It seems like the only films being made these days by major studios are sequels to comic book hero movies, remakes of classic old movies and old television shows that have been turned into movies. Most of the projects of today's film industry are chosen by Wall Street instead of by some cigar chomping studio executive sitting behind a desk on a studio lot in Hollywood. It can be disheartening at times when you are standing in front of an eighteen-plex movie theater location and you want to see a movie with a story. However, just when you think that creativity is dead in the movie business a talented filmmaker will come along and remind the big shots that they ultimately depend on them for their product.
The fact of the matter is that the film industry is a business like any other in which the primary goal is to make money. Any deviation from that concept puts a studio at risk of having a movie that "bombs", or in other words loses money. When you are dealing with a major studio like Warner Bros or Paramount you have shareholders to worry about, and that makes studio executives nervous. When shareholders get nervous they shine a bright light on their investment and look for anything or anyone that is not making them money. This spells disaster for inept studio executives and their heads will roll. This is why they always try to cover their behinds with the safest investment, and that is why you will not see them taking any chances on something or someone that has not already been proven to make money.
A big studio is basically defined by the value of their stock, not the quality of their films. This is why major studios appear to be creatively bankrupt these days. Decisions about making movies are being made by financial people instead of creative visionaries like Jack Warner. Today's films are constructed around a host of commercial themes instead of artistic ones and that is why you get a whole lot of special effects and very little storyline. Explosions and clever product placement sell more tickets than gripping stories.
When you think about how the odds are stacked so heavily against the financial success of a truly independent film it is a wonder that any at all get made. It is a testament to the creative and irrepressible spirit of independent filmmakers around the world. While filmmaking is first and foremost a business these days it will always rely on its creative aspect to keep the customers happy. This is why creative people are drawn to this industry despite the odds of success being heavily against them. Film production is and always will be a form of art no matter how commercialized it becomes. Artists are drawn to this business because that is what they do; they work with art forms.
You have to understand when you take on a career in film production you are rolling the dice with your future success. It is really hard to break into this field as a major player without connections due to the fact that there is a great deal of nepotism involved in the hiring process. It is hard, but not impossible.
The best way for a Nobody to become a Player in Hollywood is to make a big showing at a major film festival like Sundance or Toronto. This always leads to some good publicity, which can launch a career from independent to mainstream.
We all remember The Blair Witch Project and El Mariachi. These were films made in the late nineties that cost less than fifty thousand dollars and crossed over from the film festival circuit to the major theater circuit. They were made by artists who put their budget second and their vision first. Persistence and an undying passion to make movies was the fuel that drove them, and it paid off in the end. Big studios bought their films and went on to make millions with them. It does not matter that the studios made most of this money, for the publicity that these filmmakers received was enough to launch their careers in Hollywood. In both cases the makers of these movies went on to create sequels, but with major studio budgets backing them financially for the second episodes of their stories. Their exploits in the world of independent film was a springboard to the big time. It worked out well for them.
It is good to see that every once in a while a really independent film makes it to the big time. Most films that are entered in festivals never get to see the bright lights of the mainstream, but it does happen every once in a while. This is because passionate and creative artists will always gravitate to this line of work to tell their stories, no matter how hard the big studios make it for them to join their money-making party. A truly great story teller cannot be silenced by nepotism. They will always find a way to get their story told.
One thing is for sure; when it comes to the movie industry the cream always rises to the top. Although it has been smothered by commercialism lately it cannot exist on money and test marketing alone. The main nutrient it requires to survive is creativity. Even the most heavily laden special effects movie needs some sort of creativeness to build their explosions around. Once in a while the big Hollywood studio executives open the doors to their party and let the creative people inside, but only if their financial advisors tell them that it is a good idea.
Jumat, 01 Desember 2017
Jumat, 24 November 2017
Guerilla Promotion Strategies for Independent Filmmakers
Although acceptance to a film festival is regarded by many filmmakers as the key to major exposure and recognition, this only marks the beginning of the most important phase for your independent film. Acceptance into a festival is only an opportunity for you to compete with dozens (or possibly hundreds) of other films for the attention of festival-goers, distribution agents, and other media. In other words, take this event not as the moment of arrival, but a starting point.
Film festivals are typically surrounded by a whirlwind of hype. Newspaper reporters and television cameras try to follow the buzz of the next big thing. The whole entertainment industry is on prominent display as well. Festival sponsors, distributors, and movie studios are trying to capture a share of the exposure in a film festival.
