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The Whole Toon Catalog moved to Chicago when it became part of Facets Multimedia in 1996.

For many years, before I started The Whole Toon Catalog, I was a dedicated fan and collector of Warner Brothers cartoons. Much of my time that was not spent studying film and television at college was spent trying to acquire copies of Looney Tunes and Merrie Melodies wherever and whenever I could. Back in those days, before the market for pre-recorded home video amounted to much, the few serious collectors of animation had to scour the 16mm film print marketplace a frustrating and expensive pastime.

As soon as I bought a good-quality VCR, I began taping the morning and afternoon syndicated TV cartoon shows in their entirety, later dubbing individual cartoons off onto compilation tapes. It was actually alotoffun,asIthink Doug Ranney ee back on it now. There was a lot of perserverance and luck required, as I never had any idea which titles might appear le Whole Toon Catalog in 1988. on a given day.

Eventually, my private collection grew to the point where I began hosting cartoon screenings and inviting like-minded friends to enjoy them with me. There was definitely not a large pool of fellow animation fans to tap, but there turned out to be just enough. One thing led to another, and I let myself be talked into forming a mail-order business aimed

at cartoon collectors like myself. To some extent, it was a way to justify all the scouting for videos, books and magazines that I was doing anyway.

I began assembling the listings in early 1988, when the pre- recorded home video market was just beginning to gain steam. Disney had begun releasing a handful of their feature films and quite a few of their classic shorts. There were a ë small number of Warner cartoons available, as well as some Ù RS li I. my Tom & Jerrys, Woody Woodpeckers, and so forth. There | i fl n= L ah were even a fair number of books in print, most notably "+ Ve | Maltin’s “Of Mice and Magic,” Adamson’s “Tex Avery: King of Cartoons” and Friedwald & Beck’s “Looney Tunes & Merrie Melodies.” But by-and-large, animation was still a smallish niche until that summer.

By astroke of sheer dumb luck, the first edition of The Whole Toon Catalog was mailed out within months of the 1988 release of Who Framed Roger Rabbit. In my humble opinion, that film single-handedly sparked the widespread renewal of interest in animation that "9t B continues to grow today. Nobody could ever have predicted ten years ago that animation’s

slice of mass culture would quickly grow from a smallish, somewhat dusty niche into a booming, mainstream mega-buck industry.

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Summer 1989

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Whole Toon was intended to be a sort of cartoon clearinghouse—rather like what Amazon.com is TON Gy Nb now attempting with books. But we weren’t content to act as merely another specialty | | shopkeeper, so we even formed an in-house video label and imported some rare and choice items from overseas. Those of you who have known us since the early days will remember the great Tex Avery items we brought over from France. And I’m especially proud of the National Film Board of Canada films that we licensed for

home video and made available in America for the first time.

It’s been a lot of fun following the animation boom over the years (and hopefully even contributing to it a little). I learned an awful lot, met a lot of great people, and got to watch cartoons for a living! But being a fan is one thing,

Pallets of Tex Avery Wolf lamps fresh off the boat from France. Whole Toon secured the exclusive license for these collectibles in 1990.

and running a business is quite another. So I was thrilled when the people at Facets offered to take over the catalog in 1996. I had always admired their independent and foreign film catalog and their non-profit mindset. I knew they would take good care of our Whole Toon customers and keep the catalog faithful to its collector/fan roots.

Whole Toon started its own video label and licensed some great films from The National Film Board of Canada

In 1993, Whole Toon opened a 2,000 square foot retail store in downtown Seattle.

Now, on its tenth anni- versary, The Whole Toon Catalog has a whole lot more compe- tition than it used to. But it seems to me that it still has no equal.

Doug Ranney

Toons WwW. strive to provide our cus-

Things You Need to Know About Video:

All our videocassettes are available in the VHS-NTSC format. To our overseas custom- ers: sorry, we can not provide you with PAL or SECAM formats.

VHS Recording Speeds:

VHS videorecorders offer 3 record/playback speeds: SP (Standard Play/2 hr.), LP (Long Play/4 hr.) or SLP/EP (Super Long Play/Ex- tended Play /6 hr.). Nowadays some VCR's of- fer only 2 speeds: SP and SLP/EP. There are a few tapes offered here that are only available in the LP mode. Please be aware that some VCR's cannot track LP tapes properly. Check your machine before ordering.

