1. Jerry Beck, I Tawt I Taw a Puddy Tat (New York: Holt, 1991), p. 38.
2. The San Francisco Chronicle ran several stories about this case, including "Mighty Mouse Accused of Snorting Cocaine," July 14, 1988; "Mighty Mouse Charges Denied" (no date available); and "Mighty Mouse Cartoon Sliced," July 26, 1988. The paper also ran a humorous column by John Carmen titled "Mighty Moral About a Mouse" on June 14, 1988.
1. Walt in Wonderland, published in Italy in 1992, is by Russell Merritt and J.B. Kaufman. Merritt showed the uncensored print at a special screening at the Castro Theater in San Francisco on May 8, 1993. Information about the print being censored does not appear in his book.
2. Kenneth Macgowan, Behind the Screen (New York: Delta, 1965), p. 350.
3. Roger Manvell, Film (London: Pelican, 1944), pp. 171-172. When Hays retired from the MPPDA in 1945, Eric Johnson replaced him. Johnson was paid $150,000 a year plus $50,000 for expenses.
4. Macgowan, Behind the Screen, p. 352.
5. Richard Randall, Censorship of the Movies (Madison: University of Wisconsin Press, 1968, 1970), pp. 180-181.
6. The text of Don'ts and Be Carefuls is printed in the appendix of Gerald Gardner, The Censorship Papers (New York: Dodd, Mead, 1987), pp. 213-214. The Hays Office also kept a list of books and plays that should not be turned into films.
7. Leslie Carbarga, who wrote The Fleischer Story (New York: Nostalgia, 1976), discussed this subject more than once when he lived in San Francisco in the 1970s. Hippies used to ask him what made the Fleischer cartoons so cool, and similar questions. I've asked Shamus Culhane and Myron Waldman about what the animators and writers consumed, and both said alcohol.
8. Undated letter to the author, possibly 1992. In his autobiography Talking Animals and Other People (p. 52), Culhane wrote, "It was probably my best animation of Betty Boop."
9. Culhane, Talking Animals, pp. 52-53. He once confirmed this information when we talked over the phone.
10. Telephone interview, November 11, 1992.
11. Gardner, The Censorship Papers, p. XVI. The text of the 1930 code is in the book on pages 207-212. It was also printed in annual film industry publications, including the International Motion Picture Almanac. See also Macgowan, Behind the Screen, p. 356.
12. Macgowan, Behind the Screen, pp. 358-359.
13. Macgowan, Behind the Screen, pp. 357-359. Also Roger Manvell, Film, p. 172.
14. Telephone interview, November 11, 1992.
15. Personal conversation with Richard Fleischer on October 16, 1993. I also heard him talk about the studio and the changes that occurred when he was interviewed on the program Fresh Air on National Public Radio, July 21, 1993.
16. This version of the story was told to Leonard Kohl and was printed in his article "1933-1942 Popeye, The Fleischer/Paramount Studios Popeye Cartoons," installment 12 in Popeye, the Official Popeye Fanclub News-Magazine, vol. 6, no. 2 (spring 1995), p. 5. An almost identical version of the story was told to Mark Langer. His version was published in "Sixty Years of Censorship," ASIFA CANADA, vol. 22, no. 2 (December 1994), pp. 16-17.
17. Telephone conversation with Michael Dobbs, August 1992. Dobbs is the editor of Animato! and an authority on Fleischer.
18. Telephone interviews, November 11, 1992, and July 14, 1996.
19. Barbara Hall, Oral History: Albert van Schmus. The interview took place in September 1992. An unpublished transcript is housed in the Academy of Motion Pictures Arts and Sciences Library. Van Schmus's remarks about cartoon violence came from pages 157-158.
20. The supposed financial failure of the Fleischers' second feature, Mr. Bugs Goes to Town (1941), is sometimes said to be the reason the brothers were terminated. This may not be the case as the film was released only a few days before Fleischer employees were notified by Paramount that their new contracts would be with Famous Studios and not with the Fleischers. Since the film was released just before Paramount ended its relationship with Max and Dave Fleischer, the plans on how to do this were probably formulated earlier. Perhaps Paramount decided to implement its plans if the feature was not an immediate hit. The reviews were mixed, and Paramount did not do much to promote the film. In some cities it was released as the second film on double-bill programs.
When Leslie Cabarga wrote The Fleischer Story (1976) he was told several rumors about the demise of the studio, including that the brothers had been fighting with each other for years and by 1941 they were no longer talking to each other. Another possible reason for their leaving could have been Paramount's doubts about the Fleischers' ability to make a profit in the future. Paramount was probably concerned about something that Disney had discovered: Animated features could not make a profit without a strong overseas market, and World War II had put an end to that market. The Fleis-chers' overhead was geared toward the production of features, and it must have been a liability to Paramount if the studio had no further plans to produce long animated films.
21. The New York Times, November 16, 1930; Time, February 16, 1931; Harry Carr, "The Only Unpaid Movie Star," American Magazine, March 1931, p. 125. The clippings mentioned are from the research files of Russell Merritt. Mark Kausler identified the film as The Shindig.
22. Joe Grant answered a few questions at the opening of an exhibit of art from Snow White at the Cartoon Art Museum in San Francisco, June 30, 1993. Information about the Dog Napper comes from J. B. Kaufman, co-author of Walt in Wonderland.
