumed on
TBS's
Captain Planet and the Planeteers in 1993, renaming it
The New Adventures of Captain Planet.
Barbera served as creative consultant for the
feature-length adaptation of Tom and Jerry, directed by
Phil Roman. Meanwhile, Hanna-Barbera also introduced new shows that
were quite different from their signature cartoons, including
Wake, Rattle, and Roll (a.k.a. Jump, Rattle and Roll),
SWAT Kats: The Radical Squadron,
Dumb and Dumber,
2 Stupid Dogs,
Bill and Ted's Excellent Adventures,
Fish Police,
Gravedale High and
Capitol Critters. From 1993 to 1995, a slew of new specials and
films were made and aired for television such as
I Yabba-Dabba Do!,
Hollyrock-a-Bye Baby,
A Flintstone Family Christmas,
A Flintstones Christmas Carol,
Jonny's Golden Quest,
Jonny Quest vs. The Cyber Insects,
Yogi the Easter Bear,
Arabian Nights,
The Halloween Tree and
The Town Santa Forgot. Most of these movies and specials were
produced in a style that was radically different from their signature
cartoon style (often emulating the Warner Bros. cartoons of the past,
such as in Arabian Nights). A new feature animation division led
by David Kirschner produced
Once Upon a Forest, which underperformed at the box office when
released by
20th Century Fox in 1993. The feature division was spun off into
Turner Feature Animation, which produced the two films,
The Pagemaster and
Cats Don't Dance.
In 1992, Turner launched
Cartoon Network, to showcase its huge library of animated programs,
of which Hanna-Barbera was the core contributor. As a result, many
classic cartoons – especially those by H-B – were introduced to a new
audience.[17]
In 1994, The Funtastic World of Hanna-Barbera finally ended, so
that Turner could refocus the studio to produce new shows exclusively
for the Turner-owned networks, especially Cartoon Network. In February
1995, Hanna-Barbera and Cartoon Network launched
World Premiere Toons (a.k.a. What A Cartoon!), a format
designed by Seibert. The weekly program featured 48 new creator-driven
cartoon shorts developed by its in-house staff. Several original Cartoon
Network series emerged from the project, giving the studio their first
bona-fide mass appeal hits since The Smurfs. The first series
based on a World Premiere Toons short was
Genndy Tartakovsky's
Dexter's Laboratory in 1996. Others programs followed, including
Johnny Bravo,
Cow and Chicken, its spinoff
I
Am Weasel and
The Powerpuff Girls. Also,
Hard Luck Duck (similar to
Yakky Doodle) was Hanna's first solo directed cartoon for
World Premiere Toons while Barbera worked on two
Dino shorts (Stay Out and The Great Egg-Scape) based
on The Flintstones. From 1998 to 2001, the studio produced new
Scooby-Doo direct-to-video movies (Zombie
Island,
The Witch's Ghost,
The Alien Invaders,
The Cyber Chase) as well as more new shows like,
The Real Adventures of Jonny Quest and
Cave
Kids, both premiered in 1996 and a special,
Tom and Jerry: The Mansion Cat, first aired in 2000.
After the merger between Turner Broadcasting and Time Warner in 1996,
the conglomerate had two separate animation studios in its possession.
Though under a common ownership, Hanna-Barbera and Warner Bros.
Animation operated separately until 1998. That year, the Hanna-Barbera
lot was closed and studio operations were moved into the same office
tower as the Warner Bros. Television Animation division in
Sherman Oaks, Los Angeles, California, adjacent to the
Sherman Oaks Galleria.
Cartoon
Network Studios era
Around 1999, the Hanna-Barbera name began to disappear from newer
shows from the studio in favor of the
Cartoon Network Studios label. This came in handy with shows that
were produced outside H-B, but Cartoon Network had a hand in producing,
such as
A.K.A. Cartoon, Inc.'s
Ed, Edd, and Eddy, KINOFILM Animation's
Mike, Lu & Og,
Stretch Films's
Courage The Cowardly Dog and
Curious Pictures's
Sheep in the Big City and
Codename: Kids Next Door, as well as shows the studio continued
to produce such as,
Squirrel Boy,
Samurai Jack and
Foster's Home for Imaginary Friends. In April 2008, Cartoon
Network would create their own animation anthology not unlike
Hanna-Barbera's World Premeire Toons known as The
Cartoonstitute, headed by two animators who got their start on the
World Premeire Toons project, Craig McCracken and Rob Renzetti,
with help from McCracken's wife, Lauren Faust, who is also an animator
for Cartoon Network. The project was closed down due to the late 2000s
recession, however, not unlike its "predecessor", it had spun off two
series, Regular Show and Uncle Grandpa, the latter of
which had been originally the basis for Secret Mountain Fort Awesome,
but would later become its own series.