We're concerned with quality, so we generally offer only SP tapes in the catalog. But some- times a title is available only in EP mode, so we make an exception. Lately, more and more

manufacturers are switching to EP recording 4

in an effort to cut costs. When we know a tape is EP, we always indicate it, but sometimes we don't know if we haven't actually viewed the tape ourselves.

Laserdisc Formats:

There are two laserdisc formats: Extended Play/CLV (Constant Linear Velocity) and Stan- dard Play/CAV (Constant Angular Velocity). Unlike videotape, there is no difference in pic- ture quality between the two formats. However, only the more expensive CAV format can pro- duce freeze-frames, variable playback speeds, multiple soundtracks and other special effects (unless you own a very expensive laserdisc player with a digital frame buffer). If you wish to study a film frame by frame, you will need to get the CAV format. (CAV also is the only video format with a true 1 to 1 film frame to video frame correspondence). | Laserdiscs are notorious for changeable avail- ability. Many of the smaller suppliers will an- nounce a release date for a laserdisc and wait to see how much interest there is before they actually produce the title. Often the title will be delayed or sometimes cancelled altogether. When a title is produced, it is often pressed in such small quantities that it sells out quickly. The supplier may them wait until enough back orders build up before re-pressing the title. For the preceding reasons, please be patient with us when ordering laserdiscs. If you see some- thing you want, it’s often advisable to grab it while you have the chance.

Where’s the Japanimation?

PRESENTED BY

tomers with the finest selection of animation on Earth. We buy from hundreds of sources in several countries and we're constantly searching for more. After years of serving animation fans, scholars and professionals, we've gotten a pretty fair idea of what you want from us, and with each new cata- log we try to focus more efficiently on it.

We take the Whole in Whole Toon Catalog seriously. Our customers expect to find cartoons here, so we continue to expand our video sec- tion with each new catalog. From the latest Disney feature release to the most obscure art film on some small video label- if it's ani- mated (and we can get our hands on it), you'll find it listed here. We try to apply a consistent criteria to our selections, eliminating the “storybook” videos that often get passed off as animation, and live- action puppetry such' as the Muppets or “Supermarion-ation” like The Thunderbirds and Cap- tain Scarlett. This also goes for books. We offer just about every currently in-print book dealing with animation, but we don't carry comic books, Far Side collections, or children's storybooks.

If you don't see what you're look- ing for, please ask for it. Unless we have an adequate supply on hand at the time this catalog was printed, we won't list out of print book titles or discontinued video titles. However, we just might still have some around so it can't hurt to ask. Also keep in mind that new books and videos are released con- stantly, while our full catalog is printed only twice a year. If some- thing becomes available between catalogs, we'll most likely have it on hand when you call.

CONTENTS:

You may notice that there is no Japanese ani- Intodietion LMR 1 mation listed in this catalog. That’s because the Book 9 genre has grown to such an extent that we felt 0 S Ise pr rad aes ao nisnarizasizeneer i’ 00 00eIQi:n<e0esioserene it merited its own catalog. All you have to do is AUDE ide tn LE 12 ? ]

cae and age T slaty send you the Whole Warner Bros. Cartoon Index ................. 13 Toon Japanimation catalog.

VIDÉOS x renee Ao rei i 18 If a tape has gone out of print before this cata- j ii We aventi liatediit unione JEITY BECKS RIE ares 70 we're sure we can provide a decent supply. If Ordet EOIN: eine ein 11

you're looking for a tape that's not listed, it's worth calling us to ask about it. Although we don't have it in sufficient quantity to list it, we may still be able to come up with a few copies here and there.

WINTER 1998-99

THE WHOLE TOON CATALOG

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IS PUBLISHED BY

FACETS MULTI-MEDIA

1517 W. FULLERTON AVE. CHICAGO, IL 60614 TEL: (800) 331-6197 FAX: (773) 929-5437

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PRICES AND AVAILABILITY ARE SUB- JECT TO CHANGE WITHOUT NOTICE

The contents of this catalog are ©1998 by Facets Multi-Media. All Rights Reserved. Copyrighted char- acters depicted in this catalog are either used by permission or for the express purpose of illustrating merchandise for sale.

