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Funny And Cute Pictures Biography
Funny animal is a cartooning term for the genre of comics and animated cartoons in which the main characters are humanoid or talking animals, with anthropomorphic personality traits. The characters themselves may also be called funny animals.
While many funny animal stories are light-hearted and humorous, the genre is not exclusively comedic. Dark or serious stories featuring characters of this sort can also be grouped under the "funny animals" category, sometimes referred to as anthropomorphics to avoid confusion over the range of genres. These stories may intersect with any other genre or group of genres, including historical fiction, science fiction, superhero, western, slapstick comedy, children's entertainment, and satireThe funny animal genre evolved in the 1920s and 1930s, as blackface became more politically incorrect. Early black-and-white funny animals, including Oswald the Lucky Rabbit, Mickey Mouse (perhaps the most enduring of the kind), Foxy the Fox, Felix the Cat and Flip the Frog, maintained certain aspects of the blackface design. The increased use of Technicolor in the 1930s allowed for greater diversity in the ability to design new "funny animals," leading to a much wider array of funny animal shorts and the near-total demise (except for Mickey Mouse and a few other Disney characters of the era) of the blackface characters. The Looney Tunes and Merrie Melodies shorts by Warner Bros. Animation, for instance, introduced dozens of funny animals, many of whom have reached iconic status in American culture. Other notable funny animals from the color film era included Walter Lantz's Woody Woodpecker, MGM's Tom and Jerry (among many others), and Paul Terry's Heckle and Jeckle.
Television changed the dynamic of animation, in that although budgets were much smaller and schedules much tighter, this prompted a shift from the physical comedy that predominated film shorts to more dialogue-oriented jokes (including celebrity impressions and one-liner jokes). Hanna-Barbera Productions focused almost exclusively on these kinds funny animal TV series in the late 1950s and early 1960s, creating an extensive line of funny animal series (Yogi Bear being one of the most enduring franchises). Jay Ward Productions also produced The Rocky and Bullwinkle Show, a series representative of the genre (albeit with much stronger Cold War overtones than Hanna-Barbera).
By the 1970s, most funny animals had lost their lead status and had been relegated to members of an ensemble cast of mostly humans (e.g. Scooby-Doo) or supporting characters. Funny animals and animal-like characters made a brief comeback in the late 1980s and into the 1990s (most notably through various Warner Bros. and Disney television creations, and through the decidedly cruder work of John Kricfalusi) but have mostly faded as animation as a whole has declined into the 2000s. However, that same period also had numerous successful animated feature film franchises that featured funny animal characters like DreamWorks Animation's Madagascar, Shrek and Kung Fu Panda and Blue Sky Studios's Ice Age.
In the 1940s, Fawcett Comics published a comic book entitled Funny Animals, featuring such characters as Hoppy the Marvel Bunny, an anthropomorphic rabbit version of Captain Marvel. Beginning in the 1980s, there was a subgenre of original funny animal comic books with subject matter that were created largely for mature readers. These creations included the political science fiction allegory in Albedo Anthropomorphics, the sexually explicit serial drama of Omaha the Cat Dancer and the Pulitzer Prize winning graphic Holocaust narrative, Maus.
Comic strips have long been an outlet for funny animal characters. Krazy Kat was a popular early comic strip featuring the titular cat and its companionship with a mouse named Ignatz. Snoopy, from the Peanuts comic strip, was frequently used as comic relief. Almost all of the non-human characters in the comic strip Garfield fit the category. In the cases of Peanuts and Garfield, the animal characters' words are portrayed in thought balloons instead of spoken dialogue.Some scientists have identified areas of the brain associated with the perception of novelty, which are stimulated when faced with "unusual or surprising circumstances". Information is initially received in the hippocampus, the site of long-term memory, where the brain attempts to match the new information with recognizable patterns stored in long-term memory. When it is unable to do this, the brain releases dopamine, a chemical which stimulates the amygdala, the site of emotion, and creates a pleasurable feeling that is associated with the new memory.[15] In other words, fun is created by stimulating the brain with novelty.
[edit]In popular culture
Are we having fun yet?
In the modern world, fun is sold as a consumer product in the form of games, novelties, television, toys and other amusements. Marxist sociologists such as the Frankfurt School criticise mass-manufactured fun as too calculated and empty to be fully satisfying. Bill Griffith satirises this dysphoria when his cartoon character Zippy the Pinhead asks mechanically, "Are we having fun yet?