On March 22, 2001, William Hanna passed away of throat cancer. Joseph
Barbera continued to work for Warner Bros. Animation on projects
relating to the Hanna-Barbera and Tom and Jerry properties until
his death on December 18, 2006.[18][dead
link] Today, Hanna-Barbera is an in-name-only unit
of
Warner Bros. Animation, which administers the rights to the
Hanna-Barbera catalog and characters. New Warner productions based upon
"classic" Hanna-Barbera properties such as Scooby-Doo, The
Flintstones, or The Jetsons are copyrighted by Hanna-Barbera
Productions, though the studio that produces these works is Warner Bros.
Animation. Most Cartoon Network shows previously produced by
Hanna-Barbera are copyrighted by the channel itself. In 2005, the
Academy of Television Arts & Sciences unveiled a bronze wall
sculpture of Hanna and Barbera and their characters at the Television
Academy's Hall of Fame Plaza honoring the duo's work in television and
film.
Production
Visual style
Like most animation studios, Hanna-Barbera had a particular style and
appearance which it is well known for. Although they were not the
pioneers of the process, Hanna-Barbera were proficient in "limited-animation"
style, in order to meet the "time vs. expense" demands of television
production, which gave their cartoons a unique look for the time. Their
overall style consisted of appealing but simplified character and
setting designs, with straight-line sides contrasting the opposing
projecting mounds and rounded angles, and a bolder edge line quality,
all adding to the overall stylistically flat appearance. Most of their
shows involved animals as central characters, with a range of
anthropomorphization, from more "realistic" animals capable of
understanding human speech and concepts; to talking animals with varied
fluency in the English language; to upright walking animals wearing
clothes and using props. Many of their iconic classic comedy cartoon
characters wore stylized interpretations of out-of-fashion hats,
resembling, for example, the
pork pie, along with pieces of formal wear, which became part of
their trademark design style. This is likely a reference to the
influence of different iconic classic physical comedic performers, in
particular:
Buster Keaton (pork
pie);
Harold Lloyd (boater);
Roscoe Arbuckle,
Charlie Chaplin, the
Three Stooges,
Laurel and Hardy (bowler);
the
Marx Brothers, and
Jacques Tati.
The other common styles early Hanna-Barbera is known for, used for
their action- or adventure-based shows, were the result of the personal
styles of artists and designers who had worked for them during the
studio's growth, most notably
Alex
Toth,
Doug Wildey, and
Iwao Takamoto; and with often little or no credit at the time.
Looping backgrounds were also common in the stylistically limited
approach of the studio, often resulting in repeated imagery in scenes
involving moving shots with longer camera holds, such as walk sequences,
and especially typical of run-cycles. All of which has become part of
the cliche look, often still imitated today, sometimes as parody or for
humorous effect. Even after the studio's revival and subsequent merger
into other still-growing studios, some of its shows maintained elements
of its iconic design qualities; for example, shows like
2 Stupid Dogs, which in particular helped launch the careers of
several creators, often developing and collaborating on projects
together, and whose own styles still retain elements of the classic
Hanna-Barbera look.
Some of them include
Paul Rudish,
Rob Renzetti,
Genndy Tartakovsky,
Craig McCracken (My
Life as a Teenage Robot,
Dexter's Laboratory,
Samurai Jack,
Star Wars: Clone Wars,
Sym-Bionic Titan,
The Powerpuff Girls,
Foster's Home for Imaginary Friends, etc.);
Butch Hartman (The
Fairly OddParents,
Danny Phantom, and
T.U.F.F. Puppy); Miles Thompson, and
Zac Moncrief. Many other creators and shows from Cartoon Network and
other studios also continue to be influenced by the well established
Hanna-Barbera style they grew up with, along with other limited and
stylized shows by other studios of the same era. Other shows and TV
specials/movies Hanna-Barbera produced during the nineties looked quite
different from the classic Hanna-Barbera style, sometimes using fuller
animation.
