Relevant bibliographies by topics / Hanna-Barbera Productions

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Academic literature on the topic 'Hanna-Barbera Productions'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Hanna-Barbera Productions"

1

Sullivan, Patrick. "Hanna-Barbera’s Cacophony: Sound Effects and the Production of Movement." Animation 16, no. 1-2 (2021): 21–35. http://dx.doi.org/10.1177/17468477211025660.

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Zaps, crashes, boinks, and bangs flooded TV’s airwaves with the rise of Hanna-Barbera Productions at the end of the 1950s, and these sound effects have been heard ever since. Hanna-Barbera Productions created and proliferated one of the most recognizable collections of sounds in television and animation history. This article traces the formation of Hanna-Barbera’s library of sound effects and how these sound effects operate within the studio’s cartoons. Motored by television’s demanding production schedule and restrictive budgets, Hanna-Barbera persistently recycled its sound effects across ep
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2

Kornatsky, Nikolay N. "Disney studio in 1975: Fyodor Khitruk reports." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 146–66. http://dx.doi.org/10.35852/2588-0144-2023-1-146-166.

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For the first time, the article introduces Fyodor Khitruk’s report about his business trip to the USA in the autumn of 1975. In this document from RGALI, a well-known Soviet director tells in detail about his work on the jury of the 3rd New York Animation Festival (among the winners of the festival was Yuri Norstein’s animated film, The Heron and the Crane), as well as visiting the studios — Walt Disney Productions and Hanna-Barbera. A significant part of the document is devoted to the analysis of a production organization — this issue was of particular interest to Soviet animators, who at tha
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3

Squires, Richard. "Doozy deconstructed: Paul Lynde’s voicing of Hanna Barbera’s animated villains." Animation Practice, Process & Production 9, no. 1 (2020): 117–30. http://dx.doi.org/10.1386/ap3_000020_1.

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‘Doozy deconstructed’ documents the research and animation production processes of artist-filmmaker Richard Squires’s debut feature Doozy. Part creative documentary, part essay film, the work utilizes a number of distinct techniques to interrogate the voice casting of American actor Paul Lynde as a series of Hanna Barbera villains in the late 1960s: an animated anti-hero Clovis ‐ designed by Squires and animated by Elroy Simmons ‐ who re-enacts alleged episodes in the life of the actor; a curious game show featuring specialist opinions from the worlds of animation, neurology, history and crimi
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4

Sullivan, Patrick. "Sound in Hanna-Barbera." Special Issue: Scholarship in Sound & Image Workshop 5, no. 3 (2018). http://dx.doi.org/10.16995/intransition.11337.

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This video essay addresses the sonic register of Hanna-Barbera Productions’ animation. Sound was central to Hanna-Barbera’s animation process, yet this centrality of sound—particularly in the construction of movement—has led to both industrial and academic disparage and neglect. Against this neglect, this video essay illustrates Hanna-Barbera’s sound, offering an experience of the studio’s aural and visual style.
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5

KARAŞAHİNOĞLU, Şadi, and Ahmet DÖNMEZ. "ANİMASYON YAPIMLARDA GÖRSEL KİMLİK TASARIMI: BATMAN SERİSİ ÖRNEĞİ (1992-1995)." Turkish Online Journal of Design Art and Communication, March 9, 2024. http://dx.doi.org/10.7456/tojdac.1419402.

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Animated series for television have a long history. The first animation experiments began with short cartoons produced for the cinema in the 1920s and 1930s. However, it took a little longer for animation to become widespread and popular in the television environment. The 1950s and 1960s were the periods when animation became widespread on the television platform as television entered homes. During this period, Walt Disney, Warner Bros. Studios such as Hanna-Barbera and Hanna-Barbera began to present various animated series to television audiences; Especially the series produced by the Hanna-B
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6

Ristola, Jacqueline. "“Every Time I Move My Arm, it Costs the Cartoon Network 42 Bucks”: Remixing Limited Animation in Space Ghost: Coast to Coast." Television & New Media, September 19, 2024. http://dx.doi.org/10.1177/15274764241280636.

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This article examines how media production is shaped under media conglomeration through a close analysis of Space Ghost: Coast to Coast (1994–2008), arguing that animation evinces the corporate strategy of archive reuse through its esthetics. It compares how the limited animation of Hanna-Barbera Productions transformed in the shift to cable and greater media conglomeration under Turner Broadcasting System. Using a thick description of the production process, the chapter illustrates how Cartoon Network programmers remixed the corporate archive to create Space Ghost: Coast to Coast. Through thi
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Dissertations / Theses on the topic "Hanna-Barbera Productions"

1

Ruscelli, Mariana, Natalia Agustina Suárez, and Valeria Marisel Tolaba. "Lo que creías." Bachelor's thesis, 2019. http://hdl.handle.net/11086/17264.

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Nuestro interés por realizar este proyecto surge del punto en común que compartimos las tres, de haber crecido viendo dibujos animados de la televisión, los que eran característicos de la época dorada de la animación norteamericana, tales como “Looney Tunes”, “Tom y Jerry” o “Los Picapiedras”. Esto nos impulsó a investigar sobre la estética y la técnica de la animación limitada utilizada en esa época. El ritmo de Chuck Jones para la comedia y los fondos coloridos y minimalistas, basados en la estética de UPA, nos inspiraron para escribir el cortometraje “Lo que creías”. Junto a ello, encontra
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Books on the topic "Hanna-Barbera Productions"

1

Rozakis, Laurie. Bill Hanna & Joe Barbera: Yabba-dabba-doo! Blackbirch Press, 1994.

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2

Gasperetti, Marco P. Hanna-Barbera: I personaggi e le avventure dello studio che ha fatto la storia dell'animazione televisiva. NPE, 2017.

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3

Swanigan, Michael A. Hanna-Barbera's world of super adventure. JA-RA Publications, 1991.

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