LEADER 04182nam 2200613 a 450 001 9910790115003321 005 20230314220225.0 010 $a1-280-49783-1 010 $a9786613593061 010 $a0-8032-3964-5 035 $a(CKB)2670000000180959 035 $a(EBL)915035 035 $a(OCoLC)793511402 035 $a(SSID)ssj0000615081 035 $a(PQKBManifestationID)11387259 035 $a(PQKBTitleCode)TC0000615081 035 $a(PQKBWorkID)10605690 035 $a(PQKB)10670742 035 $a(MiAaPQ)EBC915035 035 $a(OCoLC)797825796 035 $a(MdBmJHUP)muse3754 035 $a(Au-PeEL)EBL915035 035 $a(CaPaEBR)ebr10559297 035 $a(CaONFJC)MIL359306 035 $a(EXLCZ)992670000000180959 100 $a20110523d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aThat's all folks?$b[electronic resource] $eecocritical readings of American animated features /$fRobin L. Murray and Joseph K. Heumann 210 $aLincoln [Neb.] $cUniversity of Nebraska Press$dc2011 215 $a1 online resource (296 p.) 300 $aDescription based upon print version of record. 311 1 $a0-8032-3512-7 320 $aIncludes bibliographical references (p. 265-275), filmography and index. 327 $aIntroduction: A foundation for contemporary enviro-toons -- Bambi and Mr. Bug Goes to Town: nature with or without us -- Animal liberation in the 1940s and 1950s: what Disney does for the animal rights movement -- The UPA and the environment: a modernist look at urban nature -- Animation and live action: a demonstration of interdependence? -- Rankin/Bass Studios, nature, and the supernatural: where technology serves and destroys -- Disney in the 1960s and 1970s: blurring boundaries between human and nonhuman nature -- Dinosaurs return: evolution outplays Disney's binaries -- DreamWorks and human and nonhuman ecology: escape or interdependence in Over the Hedge and Bee Movie -- Pixar and the case of WALL-E: moving between environmental adaptation and sentimental nostalgia -- The Simpsons Movie, Happy Feet, and Avatar: the continuing influence of human, organismic, economic, and chaotic approaches to ecology -- Conclusion: Animation's movement to green?. 330 $a"Although some credit the environmental movement of the 1970s, with its profound impact on children's television programs and movies, for paving the way for later eco-films, the history of environmental expression in animated film reaches much further back in American history, as That's All Folks? makes clear. Countering the view that the contemporary environmental movement--and the cartoons it influenced--came to life in the 1960s, Robin L. Murray and Joseph K. Heumann reveal how environmentalism was already a growing concern in animated films of the 1930s, 1940s, and 1950s. From Felix the Cat cartoons to Disney's beloved Bambi to Pixar's Wall-E and James Cameron's Avatar, this volume shows how animated features with environmental themes are moneymakers on multiple levels--particularly as broad-based family entertainment and conveyors of consumer products. Only Ralph Bakshi's X-rated Fritz the Cat and R-rated Heavy Traffic and Coonskin, with their violent, dystopic representation of urban environments, avoid this total immersion in an anti-environmental consumer market. Showing us enviro-toons in their cultural and historical contexts, this book offers fresh insights into the changing perceptions of the relationship between humans and the environment and a new understanding of environmental and animated cinema"--Provided by publisher. 606 $aEnvironmentalism in motion pictures 606 $aAnimated films 615 0$aEnvironmentalism in motion pictures. 615 0$aAnimated films. 676 $a791.43/34 686 $aPER004030$2bisacsh 700 $aMurray$b Robin L$0873386 701 $aHeumann$b Joseph K$01484127 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910790115003321 996 $aThat's all folks$93702661 997 $aUNINA