7 MINUTES The Life & Death of the American Animated Cartoon

Norman M. Klein (1993)

Approaching the subject from a decidedly scholarly point of view, Klein exam- ines the Gestalt of the Hol- lywood cartoon. He traces the social and aesthetic sen- sibilities that shaped and were reflected in the works of Disney, Warners, MGM and others, and reviews the graphics, scripts and mar- keting of each era. He de- tails the internal produc- tion and political structures of the studios and discovers links between cartoon and live action movies, newspapers, popular illustration, and the entertainment architecture of Disneyland. Thoughtful analysis for the serious toon student.

284 pgs 7-3/4"x10" 40 illus. Paperback BOOT a. sccavsccepscrsossccoctectoasevvartennseccedeseesesvas RITO

THE 50 GREATEST CARTOONS As Selected by 1,000 Animation Professionals

Edited by Jerry Beck (1994)

Anytime you select a fi- nite number of the “great- est” cartoons and even rank them, you're bound to ignite a firestorm of arguments. But that's good so pick up this book and start trashing the selections! Jerry Beck had the unenviable job of comping the 1,000 bal- I ;

con SEAT ang

dance with the LON NO Bpsis and background info,

with credits, Jeri and oodles of colo! photos. Regardless of your opinion of

p the rankings, it's an incredible Kplerence volume and conversation starter.

192 pgs 8-1/2" x 10-7/8" 300 illus., 200 in color Bardoa BOOT Ria cero 29:95

ALADDIN The Nana ch an n Animarad Film + John Culhane (1992) Disney's smash hit film, from the same team that

made The Little Mer- maid, is explored from conception to comple- tion. Each chapter treats a different aspect of the animation process, tak- ing the reader from script to screen, illus- trated throughout with photos of the artists at work, storyboards, con- cept sketches and ani- mation art from the film.

120 pgs 8-1/2"x11" 250 illus., 200 in color

B00024 (Hardcover) ss. 24.95 B00025 (Paperback) ................................ 14.95

PHONE: (800) 331-6197

AMERICAN ANIMATED FILMS: The Silent Era, 1897-1929

Denis Gifford (1990)

Arranged chronologically by series, this is the only com- plete annotated listing of all the animated films produced in the United States before the advent of sound. The book forms a companion volume to the author's British Ani- mated Films 1895-1985 and will prove a boon to research- ers of the history and devel- opment of animation. In this volume is information that has been scattered and vir- tually inaccessible for more than half a century.

160 pgs 5-3/4" x 8-1/4" Hardcover BOQOQO 2G i. iiisissctvasnccstesesescsscdosseseescsavstnsessee AALIS

KiFadand i pm:

ANIMATED CARTOONS How They Are Made Their Origin and Development

E.G. Lutz (1920)

This is an exact reprint of the book first published in 1920. It's a thorough how-to manual that details the state of the art in the pre-sound era. A first glance reveals a charming datedness, but a closer look re- minds the reader how little has really changed in 78 years. Re- portedly, Walt Disney relied heavily on the advice in this book during his pre- -Mickey years. The printing quality is faithful to the original edition and helps make this a must-have collectible.

261 pages 5-1/4” x 8-1/2” 123 illus. Hardcover

THE ANIMATED FILM COLLECTOR’S GUIDE Worldwide Sources for Cartoons on pyipsctene a and Laserdisc

David Kilmer (1997)

All credit is due David Kilmer for his ambitious at- tempt at creating a master reference for cartoons on vid- eotape. His work also hap- pens to highlight the short- comings of a paper-and-ink book compared to a comput- erized relational database. The good news is that per- haps 4,000 animated film titles are listed alphabetically and cross-referenced to their appearance on one or more of 656 videotapes worldwide. The bad news is that there are inevitably many errors and omissions and the ability to search for cartoons is restricted to an alphabetical title list or an author/character/studio list. No attempt is made to summarize any of the films listed. Nonetheless, it’s at least a place to start, and the inclusion of PAL formats along with references for tape distributors and retailers is helpfulin pursuing some ofthe leads gleaned from the author’s lists.