23. Letter to the author, August 6, 1993.
24. Letter to the author, August 6, 1993.
25. Leonard Maltin, Of Mice and Magic (New York: Plume, 1980), p. 178.
26. This censorship demand resurfaced in the 1960s when a group of students from the University of California at Berkeley decided to put clothing on dogs to hide their private parts. The demonstrations by the Society for Indecency to Naked Animals (SINA), headed by G. Clifford Prout, Jr., were taken seriously, and news about the movement was carried by television, magazines and newspapers. Prout appeared on the Tonight Show, the Today Show and other shows. "Prout" turned out to be comedy writer Buck Henry, and Alan Abel, who created the hoax, finally revealed to the press that they had been fooled. Detailed articles about the hoax appear in Candice Jacobson Fuhrman's Publicity Stunt! (San Francisco: Chronicle, 1989), pp. 71-73, and in Andrea Juno and V. Vale, Re/Search #11: Pranks! (San Francisco: Re/Search, 1988), pp. 103-109.
27. "Hollywood Censors Its Animated Cartoons," Look, January 17, 1939, pp. 18-21. The article did not identify the film the Mussolini illustration came from.
28. This information comes from Russell Merritt. It was reported in the New York Times, February 24, 1931, in an article titled "Danes Ban Mickey Mouse." The story from Canada was reported in Time, February 16, 1931. The film was not identified.
29. This information come from Gene Walz and was told to the author at a Society for Animation Studies Conference, probably the CAL Arts conference in 1992.
30. Jim Korkis and John Cawley, Cartoon Confidential (Westlake Village, Calif.: Malibu Graphics, 1991), p. 32.
31. The Hays Office Snow White file at the Academy Library is mostly full of routine information, but it does contain information about the film's rating in England. The Associated Press article is dated February 16, 1938. Breen denied the AP story.
32. Robin Allen's comments came from his visit to San Francisco as the guest of ASIFA-SF in August 1994.
33. Roger Manvell, Film and the Public (Baltimore: Pelican, 1955), p. 244.
34. Hall, Oral History: Albert van Schmus, pp. 157-158.
35. Mark Kausler provided the information about the Araucan bird.
36. Maltin, Of Mice and Magic, p. 178. The name of the cartoon is not given.
37. When interviewed for Funnyworld (no. 12, 1971, and no. 14, 1972), Clampett took much credit for creating Bugs Bunny, Daffy Duck and other characters and cartoons distributed by Warners. Warners director Chuck Jones apparently was deeply upset with the Clampett articles and commented on Clampett's claims in a long letter that he sent to Tex Avery in 1975. Avery sent back a copy of the letter to Jones with his comments on the matter in the margins. Avery agrees that Clampett had misappropriated credit belonging to others. Copies of this letter have been circulating underground among animation fans for years.
38. Joe Adamson, Tex Avery: King of Cartoons (New York: Popular Library, 1975), pp. 182-184.
39. Adamson, Tex Avery, p. 167.
40. Adamson, Tex Avery, p. 182.
41. Preston Blair discussed the film at length in a telephone interview on October 19, 1992.
42. Hollywood Reporter, August 5, 1936.
43. Telephone conversation with Littlejohn, April 1996. Paul Mular has seen both films and says these shorts include racist material. Mark Kausler remembers them being shown on television.
44. Telephone interview, May 1995.
45. Note to the author from Mark Kausler, July 1996. On September 13, 1996, Kausler described the image of Sally-Lou. He said she walks across the room to get the mail and is topless. Her arm is positioned so we do not see her nipples, but it is obvious she has good-sized breasts.
46. Kimball answered two or three questions at an opening of an exhibit of Disney animation art at the Cartoon Art Museum in San Francisco, June 30, 1993.
47. Pitts sent the author extensive notes about his research on October 6, 1993. We also discussed his research on the phone in 1993 and 1996.
48. The mention of love spots was noted in a column by Herb Caen in the San Francisco Chronicle about 1994. Jerry Beck pointed out the words in Book Revue. The scene is illustrated in his book The 50 Greatest Cartoons (Atlanta: Turner, 1994), p. 171.
49. Randall, Censorship of the Movies, pp. 27-50. The Miracle was a 40-minute section of a trilogy of shorts. The feature-length package was titled Ways of Love.
50. Story related by Ben Sharpsteen's son at the opening of a Disney animation art exhibit at the Cartoon Art Museum in San Francisco, June 30, 1993.
51. Remarks by Thomas and Johnston at the opening of the Disney exhibit at San Francisco's Cartoon Art Museum on June 30, 1993. Disney's "Nine Old Men" were Thomas, Johnston, Less Clark, John Lounsberry, Milt Kahl, Wolfgang "Wollie" Reitherman, Eric Larson, Marc Davis and Ward Kimball.
52. Remarks by Ken O'Connor at the opening of the Disney exhibit at San Francisco's Cartoon Art Museum, June 30, 1993.
53. Telephone interview, July 9, 1993.
54. Telephone interview, July 19, 1993.
1. John Altyn, "African Americans in Cartoons: A Misunderstood Legacy," In Toon! Winter - Spring 1993, pp. 10-11.
2. Dewey McGuire, "The Racial Stereotype in Animation: Tin Pan Alley Cats," McBoing Boing's, August, 1995, p. 13.
3. Shamus Culhane, Talking Animals and Other People (New York: St. Martin's, 1986), pp. 41-43 and 50-54.
4. Telephone interview, November 11, 1992.
5. Remarks by Joe Adamson at the Academy of Motion Picture Arts and Sciences library in Los Angeles in 1991.
6. Lantz collection, UCLA Research Library, box 46-3.
7. TV Guide, January 4, 1958. The article is mentioned in Glenn C. Altschuler and David Grossvogel, Changing Channels (Urbana: University of Illinois Press, 1992), p. 25.