This intense competition might be overwhelming for an independent filmmaker who wants to promote his film. Here are a few guerrilla marketing techniques of low budget productions you can use to make hip, effective, marketing campaigns.
Design and Materials
Consistency is the key as you develop your marketing materials. Make sure you develop consistent colors, themes, and designs. Don't be afraid to devote care and attention to your design. Clean, eye-catching designs are very important--when you have the choice between clutter and simplicity, always opt for simplicity. Use glossy color reproduction--do not cheap out and use black and white photocopied materials.
Handbills
Handbills and postcards are cheap to print in large quantities and easy to distribute. Hire a few volunteers to stand in the street and pass out bills and cards to passerby. Festival-goers will rarely refuse the handbill, which at least earns your film a brief glance. Always remember to include contact information, URL for your website, and other relevant information on the handbill.
Stickers
Stickers are another cheap way to market your film. However, stickers have the potential to be used by vandals on inappropriate places (stop signs, etc) and you could be hit with a vandalism charge if you're not careful. Consider the festival demographic carefully before deciding on stickers.
Posters
Putting up posters is probably one of the standard aspects of a movie marketing campaign. Posters measuring 8.5 by 11 are acceptable, considering the expense of printing anything larger. Try not to run with the herd; target other festival locations to distribute your posters. You will have the advantage of reaching your target audience (movie goers) while not competing with other movies at your film festival. This should be done in conjunction with advertising near or on-site as well. Be smart and use a combination of both. Be sure not to over-saturate sites with your posters. Covering up other posters will put you at a risk of being criticized and might add up to bad publicity for your film.
Film festivals are typically surrounded by a whirlwind of hype. Newspaper reporters and television cameras try to follow the buzz of the next big thing. The whole entertainment industry is on prominent display as well. Festival sponsors, distributors, and movie studios are trying to capture a share of the exposure in a film festival.
This intense competition might be overwhelming for an independent filmmaker who wants to promote his film. Here are a few guerrilla marketing techniques of low budget productions you can use to make hip, effective, marketing campaigns.
Design and Materials
Consistency is the key as you develop your marketing materials. Make sure you develop consistent colors, themes, and designs. Don't be afraid to devote care and attention to your design. Clean, eye-catching designs are very important--when you have the choice between clutter and simplicity, always opt for simplicity. Use glossy color reproduction--do not cheap out and use black and white photocopied materials.
Handbills
Handbills and postcards are cheap to print in large quantities and easy to distribute. Hire a few volunteers to stand in the street and pass out bills and cards to passerby. Festival-goers will rarely refuse the handbill, which at least earns your film a brief glance. Always remember to include contact information, URL for your website, and other relevant information on the handbill.
Stickers
Stickers are another cheap way to market your film. However, stickers have the potential to be used by vandals on inappropriate places (stop signs, etc) and you could be hit with a vandalism charge if you're not careful. Consider the festival demographic carefully before deciding on stickers.
Posters
Putting up posters is probably one of the standard aspects of a movie marketing campaign. Posters measuring 8.5 by 11 are acceptable, considering the expense of printing anything larger. Try not to run with the herd; target other festival locations to distribute your posters. You will have the advantage of reaching your target audience (movie goers) while not competing with other movies at your film festival. This should be done in conjunction with advertising near or on-site as well. Be smart and use a combination of both. Be sure not to over-saturate sites with your posters. Covering up other posters will put you at a risk of being criticized and might add up to bad publicity for your film.
Jumat, 17 November 2017
The History And Success Of Black Women Filmmakers Of Africa And The African Diaspora
It is indeed a wonderful revelation in the history of world cinema that immensely talented women filmmakers of Africa and the African Diaspora are making it really big in innovative filmmaking. Not only are they challenging old cinematic prescriptions, they are also using their superior art of cinema to create and establish new visions of their people and the world. The journey of black women filmmakers began as early as 1922 when Tressie Saunders, a black woman director made the exemplary film 'A Woman's Error'. It was the first attempt of its kind in that era to decolonize the gaze and to ground the film in the black female subjectivity. However, today even after a long history of evocative work, black women directors have had a long, slow path to the director's chair, where only a handful of black woman filmmakers have been able to break through the racial barriers in Hollywood.
