Forbidden Animation: Censored Cartoons and Blacklisted Animators in America
$19.99
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Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop’s dress was lengthened so that her garter didn’t show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television.
How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios’ efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce’s Thank You Mask Man and Ralph Bakshi’s Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.
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25 reviews for Forbidden Animation: Censored Cartoons and Blacklisted Animators in America
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J. J. Kwashnak –
Animation has always been a reflection of popular culture, sometimes on the cutting edge, sometimes just a mainstream reaction. Yet because of the popular idea that animation is “kids stuff,” it is sometimes not taken seriously. Cohen tries to shine a light on how animation goes way beyond “kids stuff” and reflects on the social forces that went into the creation of animated shorts and features. Despite being seen as a niche, animation has been subjected to a lot of self imposed rules of what can and cannot be shown, and to a lot of outside forces by both organized efforts such as the Hayes Office and less organized efforts such as popular protests against films like Coonskin or Fritz the Cat.
You do not have to know a lot about animation to enjoy this book. It helps, but most of us have been exposed to a number of the examples cited over the course of growing up. And what is politically incorrect is a moving target, so what was acceptable in one era is wholly out now. We see it even today with the television censorship of violence in classic cartoons.
It’s also important to note that despite being seen as a less serious medium that could often get away with more than film, animators were still subject to the same winds of politics as illustrated by the final chapter on blacklisting. Animators were asked to name names to the HUAC, and many did not work in Hollywood again for defying the committee. Until I read this book I had no idea of the breadth of this blacklisting upon animators and it reinforces the shame of this era of our history.
Rather than passing judgment, Cohen uses mostly illustrations to show his point, letting the reader decide how much was/is too much. And he brings this battle of content into the late 20th century with examples of battles over The Simpsons, and Ren and Stimpy. Overall a very fascinating look into an area that is usually glossed over or ignored.
Anwar –
I can say Karl F. Cohen really made a lot of research to publish this book, time flies by when you read the great anecdotes about how animation is affected by censorship. It has a great material for the animation enthusiasts and researchers. Maybe a few more illustrations would make the book better, but the information is a true treasure,and you will learn curious facts and well documented situations on the animation industry. A most for anyone that loves animation and feel curiosity about how animated short films and features has been affected since the Hays Code until our PC times.
Bradford Uyeda –
This was a well written and very good read for anyone who loves animation and film.
GhostFrappe –
I bought this book for research purposes – my thesis is on animation censorship and Cohen’s book has proven to be a valuable source of information. It’s too bad it came out not too long before South Park first aired – I bet he could have had a field day with that show. Cohen obviously did lots and lots of research, not only from written sources, but going so far as to conduct interviews with various people in the industry so that his book has totally exclusive content. It also isn’t just about Western-made cartoons either – there’s information on imported animation as well as independent films and even strikes at all the big animation studios. And Cohen really covers all bases too. I think he goes on about Song of the South for about 20 pages alone.
My only complaint is that there isn’t more artwork. Don’t get me wrong, there are some images, but it’s a book about animation! There were only a few pieces of artwork throughout the whole book. I kind of wish Cohen would have at least done that thing where authors will put a few pages of color images right in the middle of the book.
Don’t let my one complaint sway you from a purchase, though. This book is very much worth it and is a great source of information right up to the 1990s. I almost wish he’d release an updated version covering things from the 1990s to the present – with the current airing of many more mature cartoons like South Park, Aqua Teen Hunger Force, Robot Chicken, Metalocalypse, The Boondocks and many other titles, the author would have plenty of new material to cover.
128973 –
WAS LOOKING FOR A LIST OF ANIMATIONS THAT HAVE BEAN CENSORED. BECAUSE IM IN 2018 , IN A TIME OF IDIOTS TRYING TO CHANGE OR DELETE HISTORY. SO I WAS HOPING TO COLLECT AS MUCH OF THESE FILMS WHILE I STILL CAN SO THAT THE PEOPLE AROUND ME WILL KNOW A THING OR TWO ABOUT THE PAST.
John Hourigan –
While the subject matter is fascinating, the book itself is in serious need of tighter editing. In fact, I got so frustrated with the author’s disjointed writing style (it jumps all over the place) that I could only make it through half of the book. Every time I go back to the book to attempt to finish it, I’m quickly reminded why I couldn’t finish it in the first place.
I really want to like this book, but its lack of a coherent structure prevents me from recommending it. I have found that other books from this particular publisher (McFarland) would benefit from more aggressive editing.
Jackie –
A real in-depth history of all the animated shows we grew up with from the 1920’s on and the people and organizations that have or tried to censor their content. It’s so interesting to read about each cartoon’s creation and be able to find it online and watch it and judge for yourself.
Alexia –
Great book!