8. Undated letter to the author, ca. 1991.
9. Telephone interview, August 18, 1995.
10. Telephone interview, August 19, 1995.
11. Information about the last black cartoons comes from several animation collectors and scholars. Among those asked were Joe Adamson, Jerry Beck, Paul Etcheverry, Jere Guldin, Mark Kausler, Paul Mular and Lory Ringuette.
12. Chuck Jones was interviewed by phone September 8, 1995. He said Manny Farber (?) wrote an article about 1941 that mentioned Inki was not a racial stereotype and that Jones had depicted him as a real child.
13. Remarks from an interview of Chuck Jones by David Williams, related to author in conversation on October 1, 1995.
14. Paul Mular, telephone interview, October 10, 1995.
15. Telephone interview, November 4, 1995.
16. Sondra Gorney, "The Puppet and the Moppet," The Hollywood Quarterly, July 1946.
17. Ebony, January 1947.
18. Richard Pursel, "Bob Baker: Puppetoon Animator and Puppet Master," Wild Cartoon Kingdom, spring 1994.
19. New York Times, November 28, 1946.
20. New York Times, December 24, 1946, p. 12.
21. Variety, December 4, 1946.
22. New York Times, December 14, 1946, p. 18.
23. Ebony, February 1947, pp. 36-37.
24. History of the Academy Award Winners (New York: Ace, 1973), p. 95.
25. Variety, December 4, 1946.
26. Rapf was interviewed by phone several times in 1993 and 1995 and in person in September 1995.
27. Remark by Rapf at the 1995 Society for Animation Studies Conference, Greensboro, N.C.
28. Ebony, February 1947.
29. Peoples' Voice, January 25, 1945.
30. The box office reports were printed each week in Variety. The December 4, 1946, issue, p. 11, mentioned the first week record of $52,000 and subsequent issues reported the gross as follows: December 11, p. 13, $36,000; December 18, p. 19, $30,000; December 25, p. 18, $21,000; January 1, p. 11, $50,000. The film's gross from 1946 was mentioned in Variety, March 10, 1972. The Hollywood Reporter, March 10, 1972, mentioned the 1972 gross. The cost of the production was mentioned in a Los Angeles County Museum press release for the 1986 screening of the film.
31. Lisa Adler, "Group Protests Showing of Film at Venice Theater," The Evening Outlook, January 21, 1981.
32. Telephone interview, 1991.
33. Letter to the author from David Smith, Walt Disney Archives, March 19, 1996. The film has never been released on videotape, but it is available on a laser disc imported from Japan.
34. Among the articles on female roles in Disney films are "Babes in Toonland" by Sarah Boxer, New York Times, date unknown (summer 1995?); "Beauties of the Beast" by David Kronke, Los Angeles Times, June 23, 1995; and "Where Have All the Mothers Gone? They're Dead or Missing in This Year's Films for Kids" by Judith Gaines, Boston Globe (reprinted in the San Francisco Examiner's Datebook, August 13, 1995). One of the most outspoken articles has been "The Smurfette Principle" by Katha Pollitt, New York Times Magazine, March 7, 1991.
35. Donald Bogle, Toms, Coons, Mulattoes, Mammies and Bucks (New York: Continuum, 1993), p. 136.
36. "A Compilation of Lopped, Cropped or Chopped Cartoons," Persistence of Vision, 1995, Internet posting.
37. Telephone interview, August 12, 1995. Canemaker has a copy of the script and artwork from the "Pastoral Symphony" segment of Fantasia. Less detailed information about the cuts and the reason for them can be found in. The Encyclopedia of Walt Disney's Animated Characters. Jeanette Thomas made her remark about the hoof-polishing sequence at an opening at San Francisco's Cartoon Art Museum, June 30, 1993. Further information comes from a letter to the author from Disney archivist David Smith dated August 6, 1993. He says the uncut sequence was shown on television in 1966, so he assumes the cuts were made after that and before the 1969 reissue.
38. Washington Post, November 10, 1940. The article includes a photo of Disney drawing Donald Duck.
39. Patricia A. Turner, Ceramic Uncles and Celluloid Mammies (New York: Anchor, 1994), pp. 122-123. See also Melvin Patrick Ely, The Adventures of Amos 'n' Andy: A Social History of an American Phenomenon (New York: Free Press, 1991), pp. 213-240.
40. Nathan Belth, A Promise to Keep (New York: Times Books, 1979), p. 50.
41. Telephone interview with Myron Waldman, July 14, 1996.
42. From discussions with Janis Plotkin, co-director of the Jewish Film Festival in San Francisco; Lester Friedman of Syracuse University, Media Studies Department; Joan Cohen, film researcher, Hollywood; and Jeff Ross of the Anti-Defamation League, New York City. Maurice Rapf 's comments come from his unpublished manuscript Back Lot- Growing Up with the Movies. Patricia Erens's comments come from The Jew in American Cinema (Bloomington: Indiana University Press, 1984).