Music
The H-B Productions had different segments and times for incidental
tracks production. Between 1957 and 1960, the incidental track was
basically by symphonic arrangements, being
Ruff and Reddy's series had its own symphonic themes. These
themes used in the 1958 and 1959 to 1960s seasons to the first H-B
shorts with
Yogi
Bear,
Huckleberry Hound,
Quick Draw McGraw,
Pixie and Dixie and Mr. Jinks,
Snooper and Blabber and
Augie Doggie. From 1959 to 1960 series
Loopy De Loop and
The Flintstones, softly orchestrated themes, some of them almost
sounding concrete music and some played only by accordion, were used in
other H-B cartons between 1961 and 1963 – like
Top Cat,
Snagglepuss,
Touché Turtle,
Wally Gator and the
Yogi
Bear and
Huckleberry Hound 1961 seasons and all of its segments – and
eventually between 1964 and 1967, and rarely then until the eighties.
Other incidental tracks, organ music played as
The Jetsons score themes and arrangements mostly based on polka
music, they were used in cartoons like
The Magilla Gorilla Show and its segments.
Most Hanna-Barbera series through 1985 had original theme music by
Hoyt Curtin, with lyrics (when used) by Hanna and Barbera themselves.
Incidental music for the studio's cartoons through 1960 came from stock
production music purchased from Capitol Records. The studio's first
original scores were written by Curtin for a short-lived theatrical
cartoon series,
Loopy De Loop, distributed by Columbia Pictures. These scores
were re-edited to form the nucleus of an original music library, to
which Curtin added new themes with each subsequent series. Curtin's
comedy themes were usually arranged for a small combo. For
Jonny Quest, Curtin adopted a big band "crime jazz" musical
style; these themes were re-used in many other adventure-type series
that followed. Another composer, Ted Nichols, added to this with themes
and scores for "The Fantastic Four," "Space Ghost," and others.
Incidental tracks created for
Johnny Quest,
Space Ghost and
Herculoids were written between 1964 and 1968, and were also
eventually used in cartoons like
The Atom Ant/Secret Squirrel Show and
Space Kidettes or also some
Peter Potamus episodes.
In 1967, another incidental tracks, between new polka arrangements
and some rock/soul influences, were adopted in several cartoons as
Wacky Races,
Cattanooga Cats and
Josie and The Pussycats. With these themes, other orchestral
themes were created for
Scooby Doo's incidental tracks. These themes were largely used
until 1973. In the seventies, other orchestral themes, with less
creative arrangements in relation to the other described above, were
used in 1973 to the eighties, including 1975's
Tom and Jerry seasons, new series as
Hong Kong Phooey,
Jabberjaw,
Scooby Doo and
Flintstones ~~ 70's and 80's production. In the eighties, the
incidental tracks in H-B cartoons were made by keyboard arrangements,
and it's used until the end of the production company. Hanna-Barbera's
musically-oriented series such as
The Banana Splits,
Josie and the Pussycats, and
The Cattanooga Cats employed such diverse talents as Barry
White, Mike Curb, and Cheryl Ladd (then Cheryl Stoppelmoor) as studio
musicians, arrangers, and vocalists.
The
Smurfs featured music based on classical themes, re-arranged by
Curtin. Hoyt Curtin retired circa 1986 and his successors moved away
from his jazz-oriented style to concentrate more on synthesized music.
Sound effects
Hanna-Barbera was also noted for their large library of sound
effects. Besides cartoon-style sound effects (such as ricochets, slide
whistles and more), they also had familiar sounds used for
transportation, household items, the elements, and more. When Hanna and
Barbera started their own cartoon studio in 1957, they created a handful
of sound effects, and had limited choices. They also took some sounds
from the then-defunct MGM animation studios. By 1958, they began to
expand and began adding more sound effects to their library. Besides
creating a lot of their own effects, they also collected sound effects
from other movie and cartoon studios, such as Universal Pictures, Warner
Bros. Animation, and even Walt Disney Productions. Some of their famous
sound effects included a rapid bongo drum take used for when a
character's feet were scrambling before taking off, a "KaBONG" sound
produced on a guitar for when
Quick Draw McGraw, in his Zorro-style "El Kabong" crime fighting
guise, would smash a guitar over a villain's head, the sound of a car's
brake drum combined with a
bulb horn for when
Fred Flintstone would drop his bowling ball onto his foot, an
automobile's tires squealing with a "skipping" effect added for when
someone would slide to a sudden stop, a bass-drum-and-cymbal combination
called the "Boom Crash" for when someone would fall down or smack into
an object, a xylophone being struck rapidly on the same note for a
tip-toeing effect, and a violin being plucked with the tuning pegs being
raised to simulate something like pulling out a cat's whisker. The
cartoons also used
Castle Thunder, a thunderclap sound effect that was commonly used in
movies and TV shows from the 1940s to the 1970s. Other common sounds
such as Peeong (a frying pan hitting sound with a doppler effect)
and Bilp were used regularly in all of its cartoons.