But apart from Hollywood, many of the black women from Africa and in the United States have been able to stand out in respect of world cinema. In fact, filmmakers like Julie Dash (originally from New York City) has long ago won the Best Cinematography Award with her much acclaimed film "Daughters of the Dust" at the 1991 Sundance Film Festival. On the other hand, Cheryl Denye from Liberia has received worldwide fame and accolade with her film The 'Watermelon Woman' (1996), which happens to be the first African American lesbian feature film in the history of world cinema. Another woman filmmaker, Safi Faye from Senegal has to her credit several ethnographic films that brought her international acclaim and earned her several awards at the Berlin International Film Festivals in 1976 and 1979. Besides, there are independent black women filmmakers like Salem Mekuria from Ethiopia who produces documentary films focusing on her native Ethiopia and on African American women in general. In 1989, Euzhan Palcy became the first black woman to direct a mainstream Hollywood film, 'A Dry White Season'. In spite of all this success, it is still true that the state of things isn't all that rosy for African American women filmmakers. A documentary named "Sisters in Cinema' by Yvonne Welbon has tried to explore why and how the history of black women behind the camera has been made strangely obscure in all of Hollywood.
"Sisters in Cinema' happens to be the first and a one-of-its-kind documentary in the history of world cinema that attempts to explore the lives and films of inspirational black women filmmakers. To commemorate the success and the colossal achievement of black women filmmakers throughout the ages, a 62-min documentary by Yvonne Welbon named "Sisters in Cinema" came up in 2003. The film attempted to trace the careers of inspiring African American women filmmakers from the early part of the 20th century to today. As the first documentary of its kind, 'Sisters in Cinema' has been regarded by critics as a strong visual history of the contributions of African American women to the film industry. "Sisters in Cinema", they say, has been a seminal work that pays homage to African American women who made history against all racial, social barriers and odds.
While being interviewed, the filmmaker Yvonne Welbon admitted that when she set out to make this documentary, she had barely knew there were any black women filmmakers apart from the African-American director Julie Dash. However, in pursuit of seeking those inspirational directors, she set out to explore the fringes of Hollywood where she discovered a phenomenal film directed by an African American woman Darnell Martin. Apart from that film 'I Like It Like That', she discovered only a handful of films being produced and distributed by African Americans. Thus saying, the monopoly of Hollywood by white filmmakers, producers and distributors inspired her in a way to travel the path of independent filmmaking. Surprisingly, here she uncovers a wide range of really remarkable films directed by an African American woman outside of the Hollywood studio system and thus she found out her sisters in cinema.
Within the 62-hour documentary, the careers, lives and films of inspirational women filmmakers, like Euzhan Palcy, Julie Dash, Darnell Martin, Dianne Houston, Neema Barnette, Cheryl Dunye, Kasi Lemmons and Maya Angelou are showcased, along with rare, in-depth interviews interwoven with film clips, rare archival footage and photographs and production video of the filmmakers at work. Together these images give voice to African American women directors and serve to illuminate a history of the phenomenal success of black women filmmakers in world cinema that has remained hidden for too long.
In recent times, there has been the Eighth Annual African American Women In Cinema Film Festival in New York City in October 2005. It was another remarkable event that showcased exceptional feature and documentary films as well as short films made by African American women filmmakers like Aurora Sarabia, a fourth generation Chicana (Mexican-American) from Stockton, CA, Vera J. Brooks, a Chicago-based producer, Teri Burnette, a socialistic filmmaker, Stephannia F. Cleaton, an award-winning New York City newspaper journalist and the business editor at the Staten Island Advance, Adetoro Makinde, a first generation Nigerian-American director, screenwriter, producer, actress, among others. And in more recent times, from February 5 to March 5, 2007, there has been the celebration of the Black History Month by the Film Society of Lincoln Center & Separate Cinema Archive, in which the center presented "Black Women Behind the Lens".
A seething documentary, "Black Women Behind the Lens" celebrates the uncompromising cinematic labors of love created by a group of brave African-American women. Gifted with rare determination and undaunted spirits, these black women filmmakers were committed to speaking truth to power while offering alternatives to the stereotypical images of black women found in mainstream media. They resorted to Guerilla filmmaking, an artistic rebellion in the face of the long established network of Hollywood and have challenged old cinematic perceptions, using their art to erect new visions of their people, their heritage and their world. Noted theoreticians, sociologists, women writers, directors are saying that it is good to know that women filmmakers of Africa and the African Diaspora are challenging old cinematic prescriptions and creating their own visions in the cinema they love to make.