43. Sam Singer was interviewed in his home in April 1996. Singer's animated work for television includes Paddy the Pelican, 1957; The Adventures of Pow-Wow for Captain Kangaroo, 1957-1960; Bucky and Pepito, 1958; Courageous Cat, 1960; and Sinbad the Sailor, 1965. He also worked on several live-action shows.
There is also talk that Walt Disney was pro-Nazi. According to a review of Carsten Laqua's Wie Micky unter die Nazis fiel (Hamburg: Rowolt Taschenbuch Verlag, 1992), Walt and Roy Disney visited Germany about 1937 to collect more than 135,000 reichs-marks owed them by German distributors. At the time there was a ban on exporting German money for anything except military commodities and raw materials for the war effort. The brothers were not successful in collecting their money. It is hard to believe that anybody owed a large sum of money by the Third Reich would be very sympathetic toward Hitler. The vehement anti-German propaganda produced by Disney during World War II suggests that any positive feelings the man might have had toward Nazi Germany in the 1930s had long been replaced with hatred. The review of this book was written by Gene Walz and appeared in the Society for Animation Studies Newsletter, March-April 1993, pp. 1-2.
44. Belth, A Promise to Keep, p. 238. The book says the film was Snow White; however, Mark Kausler points out that the prince's horse in that film had no name and Prince Phillip's horse in Sleeping Beauty was named Sampson, so the Syrians must have been objecting to Sleeping Beauty.
45. "Disney Denies 'Aladdin' Lyrics Contain Arab Slurs," San Francisco Chronicle, May 21, 1993, p. C3; David Fox, "Disney Will Alter Song in 'Aladdin,' Los Angeles Times, July 1993; "A Politically Correct Mideast," Inbetweener, September 1993, p. 5.
46. Telephone conversation, July 1996.
1. Magnuson was interviewed by phone on November 30, 1995. We first discussed the film's history when we met several times in the 1980s.
2. Telephone conversation, spring 1995.
3. Telephone conversation, July 17, 1996. Since then Hale has gone over this discussion of his work and has made additions to it (August 1996).
4. Telephone conversation, 1995.
5. Most of the biographical material about Bakshi and general information on Fritz the Cat comes from "Fritz the Cat, America's First X-Rated Cartoon," Ramparts, March 1972, and from Howard Beckerman, "Fritz the Cat: See Fritz Run," Filmmakers' Newsletter, vol. 5, no. 12 (October 1972), pp. 27-31.
6. "Fritz the Cat, America's First X-Rated Cartoon."
7. "Fritz the Cat, America's First X-Rated Cartoon," p. 43.
8. "Fritz the Cat, America's First X-Rated Cartoon," p. 45.
9. New York Times, April 30, 1972.
10. Wall Street Journal, May 19, 1972; The Hollywood Reporter, March 31, 1972; and Newsweek, May 15, 1972.
11. New York Times, April 26, 1972, p. 53; Variety May 10, 1972. Variety also noted the sex scenes were in black and white line drawings and that the bare-breasted women were not arousing. Jerry Beck is the person who told me about the existence of this film. Fred Patten, a scholar of Japanese animation, was interviewed September 14, 1996, and said Dr. Tezuka was insulted that his film was sold as a sex cartoon. It was a naughty intellectual work for adults, just as Playboy is seen as an intellectual product while other girlie magazines are raw sex. Patten says it was not a blatant sex film and that it is too intellectual and cute for contemporary fans of Japanese animation. He says it did not do well at the box office in either the United States or Japan.
12. Hollywood Reporter, October 24, 1972, and October 24, 1973. The Perfect Vision, fall 1993, p. 106, mentions the sum of $850,000. Patrick McGilligan, "A Talk with Ralph Bakshi" in Danny Perry and Gerald Perry, The American Animated Cartoon (New York: Dutton, 1980, pp. 269-279), mentions the sum of $700,000 on p. 272.
13. Hollywood Reporter, no date on article by Ron Pennington. The article was found in a clipping file at the Academy of Motion Picture Arts and Sciences in Los Angeles.
14. Variety, October 11, 1972.
15. Letter to the author from Mark Kausler, August 19, 1966. He went on to say that the ignition key imagery was used in the first version of Dirty Duck (when the film was called Cheap) and that Chuck Swenson got away with using it. He is not sure if the scene remained in the final version of the film.
16. Newsweek, August 27, 1973.
17. New York Times, August 9, 1973; Hollywood Reporter, undated clipping found in a file at the Academy Library.
18. Variety, December 19, 1973.
19. From the film's press kit.
20. Perry and Perry, The American Animated Cartoon, pp. 274-275.
21. Village Voice, August 17, 1982.
22. Los Angeles Times, June 8, 1975.
23. From a conversation with Jerry Beck in 1991.
24. "Paramount Turns Back Release on Coonskin," Hollywood Reporter, March 18, 1975.
25. Variety, January 15, 1975.
26. Greg Kilday, "The Feedback from 'Coonskin,'" Los Angeles Times, June 8, 1975.
27. Hollywood Reporter, May 9, 1975.
28. Carol Cooper, "Coroner's Inquest into the Killing of Coonskin," Village Voice, August 17, 1982, p. 33.
29. Donald Bogle, Blacks in American Film and Television (New York: Garland, 1988), pp. 65-66.
30. Village Voice, August 22, 1975.
31. New York Times, August 24, 1975.
32. Hollywood Reporter, August 8, 1975.
33. Wall Street Journal, August 11, 1975.
34. Playboy, no date on the clipping at the academy's library in Los Angeles; Newsweek, August 18, 1975; Variety, August 13, 1975.