212 pgs. 7-3/4" x 9-1/2" Paperback BOOSZ liecccccsatuctatctessncclacveclescancssescoresttessie I

* FAX: (773) 929-5437

NEW a

Books à

ANIMATED TV SPECIALS: Comet Piraon to The First 25 Years, 1962-87

George W. Woolery (1989)

Like Woolery's previous book Children's Television, this volume is an amazing feat of research, It is an encyclope- dic listing of all the special animated presentations aired on various networks or syndicated extensively in the U.S., from the first in 1962 through the 1987 season. It's the first book to trace the history, growth and develop- ment of animated films broadcast on American TV through descriptive profiles. Each entry includes broadcast history, production cred- its, narrators & voices and a lengthy synopsis and analysis. The book is thoroughly cross-referenced. A truly awesome and complete reference tool for research- ers and fans alike.

542 pgs. 5-1/2" x 8-3/4" 105 illus. Hardcover

ANIMATING CULTURE ese Ls Cartoons from the Sound Era

Eric Smooden (1993)

Smoodin explores the ani- mated shorts and the sys- tem that mass-produced them from a scholarly view- point. He examines how they were exhibited in theatres and how they fit into the overall bill of fare presented to the audience. Who did they speak to? What did they say about race, class and gen- der? What were the social functions of Donald Duck and Minnie Mouse? He ar- gues that cartoons appealed to a wide audience, not just children, and contributed to public debate about politi- cal matters. His analysis of the multiple discourses embedded in a variety of cartoons reveals the complex and sometimes contradictory ways that animation dealt with class relations, labor, imperialism and censorship.

205 pgs. 6-1/2" x 9" 29 Illustrations

B00028 (Hardcover) 46.95 B00029 (Paperback) 15.95

ANIMATION ART: THE EARLY YEARS, 1911-54 A Visual Reference for Collectors

Jeff Lotman (1995)

Animation art collector Jeff Lotman has as- sembled for this book the most ambitious col- lection of original ani- mation art ever. Nearly 6800 pieces are illus- trated, most in color, from 1911 through 1954. The art in this book was offered at auction, and thus is in the market- place. The book contains prices paid for each piece at auction, plus prices for several thousand additional pieces. In addition to its value as a price guide, the book also covers the anima- tion art process and the world of animation art collect- ing. 420 pgs. 8-1/2” x 11” 6800 illustrations, most in full color Hardcover

BOOOSO: iiicrseccccesovasoassnsuschacsovasensseseveveas: 12400

WHOLE TOON CATALOG NO. 15

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ANIMATION ART: THE LATER YEARS, 1954-93 A Aviva! Reference for Collectors

Jeff Lotman (1996)

This follow-up volume to the author's Anima- tion Art: The Early Years takes the reader from Disney's 1954 feature Lady and the Tramp up to The Simpsons. The book is illustrated with over 6500 photos of cels and animation art that have been offered at auction, along with the prices they realized. Intended as a reference for ani- mation art collectors, the fabulous array of illustrations in this book serve as a valuable resource for anyone interested in the art of animation. Includes historical sketches of all the studios and information on many of the artists.

420 pgs 8-1/2"x11" 6500 illustrations, mostly in color Hardcover

OOS PPS RE en ZITO

ANIMATION FROM SCRIPT TO SCREEN Shamus Culhane (1988)

Shamus Culhane, the ani- mator of the dwarfs' march in Snow White, of Pluto, of countless other Disney se- quences as well as those of other studios, makes it pos- sible to learn a concrete skill from a book. Covering every aspect of film anima- tion, from basic mechanics to giving creativity full play, and including writ- ing, recording, acting, dia- logue -even how to manage an animation studio of one's own, Culhane lives up to the book's title. Written by a man who knows and loves his subject and has a gift for communicating his thoughts.