However, while a significant number of women in Africa and here in the United States have been able to carve out successful careers in filmmaking, the hurdles are particularly daunting. The problem, says Elizabeth Hadley, the chair of Women Studies at Hamilton College in Clinton, N.Y., is not particularly about black women making films, but the issues of marketing, distribution and funding. As a result, the majority of these women are finding money independently and working on shoestring budgets. However, all said and done, it is enough encouraging to know that at least some of these women are daring to decolonize the gaze of Hollywood and to ground their films in black female subjectivity. Any attention or recognition that comes when these women desire to communicate their ideas about black people's history, heritage, with an emphasis on women's experience, must be welcome!
But apart from Hollywood, many of the black women from Africa and in the United States have been able to stand out in respect of world cinema. In fact, filmmakers like Julie Dash (originally from New York City) has long ago won the Best Cinematography Award with her much acclaimed film "Daughters of the Dust" at the 1991 Sundance Film Festival. On the other hand, Cheryl Denye from Liberia has received worldwide fame and accolade with her film The 'Watermelon Woman' (1996), which happens to be the first African American lesbian feature film in the history of world cinema. Another woman filmmaker, Safi Faye from Senegal has to her credit several ethnographic films that brought her international acclaim and earned her several awards at the Berlin International Film Festivals in 1976 and 1979. Besides, there are independent black women filmmakers like Salem Mekuria from Ethiopia who produces documentary films focusing on her native Ethiopia and on African American women in general. In 1989, Euzhan Palcy became the first black woman to direct a mainstream Hollywood film, 'A Dry White Season'. In spite of all this success, it is still true that the state of things isn't all that rosy for African American women filmmakers. A documentary named "Sisters in Cinema' by Yvonne Welbon has tried to explore why and how the history of black women behind the camera has been made strangely obscure in all of Hollywood.
"Sisters in Cinema' happens to be the first and a one-of-its-kind documentary in the history of world cinema that attempts to explore the lives and films of inspirational black women filmmakers. To commemorate the success and the colossal achievement of black women filmmakers throughout the ages, a 62-min documentary by Yvonne Welbon named "Sisters in Cinema" came up in 2003. The film attempted to trace the careers of inspiring African American women filmmakers from the early part of the 20th century to today. As the first documentary of its kind, 'Sisters in Cinema' has been regarded by critics as a strong visual history of the contributions of African American women to the film industry. "Sisters in Cinema", they say, has been a seminal work that pays homage to African American women who made history against all racial, social barriers and odds.
While being interviewed, the filmmaker Yvonne Welbon admitted that when she set out to make this documentary, she had barely knew there were any black women filmmakers apart from the African-American director Julie Dash. However, in pursuit of seeking those inspirational directors, she set out to explore the fringes of Hollywood where she discovered a phenomenal film directed by an African American woman Darnell Martin. Apart from that film 'I Like It Like That', she discovered only a handful of films being produced and distributed by African Americans. Thus saying, the monopoly of Hollywood by white filmmakers, producers and distributors inspired her in a way to travel the path of independent filmmaking. Surprisingly, here she uncovers a wide range of really remarkable films directed by an African American woman outside of the Hollywood studio system and thus she found out her sisters in cinema.
Within the 62-hour documentary, the careers, lives and films of inspirational women filmmakers, like Euzhan Palcy, Julie Dash, Darnell Martin, Dianne Houston, Neema Barnette, Cheryl Dunye, Kasi Lemmons and Maya Angelou are showcased, along with rare, in-depth interviews interwoven with film clips, rare archival footage and photographs and production video of the filmmakers at work. Together these images give voice to African American women directors and serve to illuminate a history of the phenomenal success of black women filmmakers in world cinema that has remained hidden for too long.
In recent times, there has been the Eighth Annual African American Women In Cinema Film Festival in New York City in October 2005. It was another remarkable event that showcased exceptional feature and documentary films as well as short films made by African American women filmmakers like Aurora Sarabia, a fourth generation Chicana (Mexican-American) from Stockton, CA, Vera J. Brooks, a Chicago-based producer, Teri Burnette, a socialistic filmmaker, Stephannia F. Cleaton, an award-winning New York City newspaper journalist and the business editor at the Staten Island Advance, Adetoro Makinde, a first generation Nigerian-American director, screenwriter, producer, actress, among others. And in more recent times, from February 5 to March 5, 2007, there has been the celebration of the Black History Month by the Film Society of Lincoln Center & Separate Cinema Archive, in which the center presented "Black Women Behind the Lens".