35. Los Angeles Herald Examiner, August 20, 1975.
36. Variety, October 8, 1975.
37. Village Voice, August 17, 1982, pp. 33-35.
38. From a telephone conversation July 24, 1996, and a talk Swenson gave in the early 1980s. He has read and approved the section of this book concerning his work.
39. Mindrot, no. 8, p. 32.
40. Playboy, August 1977.
41. Variety, July 17, 1974.
42. Los Angeles Times, January 28, 1981.
43. New York Times, September 22, 1977.
44. Village Voice, September 26, 1977.
45. Edward de Grazia and Roger K. Newman, Banned Films (New York: Bowker, 1982), pp. 357-359.
46. Variety, July 19, 1972.
47. The information about the film in 1974 and 1975 comes from a Variety article dated December 15, 1976, that discusses the film's early history. Other information comes from Daily Variety, March 7, 1979, and from talks with Stuart S. Shapiro. We talked in July 1996 by phone, and he reviewed and approved the section on Tarzoon for accuracy.
48. Telephone interview with Edwin Heaven, July 1996.
49. New York Times, September 14, 1979.
50. Village Voice, September 24, 1979.
51. Variety, November 5, 1980.
52. Jayne Pilling, a British scholar and film programmer, was the first person to tell me about Bartosch's problems. Good discussions of L'Idee can be found in Robert Russett and Cecile Starr, Experimental Animation (New York: Reinhold,1976), pp. 83-89; and in Giannalberto Bendazzi, Cartoons (London: John Libby; Bloomington: University of Indiana Press, 1994), pp. 38-40.
53. From a conversation with Elfrede Fischinger at the October 1992 Society for Animation Studies conference at CAL Arts.
54. Film Culture, nos. 58-60 (1974), p. 56.
55. Maynard Collins, Norman McLaren (Ottawa: Canadian Film Institute, 1976), p. 26.
56. The uncensored version of Neighbors is available on the videotape Selected Films: Norman McLaren from the National Film Board of Canada.
57. Klaus Wishnewski was interviewed after he gave a talk about his film festival at Film Arts Foundation in San Francisco on March 21, 1995.
58. Letter to the author February 12, 1993.
59. Interview with Keith Griffith, San Francisco International Film Festival, April 1988.
60. Interview with Griffith, San Francisco International Film Festival, April 1989. The 1988 and 1989 interviews with Griffith were the basis for articles that appeared in Animation Magazine. Griffith reviewed the articles as they were being written and made extensive additions to them.
61. Most of the information concerning the content of Sunbeam comes from a long letter to the author from Irene Kotlarz dated January 20, 1996. Kotlarz has worked closely with Vester for many years.
62. Dr. Lindvall's unpublished paper Darker Shades of Animation: African-American Images in the Animated Film was delivered on October 1, 1995, at the Society of Animation Studies Conference in Greensboro, North Carolina.
63. Letter to the author, January 20, 1996.
64. Interview with Dan McLaughlin, October, 1992. McLaughlin has since read and approved for accuracy the portion of this book concerning him.
65. I first saw the series when I introduced Sybil Del Gaudio before the videos were shown at the Oakland Film and Video Festival in 1994. We have talked about the success and problems of the series many times since then, and she has reviewed the material I have written about her. I believe these are important film history documents and hope they do not become lost and forgotten programs.
66. Joanna Priestley was interviewed at the Society for Animation Studies Conference at CAL Arts in 1992.
67. The event was reported by Niels Plaschke in Storyboard, Nordic Newsletter on Animation, no. 1, 1994.
68. San Francisco Chronicle, July 15, 1988.
69. San Francisco Examiner, July 15, 1988.
70. Craig Decker was interviewed at length about the company's history for an obituary I wrote about Mike Gribble in 1994. We also talk about what he is doing each year when he comes to San Francisco, and once or twice a year by phone.
71. Los Angeles Times, January 31, 1991.
72. This paragraph is based on comments by Mark Kausler and Guy Cables.
73. Telephone interview, July 1996.
74. Telephone interview, July 1996.
75. Daily Variety, March 16, 1994, mentions that the article first broke in the weekly edition of Variety. The news was carried in the San Francisco Chronicle, March 17, 1994, as an Associated Press story.
76. "Southern Baptists Call for Boycott of Disney," San Francisco Chronicle, June 13, 1996, p. A2.
77. The vote to boycott Disney was the subject of several news stories in San Francisco, including a June 17 editorial in the Chronicle called "Mickey Mouse Hypocrisy." Local and national news on radio and television carried information about the story. Since then other groups have joined the boycott, including the Pentecostal Assemblies of God, representing 2.5 million members (San Francisco Chronicle, August 15, 1996, p. A4). The 1995 vote to boycott Disney was the subject of an American Family Association press release dated November 16, 1995. It reads, "AFA Supports Baptists' Disney Boycott. Tupelo, MS: AFA is endorsing the boycott of the Walt Disney Company's theme parks and products. The boycott was called by the Florida Baptist State Convention at their annual gathering this week." It goes on to explain their objections to Disney and quotes Rev. Donald Wildmon as saying, "We hope the entire Southern Baptist Convention will get behind the boycott and let American families know that they can no longer trust Disney to provide wholesome family entertainment." It explains that the larger convention will meet in June 1996 in New Orleans. While Wildmon ran news of his support of the boycott in his AFA Journal in the January 1996 issue (and later issues), it did not become a major national news story until June 1996.
