Looney Tunes Mystery #shorts #looneytunes

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Spurred by the success of Walt Disney’s Mickey Mouse cartoons, Warner Brothers contracted with Leon Schlesinger to produce an animated short that incorporated music from the studio’s extensive recording library. Schlesinger subcontracted the work to animators Hugh Harman and Rudolf Ising, who were using the then novel innovation of synchronized sound to create animated talkies. Their first animated film for Schlesinger, Sinkin’ in the Bathtub (1930), featured Bosko, a wide-eyed character that bore an uncanny resemblance to Otto Messmer’s Felix the Cat. Sinkin’ in the Bathtub’s bawdy humour was a hit with moviegoers, and the cartoon concluded with Bosko addressing the audience with a phrase that would become a Looney Tunes trademark—“That’s all, folks!” Warner Brothers ordered more of the shorts, and the Harman-Ising studio added a second series of animated films under the banner of Merrie Melodies. Initially, Looney Tunes was more story-driven and Merrie Melodies remained a vehicle for Warner Brothers musical properties, but over time the two names became virtually interchangeable.

Harman and Ising left Warner Brothers in 1933, but they left behind a staff that included some of the foremost directors, animators, and story men of the day. Among the residents of the “Termite Terrace”—so nicknamed for the studio’s relatively low budget and for the insect residents of the bungalow that housed the animation division—were Tex Avery, Bob Clampett, Friz Freleng, Chuck Jones, and Robert McKimson. The addition of voice actor Mel Blanc and composer Carl Stalling to the Termite Terrace crew completed a lineup that would preside over the golden age of Warner Brothers animation. Throughout the 1930s and ’40s, a parade of enduring characters debuted under the Looney Tunes and Merrie Melodies marquees, including Porky Pig, who stuttered his first lines in the short I Haven’t Got a Hat (1935); Daffy Duck, a manic foil who debuted in Porky’s Duck Hunt (1937); and Bugs Bunny, a “wascally wabbit” whose true personality began to emerge in A Wild Hare (1940).







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