304 pgs 6-1/8" x 9-1/4" 135 illus. 9 in color Paperback BO0032 (TZKAXZZITITTX TXT: KZKIZZZZZZIITZZZZZIZZIZIALILZZKAL] 13.95

com Santé Ta Serena.

ie ANIMATOR'S WORK9OOK

Tony White (1986)

Tony White, an award- winning British anima- tor, has worked with Richard Williams, Ken Harris and Art Babbit in addition to produc- ingnumerous films him- self. In this book, he lays out a complete step-by- step reference to drawn animation technique.

su Vi rm: Oriented toward the n SAE # working animator, the

workbook includes chapters such as Inbe- tweening, Head Turns, Walks, Runs, Dialogue, Ani- mated Effects and Backgrounds.

160 pgs 8-1/4"x 11" 310 illus., 250in color Paperback B00033 EEE analisi sia 95

Sup ue of Brawn roth i

WINTER 1998-99

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THE ANIME! MOVIE GUIDE Movie-by-Movie Guide to Japanese Animation since 1983

Helen McCarthy (1996)

Helen McCarthy has fol- lowed up her 1993 intro- ductory guide to Japa- nese animation with this larger book on anime movies and OAVs. It in- cludes many titles not yet imported to America or Britain. Arranged by year, starting with 1983—the first year that made-for-video anime was introduced—each entry includes credits, content ratings, and a highly subjective synop- sis and analysis by the author. In many cases, the original Japanese title is included along with the English translation of the title. Includes bibliography and index.

286 pgs 6" x 8-1/4" B&W illustrations Paperback

yas ART OF THE FENCHBACK OF NOTRE DAME

Stephen Rebello (1996)

In the tradition of the best-selling fine art com- panions to The Lion King and Pocahontas, The Art of The Hunchback of Notre Dame showcases the rarely seen spectrum of art produced during the film's creation, in- cluding conceptual ma- terial, sketches, layout drawings and story- boards, and beautiful re- productions of the film's breathtaking and majestic final art - a painstaking recreation of the beauty of a bygone fifteenth-century Paris.

200 pgs. Full color throughout 10-7/16" x 13" Hardcover BOO10 7: Mi rectiscesctescssestesste 0 9:90

THE ART OF HERCULES

The Chaos of Creation Like other fine-art companion books of Disney films, The Art of Hercules features the full range of art produced for the film, including the concep- tual art, storyboards and finished render- ings. The book also fo- cuses on moments of inspiration in the course of designing the film, showcasing single sketches that came to define the look of certain characters. Includes a special signature section of the work of Gerald Scarfe, whose line draw- ings led to a breakthrough in defining a style for Her- cules.

200 pgs. Full color throughout 12" x 11" Hardcover BOOI T... ccsccesscsccccscccbscsesstsvecacctaccacesschccecss Se Oso

MON - FRI: 9AM BPM SAT: TOAM— 6PM CENTRALTIME

THE ART OF THE LION KING

Christopher Finch (1994)

Filled with the lush color artwork of the feature film (in all stages, from con- ceptual to finished) and a spare narrative that re- tells the tale, this book is a handsome keepsake of an unforgettable film ex- perience. An afterword re- veals the inspiration be- hind the art, including Af- rican themes and land- scapes.

196 pgs. 10" x 13" fully illustrated w/gatefolds Hardcover

THE ART OF MICKEY MOUSE Artists annexes me ronda Favorite Mouse

Craig Yoe (1991)

Designer Craig Yoe has gathered artwork byillustrators such as Milton Glaser, car- toonists such as Char- les Schulz, and pop artists such as Andy Warhol and Roy Lichtenstein in a full- color, museum-qual- ity collection that will delight art lovers and mouse fans alike. An exploration of perhaps the world's most recognizable icon.

128 pgs. 10-1/2" x 10-1/2" 100 color illus.

B00036 (Hardcover) 34.95 B00037 (Paperback) 19.95

THE ART OF MULAN

Jeff Kurtti (1998)

Disney’s summer 1998 hit is fully documented in this companion art book. It showcases the spectrum of art produced during the film’s creation, including conceptual material, sketches, layout drawings and storyboards, and fi- nal artwork: Along the way, the film’s animators, writers and composers dis- cuss their inspirations and challenges,

192 pgs. 10-1/4” x 13-1/4” full color Hardcover

THE ART OF POCAHONTAS Stephen Rebello (1995)

Pocahontas retells the classic story of a young Indian woman who saves the life of the white set- tler, Captain John Smith, out of love for him. This book traces the process of the creation of the film from conception to com- pleted movie, with a richly illustrated text that includes looks at pre- production and concept art, PATTO, the development of Alan Menken and Stephen Schwartz’s score, the refinement of the Pocahontas character, layouts, backgrounds, and spe- cial effects animation.