78. Mother Jones, November/December 1992; People for the American Way, Donald E. Wildmon and the American Family Association, research paper published in March 1991.
79. The End Times, April 1995, pp. 1, 10, 11.
80. Eliot said in radio interviews and in the June 15, 1993, article he wrote for the Enquirer that Disney was promoted to full Special Agent in Charge (SAC) status on December 16, 1954. Actually, the December date was when the request was made to designate Disney an SAC-Contact.The request was approved on January 12, 1955. This is a minor point, but it again indicates Eliot's sloppy scholarship.
81. Peter Doty (aka Dwayne Newtron) and Nancy Phelps (aka Gardenia Gorlick) were interviewed for information about this series of events. Doty, who organized the event, shared his extensive file of press releases and newspaper clippings in May 1996. Phelps, who headed Dieters United, provided her perspective on the events in a phone interview conducted in April 1996.
82. Jesse Birnbaum, "Crybabies: Eternal Victims," Time, August 12, 1991, pp. 16-18.
83. The column was titled "Your Chance to Censor a Column."
1. Copies of this publication are found in many film and television yearbooks, including the Motion Picture and Television Almanac (New York: Quigley, annual).
2. The history of this case is covered in detail in Supreme Court Reporter, vol. 98A, pp. 3026-3056 (St. Paul, Minnesota: West, 1980). The case is cited as 98 Supreme Court 3028. While newspapers in 1978 concentrated their coverage on the banning of the seven words, the real importance of the case is its establishing the need for the industry to censor itself.
3. Most or all of the Hollywood Reporter article is reprinted in Leonard Maltin, Of Mice and Magic (New York: Plume, 1980), p.178. The TV Guide article is referred to in Glenn C. Altschuler and David Grossvogel, Changing Channels, America in TV Guide (Urbana: University of Illinois Press, 1992), p. 25.
4. Persistence of Vision is the "unofficial Disney historical journal." It is a publication out of Salt Lake City, and it has a website.
5. The show is available as a home video. The three cartoons by Warner Bros. promote a savings plan for sailors and suggest some of the wonderful things one might want to do with the money after the war is over. Only brief excerpts of the cartoons are included in the television show.
6. ASIFA Washington Bulletin, March 1995, p. 4. The story was on CNN News on February 4, 1995, and was carried by other radio and television stations.
7. Letter to the author, May 29, 1996.
8. Telephone conversation, July 18, 1995.
9. "Longs Dumps Racist Videos," San Francisco Chronicle, March 24, 1989, p. A22. The offending cartoons were identified as Inki and the Minah Bird (1943) and Bugs Bunny Wacky Wabbit (1942).
10. Telephone conversation, April 23, 1996.
11. Telephone conversation, April 8, 1990.
12. Interview with Sam Singer, Los Angeles, April 1996.
13. Funnyworld, no. 12, p. 22. Cecil was voiced by Stan Freberg for several years.
14. Jim Korkis and John Cawley, Cartoon Confidential (Westlake Village California: Malibu Graphics, 1991), p. 38. The authors indicate Clampett had other problems with the network similar to this one, but they do not elaborate.
15. Telephone conversation, August 18, 1996. Ulrich's newsletter is called The Frostbite Falls Far-Flung Flyer. It is named after the home town of Rocky and Bullwinkle.
16. Unpublished and undated interview (ca. 1980).
17. Bob Claster conducted the interview with Bill Scott and June Foray on Funny Stuff, KCRW, Santa Monica, California, either in late 1984 or early 1985.
18. Telephone conversation, August 1996.
19. Frostbite Falls Far-Flung Flyer, vol. 5, no. 2 (December 1990), p. 11.
20. Frostbite Falls Far-Flung Flyer, vol. 9, no. 1 (September 1994), p. 11. Bill Scott also mentioned the case in more detail in the Claster radio interview about 1985.
21. Telephone interview, August 30, 1989.
22. "Bill Scott Interview, Part 4" by Jim Korkis, Frostbite Falls Far-Flung Flyer, vol. 9 no. 4 ( June 1995), p. 2. The interview was conducted in 1982.
23. Letter to the author, September 17, 1992.
24. Joe Barbera, My Life in 'Toons (Atlanta: Turner, 1994), p. 215.
25. From a conversation with Michael Dobbs, the editor of Animato! in August 1992. Dobbs had interviewed Mercer.
26. Korkis and Cawley, p. 40.
27. Interview with Carl Macek, October 1992.
28. Letter to the author, dated September 15, 1995.
29. Interview with Joe Bacal, May 17, 1996.
30. Telephone conversation with Bill Plympton, November 1995.
31. From conversations with Ken Pontac over the period Bump in the Night was in production (about 1993 through 1995). I had the opportunity to write about this locally produced show for our ASIFA-San Francisco newsletter on several occasions, and Pontac and other people associated with the show presented talks on the project to members of our animation association.
32. Information in this book provided by Linda Simensky is from telephone conversations and meetings with her throughout the 1990s.