A seething documentary, "Black Women Behind the Lens" celebrates the uncompromising cinematic labors of love created by a group of brave African-American women. Gifted with rare determination and undaunted spirits, these black women filmmakers were committed to speaking truth to power while offering alternatives to the stereotypical images of black women found in mainstream media. They resorted to Guerilla filmmaking, an artistic rebellion in the face of the long established network of Hollywood and have challenged old cinematic perceptions, using their art to erect new visions of their people, their heritage and their world. Noted theoreticians, sociologists, women writers, directors are saying that it is good to know that women filmmakers of Africa and the African Diaspora are challenging old cinematic prescriptions and creating their own visions in the cinema they love to make.
However, while a significant number of women in Africa and here in the United States have been able to carve out successful careers in filmmaking, the hurdles are particularly daunting. The problem, says Elizabeth Hadley, the chair of Women Studies at Hamilton College in Clinton, N.Y., is not particularly about black women making films, but the issues of marketing, distribution and funding. As a result, the majority of these women are finding money independently and working on shoestring budgets. However, all said and done, it is enough encouraging to know that at least some of these women are daring to decolonize the gaze of Hollywood and to ground their films in black female subjectivity. Any attention or recognition that comes when these women desire to communicate their ideas about black people's history, heritage, with an emphasis on women's experience, must be welcome!
Jumat, 10 November 2017
The Future of 3D Animation - The Virtual World on Steroids and Life As Simulator
The future of animation is nearly upon us, where you become your own avatar in a virtual world, interacting with characters and becoming one yourself. Let me explain, a few years backy I met an interesting Gentleman at a Coffee Shop, Robert V. Ries, was his name. Bob expressed to me that he felt our life experience was nothing more than a really good simulator which put us into organic bodies to experience the Earthlings Realm and to test our will and strength of character in a variety of situations.
He went on to say that we were interacting with many other is the same simulator. We talked for hours and his theories seemed somewhat far-fetched, although he did go into a long scientific explanation of how this might work. He explained our advancement of Artificial Intelligence, Simulation, Electronic Gaming, as well as modern day movies such as Vanilla Sky, The Matrix and Fight Club. We discussed the Department of Defense's Net-Centric Battlespaces where your targets came up in augmented reality and how your night vision and eye-tracking systems became human brain-mind-eye interfaces with the silicon world in a 4D world where you could see below, beyond and 360 degrees.
He explained paradigms of time, space and mind. Additionally I brought up other concepts which assisted the conversation; concepts of NASA's ten screen Air Traffic Control Simulators, Sci-Fi writer Ben Bova's insights on the future of Mars and space for entertainment tourism, Bill Gate's investment in Six Flags Magic Mountain and DARPA's research with mapping of a human life studying the experiences, emails, movies, conversations and events from birth to death.
The discussion in fact went through all the technologies of simulation from truck driving to first responders. It became apparent to me that even if the life experience was not a simulator, well with the rapidly approaching technology, it certainly could be. We also discussed issues of one in a state of animation where their bodies did not move but they remained in the life simulation event, which they had chosen, and their bodies were flipped over and biometrically watched as to prevent entropy; similar to the movie Coma.
We decided that perhaps it would not be such a bad life as you could chose your dream or simulation, rather than facing a reality. Another thought came out of the conversation which is intriguing and that is the use of a human collective of minds of those who were currently in their simulator. Since many parts of the brain would not be used they would be hooked together at a quantum level to work on problems and being fully exercised while the other parts of the brain were fully engaged in the simulator. In fact we determined by lengthening the dreamtime of the participant we could extend their life by ten fold and still borrow some of their brain capacity while idling the body.
We further surmised that we could use brain in the simulator during their pretend dream times and take them down to 1-5 Hz frequency for super immune healing of the body, blood filtration cleaning and ion-therapy. Meanwhile while operating at such low frequencies the mind would be straddling what we perceive as time. We could then send others into the simulator for brief visits to ask questions of the participant to see how their life simulator was progressing, interact with them and then report back the findings and possible futures that their brains had picked up on.