Funny And Cute Pictures Biography
Funny animal is a cartooning term for the genre of comics and animated cartoons in which the main characters are humanoid or talking animals, with anthropomorphic personality traits. The characters themselves may also be called funny animals.
While many funny animal stories are light-hearted and humorous, the genre is not exclusively comedic. Dark or serious stories featuring characters of this sort can also be grouped under the "funny animals" category, sometimes referred to as anthropomorphics to avoid confusion over the range of genres. These stories may intersect with any other genre or group of genres, including historical fiction, science fiction, superhero, western, slapstick comedy, children's entertainment, and satireThe funny animal genre evolved in the 1920s and 1930s, as blackface became more politically incorrect. Early black-and-white funny animals, including Oswald the Lucky Rabbit, Mickey Mouse (perhaps the most enduring of the kind), Foxy the Fox, Felix the Cat and Flip the Frog, maintained certain aspects of the blackface design. The increased use of Technicolor in the 1930s allowed for greater diversity in the ability to design new "funny animals," leading to a much wider array of funny animal shorts and the near-total demise (except for Mickey Mouse and a few other Disney characters of the era) of the blackface characters. The Looney Tunes and Merrie Melodies shorts by Warner Bros. Animation, for instance, introduced dozens of funny animals, many of whom have reached iconic status in American culture. Other notable funny animals from the color film era included Walter Lantz's Woody Woodpecker, MGM's Tom and Jerry (among many others), and Paul Terry's Heckle and Jeckle.
Television changed the dynamic of animation, in that although budgets were much smaller and schedules much tighter, this prompted a shift from the physical comedy that predominated film shorts to more dialogue-oriented jokes (including celebrity impressions and one-liner jokes). Hanna-Barbera Productions focused almost exclusively on these kinds funny animal TV series in the late 1950s and early 1960s, creating an extensive line of funny animal series (Yogi Bear being one of the most enduring franchises). Jay Ward Productions also produced The Rocky and Bullwinkle Show, a series representative of the genre (albeit with much stronger Cold War overtones than Hanna-Barbera).
By the 1970s, most funny animals had lost their lead status and had been relegated to members of an ensemble cast of mostly humans (e.g. Scooby-Doo) or supporting characters. Funny animals and animal-like characters made a brief comeback in the late 1980s and into the 1990s (most notably through various Warner Bros. and Disney television creations, and through the decidedly cruder work of John Kricfalusi) but have mostly faded as animation as a whole has declined into the 2000s. However, that same period also had numerous successful animated feature film franchises that featured funny animal characters like DreamWorks Animation's Madagascar, Shrek and Kung Fu Panda and Blue Sky Studios's Ice Age.
In the 1940s, Fawcett Comics published a comic book entitled Funny Animals, featuring such characters as Hoppy the Marvel Bunny, an anthropomorphic rabbit version of Captain Marvel. Beginning in the 1980s, there was a subgenre of original funny animal comic books with subject matter that were created largely for mature readers. These creations included the political science fiction allegory in Albedo Anthropomorphics, the sexually explicit serial drama of Omaha the Cat Dancer and the Pulitzer Prize winning graphic Holocaust narrative, Maus.
Comic strips have long been an outlet for funny animal characters. Krazy Kat was a popular early comic strip featuring the titular cat and its companionship with a mouse named Ignatz. Snoopy, from the Peanuts comic strip, was frequently used as comic relief. Almost all of the non-human characters in the comic strip Garfield fit the category. In the cases of Peanuts and Garfield, the animal characters' words are portrayed in thought balloons instead of spoken dialogue.Some scientists have identified areas of the brain associated with the perception of novelty, which are stimulated when faced with "unusual or surprising circumstances". Information is initially received in the hippocampus, the site of long-term memory, where the brain attempts to match the new information with recognizable patterns stored in long-term memory. When it is unable to do this, the brain releases dopamine, a chemical which stimulates the amygdala, the site of emotion, and creates a pleasurable feeling that is associated with the new memory.[15] In other words, fun is created by stimulating the brain with novelty.
[edit]In popular culture
Are we having fun yet?
In the modern world, fun is sold as a consumer product in the form of games, novelties, television, toys and other amusements. Marxist sociologists such as the Frankfurt School criticise mass-manufactured fun as too calculated and empty to be fully satisfying. Bill Griffith satirises this dysphoria when his cartoon character Zippy the Pinhead asks mechanically, "Are we having fun yet?
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
Funny And Cute Pictures Biography
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