Looney Tunes poo!

I'm relieved to see no one picked Tweety Bird as their favorite. As a child I loved nearly all the Warner cartoons, but as I recall it, the clean simplicity of Wile E. Coyote's endless quest to eat the Roadrunner was the most enthralling to me.

Just watched a (pretty racist) Merrie Melodies, directed by Tashlin, which has so many cultural references specific to 1938 that it's verging on the incomprehensible. It has it's own wiki page, https://en.wikipedia.org/wiki/Have_You_Got_Any_Castles%3F.

Next up a Will Hay film (from 1939). Perfect Saturday afternoon telly.

Bugs Bunny is Jewish btw

― president of deluded fruitcakes anonymous (silby), Wednesday, September 18, 2019 1:38 PM (one year ago) bookmarkflaglink

A remarkable amount of American comedy created by Jews features characters who are running for their lives. These characters escape their enemies and achieve freedom not by outrunning or outshooting their oppressors but by transforming themselves into someone else. The ability to create and re-create a self is fundamental to the freedom of theatrical liberalism, and the late 1920s and 1930s witnessed an explosion of Jewish-created popular performance styles, which celebrated changeability itself. The ethnic comedians of vaudeville, who could adopt a character with the change of a hat, a nose, a feather, or colored face paint were a central feature of high-class Broadway revues of the 1920s and ’30s such as the Ziegfeld Follies and the George White Scandals. In a flash, Eddie Cantor transformed himself from Jewish neurastheniac to Greek cook, to black errand boy, to Indian chief and back again in the play and film Whoopee (1928). Fanny Brice was well known for her ability to do “imitations.” Willie Howard, in the smash hit Gershwin musical Girl Crazy, miraculously transformed himself from Jewish taxi driver, to a woman, to a variety of famous performers (Maurice Chevalier, Al Jolson, etc.) to a western sheriff, to an Indian chief.63 In Betty Boop (created by the Fleischer Brothers) and Looney Tunes (created by a team of mostly Jewish Warner Brothers artists including Mel Blanc) cartoons, characters regularly changed shape, size, character, gender, costume, and performance style in order to outwit pursuers or seduce lovers. In “A Hare Grows in Manhattan,” one of a number of stories of Bugs Bunny’s early years, Bugs spends the entire cartoon escaping a pack of enormous dogs on the Lower East Side by putting on various costumes, voices, accents, and characters. Likewise, in explaining the origin of his iconic line, “What’s up, Doc?,” in yet another animated bio-pic, Bugs Bunny shows how he turned the trope of transformation and escape (from Elmer Fudd) into theatrical gold. Superheroes Superman and Batman, invented by Jewish comic book artists in the 1930s, similarly based their success on their ability to change identity, thereby eluding and ultimately triumphing over their enemies.

In “A Hare Grows in Manhattan,” one of a number of stories of Bugs Bunny’s early years, Bugs spends the entire cartoon escaping a pack of enormous dogs on the Lower East Side by putting on various costumes, voices, accents, and characters.

One of my favourites.

https://www.youtube.com/watch?v=SgZlw4O1qzk

https://lostmediawiki.com/Speaking_of_Animals_(partially_lost_Tex_Avery_short_film_series;_1941-1949)

Copy/pate the link, there's an issue with the code

The videos are watermarked, but not actually locked or restricted as they appear in the menu.

"Duck Amuck" for sure, but for more standard type Looney Tunes, "Rabbit Seasoning" ('Pronoun trouble...') or "Robin Hood Daffy"