When the person woke up they would feel younger, be in perfect health, be many years forward in their actual life and then return to society free from psychological issues, health issues and in the future. But who would volunteer for this? Rather who might pay for this. Our thoughts were anyone dying of a disease, anyone who could not cope, anyone who felt that they were living in the wrong time period or anyone who really wanted to experience an extreme in life. Extreme pleasure, adversity or challenge seekers would be worthy candidates, also it would be great for offenders of society or prison rehabilitation as they would be donating brain capacity to the collective for important projects, learn a new lesson, be cured of their disruptive behavior and so on.
Our conversation ended abruptly as he noticed he needed to get to the airport top catch his plane back to the UK, although I had not gotten his email address for further dialogue to continue this conversation, perhaps me passing it on to you may be just as good. Think on this for me.
He went on to say that we were interacting with many other is the same simulator. We talked for hours and his theories seemed somewhat far-fetched, although he did go into a long scientific explanation of how this might work. He explained our advancement of Artificial Intelligence, Simulation, Electronic Gaming, as well as modern day movies such as Vanilla Sky, The Matrix and Fight Club. We discussed the Department of Defense's Net-Centric Battlespaces where your targets came up in augmented reality and how your night vision and eye-tracking systems became human brain-mind-eye interfaces with the silicon world in a 4D world where you could see below, beyond and 360 degrees.
He explained paradigms of time, space and mind. Additionally I brought up other concepts which assisted the conversation; concepts of NASA's ten screen Air Traffic Control Simulators, Sci-Fi writer Ben Bova's insights on the future of Mars and space for entertainment tourism, Bill Gate's investment in Six Flags Magic Mountain and DARPA's research with mapping of a human life studying the experiences, emails, movies, conversations and events from birth to death.
The discussion in fact went through all the technologies of simulation from truck driving to first responders. It became apparent to me that even if the life experience was not a simulator, well with the rapidly approaching technology, it certainly could be. We also discussed issues of one in a state of animation where their bodies did not move but they remained in the life simulation event, which they had chosen, and their bodies were flipped over and biometrically watched as to prevent entropy; similar to the movie Coma.
We decided that perhaps it would not be such a bad life as you could chose your dream or simulation, rather than facing a reality. Another thought came out of the conversation which is intriguing and that is the use of a human collective of minds of those who were currently in their simulator. Since many parts of the brain would not be used they would be hooked together at a quantum level to work on problems and being fully exercised while the other parts of the brain were fully engaged in the simulator. In fact we determined by lengthening the dreamtime of the participant we could extend their life by ten fold and still borrow some of their brain capacity while idling the body.
We further surmised that we could use brain in the simulator during their pretend dream times and take them down to 1-5 Hz frequency for super immune healing of the body, blood filtration cleaning and ion-therapy. Meanwhile while operating at such low frequencies the mind would be straddling what we perceive as time. We could then send others into the simulator for brief visits to ask questions of the participant to see how their life simulator was progressing, interact with them and then report back the findings and possible futures that their brains had picked up on.
When the person woke up they would feel younger, be in perfect health, be many years forward in their actual life and then return to society free from psychological issues, health issues and in the future. But who would volunteer for this? Rather who might pay for this. Our thoughts were anyone dying of a disease, anyone who could not cope, anyone who felt that they were living in the wrong time period or anyone who really wanted to experience an extreme in life. Extreme pleasure, adversity or challenge seekers would be worthy candidates, also it would be great for offenders of society or prison rehabilitation as they would be donating brain capacity to the collective for important projects, learn a new lesson, be cured of their disruptive behavior and so on.
Our conversation ended abruptly as he noticed he needed to get to the airport top catch his plane back to the UK, although I had not gotten his email address for further dialogue to continue this conversation, perhaps me passing it on to you may be just as good. Think on this for me.
Jumat, 03 November 2017
Enjoy the Funny and Cute Animated Famous Cartoon Characters
We all must have fought to watch our favorite cartoon shows and enjoy the funny and cute animated cartoon characters. Today when Hollywood and superstars stature is phenomenal, fictional carton characters too have achieved name, fame and popularity. Various TV channels, programs and films are made on Cartoon characters. They have the long list of kids fan following.
