Aiden Pacheco

I would have to say today’s most popular (in term of audience) Japanese animated TV show in the U.S would have to be One Piece. This is animation is considered a shonen anime. Meaning it contains action, humor, and fantasy. The general storyline of One Piece is that we as the viewers follow Monkey D. Luffy through his journey to become king of the Pirates while simultaneously searching for the One piece. I believe this anime resonates with audiences so much because the writer was able to write so many different types of characters who all view themselves as the main character. This animation manages to take on serious themes while also keeping the story very light hearted. The show also has incomparable world building see as they are able to keep the mystery of the One Piece world despite being around for 2.5 decades. This animation is just as popular in Japan.

The “Rooty Toot Toot” animation is one that effectively uses color and limited movement to tell its story. The animation has a clear limited color palette and utilizes bold contrasting hues. For example, Frankie’s red dress stands out against the green background of the saloon, emphasizing her as a key character. Their movements are often minimal, with a focus on key poses and expressions. This is shown in the courtroom scene where the animation relies heavily on facial expressions and shifts in posture to convey the drama unfolding.

The film’s effectiveness in storytelling stems from its ability to create a mood of suspense and intrigue through visual cues rather than relying on detailed animation or extensive dialogue.

After World War II, the ideological clash between the Western (capitalist) and Eastern (communist) blocks left an obvious affect on animation. In the West, privately owned studios like Disney, Warner Bros, and MGM thrived, prioritizing entertainment and commercial success. They focused on innovative techniques, creating characters like Mickey Mouse that became globally recognized. Their films frequently drew on universal themes, fairy tales, and folklore, often featuring happy endings and clear moral lessons. This capitalist model fostered individual creativity and technical advancements but also resulted in a tendency towards formulaic storytelling aimed at mass appeal. The financial success of Western animation, particularly Disney’s merchandising empire, exemplifies this capitalist approach.

In contrast, Eastern block countries, heavily influenced by the Soviet Union, utilized animation as a tool for propaganda and education. State-run studios like Soyuzmultfilm in the USSR and the Dongbei Film Studio in China received government funding, enabling them to produce films that aligned with communist ideology and promoted national pride. Socialist Realism, emphasizing optimistic depictions of workers and societal progress, often dictated the aesthetic style. These films often adapted folktales and emphasized themes of collectivism and patriotism. While state funding facilitated experimentation and the development of unique artistic styles, such as the poetic works of Yuri Norstein or the stylized imagery of the Zagreb School, it also came with strict censorship. Films deemed critical of the communist regime, like Jiří Trnka’s “Ruka” (“The Hand”) in Czechoslovakia, faced suppression and bans. This stark contrast between the Western and Eastern approaches to animation underscores how the Cold War shaped artistic expression and cultural production.

In Bury the Axis (1943), directed by Lou Bunin in the UK, the leaders of the Axis powers, Hitler, Mussolini, and Tojo, are portrayed through exaggerated caricatures that emphasize negative stereotypes. The film uses stop-motion animation, which creates rough, unsettling movements that make the characters appear grotesque and absurd. Hitler is depicted as having a foul smell and a “very brief childhood,” while Mussolini is insulted as “poison puss.” Tojo is shown to  enjoy attacking people for fun. These depictions portray the Axis leaders as clownlike.

Similarly, Momotarō no Umiwashi (1943) portrays the enemy through cartoonish stereotypes, focusing on the American/British soldier whom are depicted as  cowardly drunks resembling Bluto from Popeye. This visual style taps into familiar American cartoon tropes, making it easier for Japanese audiences to associate the soldier with traits like stupidity and aggression. The film also references the Japanese attack on Pearl Harbor by showing Momotaro, a popular hero, leading an attack on an American/British naval base. While the animation style is not fully detailed, the borrowing of American visual conventions in Japan may have been a strategy to mock American cultural influence. Both films use simplified, exaggerated character designs and negative behaviors to shape public perceptions of the enemy in a way that serves propaganda purposes.

The use of fully synchronized sound in Steamboat Willie played a vital role in emphasizing the actions and emotions of the characters. An example of this is Mickey Mouse’s use of animals as musical instruments. The scene where Mickey and Minnie use a goat as a musical instrument in Steamboat Willie is a great example of how the film uses synchronized sound to emphasize the characters’ actions and personalities. As Minnie turns his tail like some sort of record player music notes come out of his mouth corresponding to the sound heard. This technique showcases the filmmaker’s innovative approach to sound in animation.

Furthermore, the use of sound in Steamboat Willie also reveals key aspects of the characters’ personalities. Mickey Mouse is portrayed as troublesome and happy go lucky through his use of musical instruments and whistling. The sounds associated with Mickey are often high-pitched and cheerful, creating a lighthearted atmosphere. Conversely, the captain is portrayed as a grumpy and authoritarian figure through his gruff voice and the heavy, menacing sounds of his footsteps. The contrasting sounds used for Mickey and the captain help to create a clear distinction between their characters and roles in the story.

Prompt 2

I believe that early animation in the U.S were based on print comics because they might have been easier to produce because they were already drawn. All they had to do was fill in the in between frames. Another reason I believe early animation in the U.S was based on print comics is because they probably already had a fan base that would be willing to watch them on the big screen.