33. Telephone interview, 1994.
34. Letter to the author, April 4, 1994.
35. David Silverman has discussed his work with The Simpsons in many venues, including an appearance at the Roxie Theater in San Francisco on June 1, 1995. Disney animator Bob Ingold heard Silverman's presentation at the Ojai Animation Festival on June 12, 1993, and quoted some of that material to the author. Silverman has also lectured on the series at the University of Iowa. He has reviewed the material written in this book about The Simpsons and he added some information on September 6, 1996, in a telephone conversation. At that time he said he was working at Dreamworks SKG on El Dorado and was going to continue to review storyboards and scripts for The Simpsons.
36. Charles Solomon, The History of Animation, 2nd ed. (New York: Random House, 1994), p. 261.
37. Telephone interview, February 1, 1994.
38. Telephone interview, 1994.
39. A Beavis and Butt-Head episode guide appears in the Spring 1994 issue (no. 28) of Animato! Numerous negative articles appeared about the show in 1993. Among them were Peter Stack, "Butting Heads with Cartoon Bad Boys," San Francisco Chronicle, September 2, 1993; "Beavis Will Get a Makeover," San Francisco Chronicle, October 14, 1993; and "MTV Pushes Back Early `Beavis' Showing," San Francisco Chronicle, October 19, 1993.
40. Information about this show comes from John Kricfalusi and from several scholars and loyal fans who saw the show as an exciting new departure for television. They include Jerry Beck, Mark Kausler, Mark Langer, and Paul Mular. The pilot was shown at the Los Angeles Animation Celebration in 1991 and was a hit with the adult audience.
41. Telephone conversation with Jerry Beck, 1993. The staff's opinion of the name George Liquor was also mentioned in Cinefantastique, June 1993, p. 46. That issue contains an excellent episode guide to the series and other articles about the show. Other magazines that devoted a good deal of attention to the series and ran episode guides are Wild Cartoon Kingdom, no. 1 (1993) and Film Threat, December 1992.
42. The scene is on a videotape of the episode (not for sale to the public) that was made before the program had music added to it.
43. Fred Crippen, the creator of Roger Ramjet, was asked if he knew anything about the show being shunned because his hero takes pills. In April 1996, he said he was unaware there was a problem. Crippen had worked for J. Ward and UPA before he did this very funny series.
44. Diane Duston, "Giving Cartoon Characters an Education," San Francisco Chronicle, December 16, 1993, p. D3.
45. Kettler was interviewed at the Cartoon Art Museum in San Francisco, May 17, 1996.
46. Peter Stack's article "Butting Heads with Cartoon Bad Boys," San Francisco Chronicle, September 12, 1993, was about Zimmerman's proposed boycott of the show. His attack of the show was also covered by local television and radio.
47. I met Lorri O'Grady when she visited San Francisco in June 1994. We discussed censorship and her job several times by phone in June and July 1994.
48. UPI, July 2, 1997.
49. Jeff Barker, "Nuclear Industry Hot over `Simpsons,'" San Francisco Chronicle, December 6, 1990, p. El.
50. Telephone interview, November 1994.
1. A copy of the letter was provided by Dan McLaughlin from UCLA's Animation Workshop.
2. This story has been told many times in books about Hollywood labor and was turned into a dramatic television special about 1994. I first heard about this story from exhibit notes by Jeff Goodman and Michael Tompane that went with a 1983 photo exhibit called "Hollywood Local: The Hollywood Craft Unions 1927-1947."
3. This history of the strike is based on Dr. Harvey Deneroff, "'We Can't Get Much Spinach!' The Organization and Implementation of the Fleischer Animation Strike," Film History, vol. 1 (1987), pp. 1-14. This exceptional article was based on interviews with several former Fleischer employees, newspaper articles, and letters from strikers to friends. The strike history also includes information from Leslie Carbarga, The Fleischer Story (New York: Nostalgia, 1976), pp. 105-109.
4. Telephone conversation, September 24, 1997.
5. Information from Tom Sito, president of the Motion Pictures Screen Cartoonists, the union in Los Angeles that presently represents most animation studios in that area that have union contracts. We spoke by phone about the strike in August 1996. Sito has been studying the history of labor in the industry for years.
Florida is still a right-to-work state, so today union and non-union employees work side by side at the Disney Studio in Orlando.
Dr. Deneroff said in a phone conversation on September 23, 1997, that the Fleischers admitted their reason for moving to Florida when they sued Paramount in 1956 in an attempt to regain control of the studio.
6. Interview with Dr. Harvey Deneroff, April 1996, regarding the blacklisting of people involved with the Fleischer strike.
7. Information about the Disney strike comes from interviews with David Hilberman; from hearing other former strikers talk about it in public lectures; from an interview with Reta Scott, who did not go on strike; from a phone call to Bill Littlejohn in 1996; from hearing talks about the strike by Dr. Harvey Deneroff and other scholars; from seeing a British videotape of Art Babbitt that includes his talking about his role in the strike; from Disney's FBI file available from the FBI under the Freedom of Information Act; and from books including Bob Thomas, Walt Disney, An American Original (New York: Pocket, 1976); and Richard Schickel, The Disney Version (New York: Touchstone, 1968 and 1985). An interesting but not completely accurate version of the strike appears in Marc Eliot, Walt Disney, Hollywood's Dark Prince (New York: Birch Lane, 1993). I also used a handout by Dori Littel-Herrick titled Half a Century Ago ... that was distributed in 1991 at a celebration honoring the fiftieth anniversary of the strike. For what it is worth, animators still cannot go upstairs at the Team Disney Building without an appointment.
