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Essay / Research Paper Abstract
A 7 page paper which focuses on the animator’s themes of sexuality from “Red Hot Riding Hood” (1943) to “Little Rural Riding Hood” (1949) and self-reflexivity in “Tortoise Beats Hare” (1941) with an analysis of at least one of his other cartoons. Bibliography lists 6 sources.
Page Count:
7 pages (~225 words per page)
File: TG15_TGtexavry.rtf
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Unformatted sample text from the term paper:
in abundance. The setting was tailor-made for an animation visionary known as Fred "Tex" Avery. Born in 1908, Averys love for graphic art began when he sketched comic
strips for his high school yearbook at the age of 13 (Troy, 1998). After a stint at the Chicago Art Institute and his efforts to secure comic strip work
failed, he was hired by the Walter Lantz cartoon studio, in which he honed his craft sketching backgrounds for Lantzs Oswald the Rabbit series (Troy, 1998). He left to
join Warner Brothers in 1935, in which he presided over the third animation unit that featured such animation innovators as Chuck Jones, Bob Clampett, and Bob Cannon, among others (Troy,
1998). Apparently, Little Red Riding Hood had always fascinated Avery, and it was his reworking of this fairytale that brought out his stylistic influences - chiefly, sexuality and self-reflexivity
- and it was these and other fairytale cinematic shorts that would provide a perfect showcase for his creative genius. The original French interpretation of Little Red Riding Hood was
far more provocative than the sanitized Victorian representation offered by the Brothers Grimm (Orenstein, 1998). But by the 1930s, it appeared to be time to defrock this innocent waif,
and as conceived by Tex Avery, she was now all grown up (was she ever) and more than suitable to serve as "an ode to lust" (Orenstein, 2002, p. 6).
What Avery did was take the heroine and her wolf from an isolated European forest and place them in the middle of Americas urban landscape - most notably, Hollywood
- and the cartoons became more than just mere childs play; under his watchful eye, they became "a caricature of American courtship" (Orenstein, 2002, p. 112). Now, the wolf
...