Eventually, other cartoon studios began using the sound effects,
including
Filmation,
Nickelodeon Animation Studio,
Disney Television Animation,
Nelvana,
Film Roman,
Cartoon Network Studios,
Universal Animation Studios,
Rankin/Bass,
DreamWorks,
Disney Animation Studios,
Ruby-Spears Enterprises,
Rubicon Studios, Ellman Film Enterprises, Key Industries Ltd., Tony
Benedict Productions,
Cartoon Network Studios,
DiC Entertainment,
Hasbro Studios,
Warner Bros. Animation (in the late 1960s and since the early
2000s), and others. By the 21st century, many animation studios using
the sound effects. In most cases, they are used sparingly, while some
cartoons like Warner Bros. Animation's
Krypto the Superdog, Nelvana's
The Magic School Bus, Disney Junior's
Jake and the Never Land Pirates and Spümcø's
Ren & Stimpy "Adult Party Cartoon" make heavy use of the classic
sound effects, mostly for a retro feel. Several computer games,
including
Toonstruck,
Worms 2,
The Neverhood (and its sequel
Skullmonkeys),
JumpStart,
Edmark,
Funnybone Interactive, and many games from
Humongous Entertainment also use many of the sound effects. Some
Hanna-Barbera sounds show up in various sound libraries such as
Valentino and Audio Network.
Hanna-Barbera Records (the studio's short-lived record division)
released an LP record in 1965 entitled Hanna-Barbera's Drop-Ins,
which contained many classic sound effects and dialogue clips from H-B
characters. Only available for radio and TV stations and other
production studios, it was meant to be the first in a series of records.
In 1973, and again in 1986, H-B released a second sound effect record
set; a seven-LP set entitled The Hanna-Barbera Library of Sounds,
which, like the previous set, contained several of the classic sound
effects. Like the previous set, this was only available to production
companies and radio/TV stations. The 1986 version was also available as
a two compact-disc set. In 1993, the last president of the studio,
Fred Seibert recalled his early production experiences with early LP
releases of the studio's effects, and commissioned
Sound Ideas to release a four-CD set entitled The Hanna-Barbera
Sound FX Library, featuring nearly all of the original H-B sound
effects used from 1957 to 1990, a more vast collection compared to the
early LP releases. The sound effects were digitally remastered, so they
would sound better on new digital soundtracks. A fifth CD was added in
1996, entitled Hanna-Barbera Lost Treasures, and featured more
sound effects, including sounds from Space Ghost and The
Impossibles. Also in 1994,
Rhino Records released a CD containing some of Hanna-Barbera's
famous sound effects, titled simply as Hanna-Barbera Cartoon Sound FX,
and also included some answering-machine messages and birthday greetings
and short stories starring classic Hanna-Barbera characters, and was
hosted by Fred Flintstone. In 1996, it was reissued with the
Hanna-Barbera's Pic-A-Nic Basket of Cartoon Classics CD set, which
also contained three other CDs of H-B TV theme songs and background
music and songs from The Flintstones. Here, the CD was relabeled
as The Greatest Cartoon Sound Effects Ever.
In the 1980s, Hanna-Barbera slowly began to cease using their
trademark sound effects. This was especially true with the action
cartoons of the time such as
Sky Commanders. By the 1990s, with cartoons shows such as
Fish Police,
SWAT Kats and the animated specials
The Halloween Tree and
Arabian Nights, the sound effects were virtually nonexistent,
being replaced with newer, completely different sounds (mostly from
Sound Ideas's Series 6000 "The General" library), as well as the
Looney Tunes sound library by
Treg Brown.