200 pgs. 10-1/2” x 13” fully illustrated Hardcover

THE ART OF SPACE JAM

Charles Carney & Allen Helbig, eds. (1996)

This is a very nice pocket com- panion to the Space Jam book. A mini-gallery of cels, sketches, backgrounds, and even some orphan art, dis- carded concepts and doodling are presented. Especially nice is the fact that each drawing is credited to the artist that made it.

196 pgs 4-1/2" x 5-1/2" fully illustrated in color Hardcover

THE ART OF WALT DISNEY Mickey Mouse to the ee Kingdoms

: Christopher Finch (1996)

This revised edition of the 1973 book isa huge, impressive collection of Disney animation art, presented in a thought- ful and thorough man- ner. This account of Disney's career benefits from free access to the Walt Disney Archives. The author has con-

ducted dozens of inter- views wit past aadi ali Disney employees and selected a great number of previously unpublished draw- ings, paintings and photographs. It's a massive, mile- stone work.

458 pgs. 9-1/2" x 12" 763 illus. 351 in color Hardcover

BEFORE THE ANIMATION BEGINS The Art & Lives of Disney pl Sketch Artists

John Canemaker (1996)

Disney's animated films have always begun in the imagination of the inspirational sketch art- ist. These talented painters, designers, and illustrators attempt to conjure the look of a film—the character de- signs, the locales, the mood and use of color. For the first time ever, Canemaker chronicles the lives of these artists from the thirties to the present, analyzing their influence on productions, and detailing their interactions with the Disney studio. Included are such artists as Kay Nielsen (Fantasia), Albert Hunter (Snow White), Gustaf Tenggren (Pinoc- chio), Mary Blair (Alice in Wonderland) and Ty Wong (Bambi).

224 pgs 11-1/2" x 11-3/4" illustrations Hardcover

300 B&W and color

PHONE: (800) 331-6197 >

BEFORE MICKEY The Animated Film, 1898-1928

Donald Crafton (1993)

In this revised edition of his 1984 book, Crafton's schol- arship is quite lively, and his descriptions evocative and often funny. He has com- pellingly filled the gaps in the area of silent animated films that have been so over- looked over the years. The documentary material cov- ering artistic, commercial, and technological develop- ments in the USA and Eu- rope will prove invaluable to animation specialists. The book chronicles the achievements of Emile Cohl, Otto Messmer, Winsor McCay, John Randolph Bray, and many others, as the technique of film animation ad- vanced from the early Zoetrope devices and “trick films” toward the compelling new art form it eventually be- came. All in all, Crafton has succeeded in writing a factual, scholarly reference work that is a pleasure to read for recreation.

415 pgs. 5-1/4" x 8" 150 illus. Paperback

BUGS BUNNY RIA Years and eons One oo Hare

Joe Adamson (1990)

This book shows Bugs in his many guises includ- ing cameo appearances and feature films. It's an attractive package chronicling Bugs’ career through pictures, words, and Adamson's impres- sive collection of exclusive interviews with Chuck Jones, Friz Freleng, Tex Avery, Bob Clampett and many, others. Included are in-depth looks at indi- vidual Bugs shorts and complete bibliography and filmography.

192 pgs. 8-3/4" x 11-1/4" 200 illus. 150 in color

B00043 (Hardcover) ss 34.95 B00044 (Paperback) .........................++++00+ 19.95

A BUGS LIFE The Making of an PS of Miniature Proportions

Jeff Kurtti (1998)

Pixar created cin- ematic history with the release of Toy Story in 1995. Three years later, the moviegoing public awaits the studio’s second computer-ani- mated feature. The author spotlights the work of animators, art directors, layout artists, lighting designers and computer wizards involved in A Bug’s Life the tale of Ant Island, where a bed of clover resembles a forest and a raindrop has the power of a tidal wave.