Some of the most widely popular characters, loved by everyone are-
Mickey Mouse:
Mickey Mouse is an iconic Academy Award-winning comic animal cartoon character. He was created in on November 18, 1928 by the Walt Disney. Mickey is the most famous character. And he has appeared in animated cartoons, comic strips, films, toys, clothes and games along with his love interest Minnie.
Donald Duck:
Donald Duck is an animated comic-book character from Walt Disney Productions. Donald appearance is a white duck with yellow-orange bill, legs, and feet. He often wear
sailor shirt, cap, and a red or black bowtie. The main reason behind the Donald's rise to stardom is attributed to his most identifiable voices in all of animation.
Tom and Jerry:
We have all grown up watching the cat-mouse fight between Tom and Jerry. They are an Academy Award-winning animated cat (Tom) and mouse (Jerry). Tom and Jerry is the collaboration that is created, written and directed by animators William Hanna and Joseph Barbera. Hundreds of animations series of Tom and Jerry cartoons were produced by the Metro-Goldwyn-Mayer cartoon studio in Hollywood that were likes and praised by everyone.
Tweety:
Tweety Bird is popularly known also known as Tweety Pie or simply Tweety. It is an Academy Award-winning fictional character in the Warner Bros. Tweety's popularity rose high like that of The Tasmanian Devil, following the dissolution of the Looney Tunes cartoons. Today, Tweety is counted, along with Taz and Bugs Bunny, among the most popular of the Looney Tunes characters. Tweety is a yellow colored small bird and instead widespread speculation that Tweety was female; it is always a male character. He is by everyone for his cute appearance.
Garfield:
Garfield is a comic strip created by Jim Davis featuring Garfield the cat. The popularity of the strip led to an animated television series and films On Garfield including a large amount of merchandise.
Superman:
Superman is a superhuman fictional character. He is regarded as the most influential and popular superhero of DC Comics. Superman was created by the Canadian-born artist Joe Shuster and American writer Jerry Siegel in 1932 and was sold to the Detective Comics, Inc. in 1938. The Superman first appeared in the Action Comics. Later it appeared in various radio serials, television programs, newspaper strips, and video games. A series of big budgeted Superman movies have been made by the Hollywood giants.
Some of the most widely popular characters, loved by everyone are-
Mickey Mouse:
Mickey Mouse is an iconic Academy Award-winning comic animal cartoon character. He was created in on November 18, 1928 by the Walt Disney. Mickey is the most famous character. And he has appeared in animated cartoons, comic strips, films, toys, clothes and games along with his love interest Minnie.
Donald Duck:
Donald Duck is an animated comic-book character from Walt Disney Productions. Donald appearance is a white duck with yellow-orange bill, legs, and feet. He often wear
sailor shirt, cap, and a red or black bowtie. The main reason behind the Donald's rise to stardom is attributed to his most identifiable voices in all of animation.
Tom and Jerry:
We have all grown up watching the cat-mouse fight between Tom and Jerry. They are an Academy Award-winning animated cat (Tom) and mouse (Jerry). Tom and Jerry is the collaboration that is created, written and directed by animators William Hanna and Joseph Barbera. Hundreds of animations series of Tom and Jerry cartoons were produced by the Metro-Goldwyn-Mayer cartoon studio in Hollywood that were likes and praised by everyone.
Tweety:
Tweety Bird is popularly known also known as Tweety Pie or simply Tweety. It is an Academy Award-winning fictional character in the Warner Bros. Tweety's popularity rose high like that of The Tasmanian Devil, following the dissolution of the Looney Tunes cartoons. Today, Tweety is counted, along with Taz and Bugs Bunny, among the most popular of the Looney Tunes characters. Tweety is a yellow colored small bird and instead widespread speculation that Tweety was female; it is always a male character. He is by everyone for his cute appearance.
Garfield:
Garfield is a comic strip created by Jim Davis featuring Garfield the cat. The popularity of the strip led to an animated television series and films On Garfield including a large amount of merchandise.
Superman:
Superman is a superhuman fictional character. He is regarded as the most influential and popular superhero of DC Comics. Superman was created by the Canadian-born artist Joe Shuster and American writer Jerry Siegel in 1932 and was sold to the Detective Comics, Inc. in 1938. The Superman first appeared in the Action Comics. Later it appeared in various radio serials, television programs, newspaper strips, and video games. A series of big budgeted Superman movies have been made by the Hollywood giants.
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