![]() Halfway through the film, jazz legend Cab Calloway (a regular guest in Betty Boop cartoons) performs a spooky musical number, embodied first by Koko and then by a ghost. As Max’s grandson Mark Fleischer recalls, his grandfather’s motto was “If you can do it in real life, why animate?” Fleischer Studio’s seven-minute “Snow-White” short includes such surreal images as the evil queen’s face morphing into eggs in a frying pan a tree stump fighting with Betty’s co-stars, canine beau Bimbo and his friend Koko the Clown and Betty, interred in an ice block coffin, being led down a mountain by the dwarfs on skis. In the Fleischer landscape, anything was possible, and seemingly nothing was off limits. In New York, meanwhile, Fleischer created a grungy, often dangerous urban world for its characters to navigate. From its home in California, Disney was laying the groundwork for the idyllic, fantastical fairy tales that would soon dominate its oeuvre. The dueling studios’ styles were diametrically opposed. ![]() After a makeover, Betty became the first fully human, fully female animated character.Īt its height in the 1930s, Fleischer Studios was a giant in animation, rivaled only by Disney. She appeared in the Fleischers’ “ Talkartoons” series as the girlfriend of main character Bimbo and was such a success that the studio promoted her to its star. ![]() Initially, Betty was depicted as a dog with a button nose and floppy ears. Her constantly shifting design offers an intriguing case study of how representations of women-including fictional ones-are shaped by censorship, the public’s response and changing conceptions of morality. Betty’s appearance continues to evolve today, with the character donning ripped jeans, joggers and sneakers, and overalls in merchandise and on social media. Beneath that iconic look, however, is a more complex story of aesthetic transformation, from what Heather Hendershot, a media historian at MIT, describes as a “flapper-secretary-adventurer” in the early 1930s to a “middle-class homemaker” by the end of the decade. The enduring image of Betty is a flapper in a strapless minidress, with a garter peeking out above her knee and large hoop earrings in her ears. … They would come for the Betty Boop cartoon.” “She’s a big hit,” says Katia Perea, a cartoon scholar at City University New York, “and she’s a big hit in the same way that Felix the Cat is a big hit, where she was drawing audiences to the movie. & Copyright By Fleischer Studios.Ĭreate an account or login in order to post a comment.At a time when cartoons were largely opening acts before a featured movie, Betty’s stardom was an outlier. ![]() Marked with a paper label: Betty Boop Des. There have been many reissues of this doll over the years and from many different companies too probably. She is collectible and we don't do appraisals but you can search her now by name 1930's Cameo Betty Boop composition dollġ932 Betty Boop, 12" tall, and Bimbo, 7 1/2" (Betty's dog), cartoon character from Max Fleischer called "Dizzy Dishes" in 1930 created by Myron Grim Natwick, this doll was designed by Joseph Kallus, all composition, black curly molded painted hair, side glancing to the top of her eyes, jointed, dressed in a black, red or green molded on dress, with black painted high heel shoes. She is missing the heart that would have been on her chest saying "Betty Boop"
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