128 pgs. 14" x11" fully illustrated Hardcover

FAX: (773) 929-5437

Books Laces aa ST OR Sr e Sales i tp ue

CARTOON ANIMATION

Preston Blair (1994)

In this comprehen- sive book, acclaimed animator Preston Blair taps his vast practical knowledge to explain and dem- onstrate the funda- mentals of cartoon animation. This title contains all the pages from the original edi- tions of Blair's two Foster books: How To Draw Cartoon Animation and How To Animate Film Cartoons - plus much previously unpublished artwork.

224 pgs. 10-1/4"x9" fully illustrated Paperback

CARTOON ANIMATION: Introduction To A Career

Milton Gray (1991)

Milton Gray is an anima- tor, director, writer, and producer, who has worked on 16 theatrical features, from The Jungle Book to Poltergeist. He provides a detailed look inside the ani- mation industry, and how you can qualify as quickly as possible foremployment. The text covers practical subjects like necessary

È drawing skills, wage scales, recent employment trends, and offers opinions of cer- tain animated shows and genres.

124 pgs. 8-1/2"x 11" 97 illustrations Paperback

CARTOON FRIENDS OF THE BABY BOOM ERA A Pictorial Price Guide

| CARTOON FRIENDS Bill Bruegman (1993) Lire nerone. Bill Bruegman's Toy z Scouts, Inc. is a mail-order house specializing in 50's and 60's memorabilia and publisher of Model and Toy Collector Magazine. He has assembled his knowledge in this book to provide a price guide for nearly 1000 vintage car- toon and comic strip toys and collectibles from 1946- 1969. Each item is photo- graphed and. described with up-to-date collector's prices. Alphabetized chap- ters and categories include Hanna-Barbera, Warner Bros., Terrytoons, Walter Lantz, Jay Ward, and every- thing from Alvin to Woody Woodpecker. Just think: if your Mom hadn't thrown away that Fireball XL5 Space City Playset, you could get up to $750 for it today!

- 176 pgs. 8-1/2" x 10-3/4" fully illustrated Paperback

CARTOON MOVIE POSTERS | Bruce Hershenson (1993)

This is a truly awe-inspir- ing collection of original movie posters - all from ani- mated cartoons. The author has collected nearly 400 posters and reproduced them in full color on coated stock, with an approximate date and credits for each one. You'll find everything Li from Mutt & Jeff, Krazy Kat

à and Felix to Mickey, Donald, Bugs, and even yoe ves poster for Red Hot Riding Hood. Includes an alphabetical index.

96 pgs 8-1/2"x 11" 391 Color Illustrations Paperback

WHOLE TOON CATALOG NO. 15

CARTOONS

One Hundred Years of Cinema Animation Giannalberto Bendazzi (1994)

The English translation of Bendazzi’s monumen- talreference is a true gem. This is an incredible re- source for the study of worldwide animation. The account opens with Emile Reynaud in 1888, and moves on to offer an historical account of all aspects of animation: short and full-length films, directors, cultural influences, trends, production companies, TV series, and computer animation. What sets this book apart from most is its breadth - all regions of the world are covered, with extensive illustrative reference. Over 70 countries, 2,000 animators, and 3,000 films are covered, offering a great deal ofinforma- tion that has never before been collected.

514 pgs. 8” x 9-1/2” fully illustrated Paperback OOS E PERE EET N ET I EE. S

A CAST OF FRIENDS

Bill Hanna (1996)

Together with Joe Barbera, Bill Hanna established the most prolific TV cartoon factory in history. Here is his story: the early days as an animator at Harman- Ising Studios, his move to MGM in 1937 and his in- troduction to his future partner, the Tom & Jerry years, the founding of Hanna-Barbera in 1957, and all the subsequent suc- cesses— both commercial and critical. Throughout, there are behind-the- scenes anecdotes of all the characters and people he worked with throughout a lifetime of animated film- making. Includes a filmography of all the TV works.

230 pgs 6"x9" 73 illus. B&W/Color Hardcover

CHILDREN’S TELEVISION: THE FIRST 35 YEARS, PART 1 Animated Cartoon Series

George W. Woolery (1983)

Wrapped in historical per- spective, this volume has been carefully researched for the afficionado, the scholar and the professional who want to know the roots, who did it, and what happened when in the world of TV ani- mation. An awesome refer- ence work containing a se- ries synopsis, complete pro- duction credits, and broad- cast schedules for every ani- mated TV series from 1946 to 1981. Woolery's accuracy & diligence as a researcher shine through in this indispensible reference tool.