A few early 1990s cartoons continued to use the sound effects, such
as
Tom & Jerry Kids and
The Addams Family. The H-B/Cartoon Network Studios output of the
late 1990s typically had its own set of sound effects (to make them
distinctive from each other), including some selected from the classic
Hanna-Barbera sound library, as well as some new ones and various sounds
from Disney and Warner Bros. cartoons (this was especially true of
Dexter's Laboratory and
Cow and Chicken). Several of the classic H-B sound effects are
still used occasionally in several Cartoon Network Studios' productions
(typically comedy-themed). However, on the recent Warner Bros. produced
Scooby-Doo shows (What's
New, Scooby-Doo?,
Shaggy & Scooby-Doo Get a Clue!,
Scooby-Doo! Mystery Incorporated) and direct-to-video movies,
the Hanna-Barbera sound effects are very rarely used. Ironically, Warner
Bros. does use them more often on
The Looney Tunes Show rather than Scooby-Doo! Mystery
Incorporated.
List of Hanna-Barbera productions
See also
References
Notes
-
^
a
b
c
d
e
f
Barrier, Michael (1999).
Hollywood Cartoons. New York: Oxford University Press. Pg.
560–562.
ISBN 0-19-516729-5.
-
^
a
b
c
d
Hanna, William and Ito, Tom (1999).
A Cast of Friends. New York: Da Capo Press. 0306-80917-6. Pg.
81–83
-
^
"William Hanna – Awards".
allmovie. Retrieved
August 12, 2008.
-
^
"COMPANY NEWS; Hanna-Barbera Sale Is Weighed". The New
York Times. July 20, 1991.
Retrieved August 19, 2010.
-
^
Carter, Bill (February 19, 1992).
"COMPANY NEWS; A New Life For Cartoons". The New York
Times. Retrieved August
17, 2010.
-
^
Barbera, Joseph (1994). My Life
in "Toons": From Flatbush to Bedrock in Under a Century.
Atlanta, GA:
Turner Publishing. p. 207.
ISBN 1-57036-042-1.
-
^
a
b
Barrier, Michael (1999).
Hollywood Cartoons. New York:
Oxford University Press. Pg. 547–548.
ISBN 0-19-516729-5.
-
^
a
b
Leonard Maltin (1997).
Interview with Joseph Barbera (Digital).
Archive of American Television.
-
^
Benzel, Jan (February 23, 1992).
"Caveman to Carp: The Prime-Time Cartoon Devolves". The
New York Times. Retrieved
August 17, 2010.
-
^
artists | Bubblegum University
-
^
The Golden Era
- ^
a
b
(Dec. 2, 1961) "TV'S
Most Unexpected Hit – The Flintstones" The
Saturday Evening Post
-
^
Basler, Barbara (December 2, 1990).
"TELEVISION; Peter Pan, Garfield and Bart – All Have Asian
Roots". The New York Times.
Retrieved August 17, 2010.
-
^
David Kirschner named new head of Hanna-Barbera Productions;
founders Hanna and Barbera to assume roles as studio
co-chairmen. (William Hanna, Joseph Barbera)
-
^
Turner lands Hanna-Barbera. (Turner Broadcasting Systems Inc.
buys Hanna-Barbera Productions Inc. from Great American
Communications Co.)
-
^
"COMPANY NEWS; TURNER BUYS REMAINING 50% STAKE IN HANNA-BARBERA".
The New York Times. December 30, 1993.
Retrieved August 17, 2010.
-
^
Carter, Bill (February 19, 1992).
"THE MEDIA BUSINESS; Turner Broadcasting Plans To Start a
Cartoon Channel". The New York Times.
Retrieved August 17, 2010.
-
^
"Cartoon creator Joe Barbera dies". Dallas Morning News /
AP. December 18, 2006. Archived from
the original on August 16, 2008.
Retrieved August 16, 2008.
Bibliography
- Barbera. Joseph (1994). My Life in 'Toons: From Flatbush to
Bedrock in Under a Century. Atlanta: Turner Publishing.
157-036042-1
- Burke, Timothy and Burke, Kevin (1998). Saturday Morning
Fever : Growing up with Cartoon Culture. New York: St. Martin's
Griffin.
ISBN 0-312-16996-5
- Hanna, William (1999). A Cast of Friends. New York: Da
Capo Press. 0306-80917-6
- Lawrence, Guy (2006).
Yogi Bear's Nuggets: A Hanna-Barbera 45 Guide. Spectropop.com
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