404 pgs 5-1/2" x 8-3/4" Hardcover

CHILDREN’S TELEVISION: THE FIRST 35 YEARS, PART 2 Live, Film & Tape Series

George W. Woolery (1985)

As with the author's Ani- mated Cartoon Series vol- ume, this book is an over- whelming reference work + this one covers live action se- ries and is almost twice as long. An awesome research tool containing a series syn- opsis, complete production credits, and broadcast sched- ules for every non-animated children's TV series from 1946 to 1981. 11 appendixes and 8 cross-referenced indexes.

788 pgs. 5-1/2" x 8-3/4" Hardcover

CHUCK AMUCK The Life & Times Of An Animated Cartoonist

pres Chuck Jones (1989) Chuck / “wel Three-time Academy

md ea ee Award winner and living legend Chuck Jones re- lates his memories and in- sights on a lifetime of crea- tivity. Jones’ gift for writ- ing shows, and the reader could not wish for more material on the Termite Terrace years and person- nel. Jones’ choice of what to write about is itself in- triguing. There are por- traits of writers Mike Maltese and Tedd Pierce, and we're taken step by step through the creation of Duck Dodgers in the 24th-1/2 Century.

224 pgs. 8-1/2" x 10-1/2” fully illus. B&W/color Paperback

CHUCK REDUCKS Browing from the Fun Side of Life

“diano sian nei opa iii Chuck J ones (1 996)

{> l'a Pot Ù nia a i rete NG The world-renowned ani- CHI fi Ke DI mator shares his life, his cin = inspiration, and his time- less creations in this charming and funny se- quel to his memoir Chuck Amuck. Going far beyond his previous book, this memoir includes Chuck's advice on how to draw and how he recreated aspects of himself in his work. He also created illustrations specifically for this book. Foreword by Robin Williams.

288 pgs. 8" x 10" fully illus. B&W/color Hardcover

CHUCK JONES: A FLURRY OF DRAWINGS Hugh Kenner (1994)

Kenner has written an in- cisive examination of Chuck Jones and his body of work. Kenner notes the biographical details, but focuses on the films them- selves, and the time and place in which they were made. His insights into the humor, the technical vir- tuosity, and the original- ity of Jones’ best work be- tray the author's deep af- fection for the medium and Jones in particular. Jones relates that a pig cannot be made into a racehorse. What might be reasonably hoped for, he says, is “a mighty fast pig.” Kenner argues that Jones has indeed made himself a racehorse.

109 pgs. 5" x 8" illustrations Hardcover

OOKS

CLAY ANIMATION

Michael Frierson (1994)

Michael Frierson, an award-winning animator, brings an impressive depth and breadth of knowledge of clay animation to this delightful, instructive book. In addition to a lucid analy- sis of the artistic process of clay and its problems and potential, Frierson explores clay's early history from the early 1900's eerie moving sculptures through clay films of the 1990's. Chap- ters are devoted to Art Clokey and Will Vinton, along with film-ographies of dozens of animators, in- cluding TV commercials, TV specials, and feature film ~ special effects.

278 pgs. 5-1/2" x 8-1/2" 60 illustrations

BOOTIE (Hardcover) ses 29.95 B00057 (Paperback) 18,95

THE COMPLETE ANIME GUIDE, 2ND EDITION Japanese Animation Film Directory & Resource Guide -

Trish Ledoux & Doug Ranney (1997)

This is the only compre- hensive guide to the thousands of Japanese animated videos avail- able in America. In addi- tion to complete critical reviews and plot summa- ries of every video re- leased through 1996, there are chapters on TV series aired in America, fandom resources and history, and a lengthy discussion of anime genres, studios and creators. Lots of indexes and appendices make this a hugely useful reference and research tool. Out of Print.

215 pgs. 8-1/2" x 11" fully illus. Paperback

OO EAE EA A ERREA I A CREATING 3-D ANIMATION

The Aardman Book of Filmmaking ENEWS