8. In "Art Babbitt" an interview by Klaus Strzyz (1980) published in The Comics Journal, no. 120 (March 1988), Babbitt says Hurtz was paid $25 a week and he wanted Disney to pay him $27.50 a week. Most accounts of the strike say Hurtz was paid $50 a week.
9. Thomas, p 168.
10. The FBI investigation request came from the FBI office in New York City that was investigating "anti-racketeering."
11. Disney's FBI file includes about 45 pages of material concerning his testimony. There are memos, newspaper articles and the entire text of his testimony. The testimony appears in the United States Congressional Committee Hearings (80) H 1169-5, pp. 280-290. This government publication is available at public libraries that are government depositories. The testimony is reprinted in The American Animated Cartoon: A Critical Anthology, edited by Danny and Gerald Perry (New York: Dutton, 1980), pp. 92-98.
12. From a telephone conversation with Harvey Deneroff, August 15, 1996. A second version of the file story is told by Tom Sito, president of the animators' union. He recalled Babbitt saying he never rose above the rank of a sergeant due to something in his personnel file.
13. Thomas, Walt Disney, pp. 167-168; Schickel, The Disney Version, p. 257.
14. July 2, 1941.
15. "Art Babbitt," interview by Klaus Strzyz.
16. "Art Babbitt," interview by Klaus Strzyz.
17. Interview with Maurice Noble, February 1997.
18. "Ward Kimball," interview by Klaus Strzyz, The Comics Journal, no. 120 (March 1988).
19. This little-known strike is discussed in detail by Dr. Harvey Deneroff in The Terrytoons Strike, an unpublished paper presented at the Society for Animation Studies Conference, October 1989. The paper is based on interviews with former Terrytoon employees and union records preserved at California State University, Northridge.
20. Telephone conversation, April 7, 1990, and letters to the author, July 19, 1991, and January 29, 1992.
21. Deneroff, "The Terrytoons Strike."
22. Letter to the author, July 19, 1991.
23. Letter to the author, January 29, 1992.
24. Letter dated January 29, 1992.
25. Part of Dies' speech on the opening of the first HUAC hearing in 1938. A longer version is reprinted in Eric Bentley, Thirty Years of Treason (New York: Viking, 1971).
26. Nancy Lynn Schwartz, The Hollywood Writers' Wars (New York: Knopf, 1982), p. 255.
27. The ad has been mentioned in several publications including Larry Ceplair and Steven Englund, The Inquisition in Hollywood (Garden City, N. Y.: Anchor, 1980), p. 157.
28. Charlotte Darling (later Adams) testified twice. She spoke briefly on March 26, 1953, (83) H 1428 2-B, pp. 471-477, and at length on June 2,1953, (83) H 1429-8, pp. 2309-2320. Adams said she left the party in 1946 because "I got tired of being told what to do."
Adams worked as a background artist at Schlesinger under the name Charlotte Darling. Martha Segal remembers that she spent a lot of time smoking cigarettes in the ladies' room. She would try to convert her fellow workers when they went to the bathroom and collect money for causes. Segal says, "I never took her seriously." (Telephone interview, May 1995.)
A manuscript that may shed more light on Herb Sorrell's politics is his unpublished autobiography in the UCLA Special Collections Library. The working title is Sometimes You Can Pick Your Friends.
29. John Canemaker, "David Hilberman," published in Cartoonist Profiles, no. 48 (December 1980). Canemaker wrote that Hilberman said he had been a communist before the war, but "the strike itself was not communist-led." Hilberman talked about his life, including his trip to Russia, at an ASIFA-San Francisco event honoring him on May 13,1990.
30. "Ward Kimball," interview by Klaus Strzyz.
31. The booklet was the subject of an article by Harold Heffernan called "Suggested Don'ts for Film-Makers" and circulated by the North American Newspaper Alliance. It ran in an unidentified San Francisco newspaper dated October 6, 1947, p. 8. The article was reprinted in the December 1990 Release Print by Film Arts Foundation in San Francisco. The editor said somebody had sent him the article without telling him where it had come from.
32. Eugene Fleury's testimony is identified as (82) H 1375-4, pp. 2061-2071. Bernyce's public hearing is (82) H 1348-6-B, pp. 1775-1785. Her executive session testimony was not published. Segments of it were later quoted during the hearings of others. The quotes mentioned in later hearings contained information not presented during her public hearing.
The art exhibit is mentioned in "Libbie Hilberman," interview in People's World, cited in Douglas Loranger, The Film Text in History: Dumbo and the Screen Cartoonists' Guild Strike of 1941, unpublished paper, Society for Cinema Studies Conference, New Orleans, February 12,1993.
33. The People's Education Center in Hollywood was described by the California State Senate Committee on Un-American Activities as "a communist school... [such schools] pose as general schools of learning and specialize in courses of the arts, professions, trade-union, and economic problems of the day.... [These] Red centers of intrigue and treachery are documented fully." Fourth Report, Un-American Activities in California, 1948, Communist Front Organizations (Sacramento: California Legislature, 1948), p. 51.
34. Annual Report of the Committee on Un-American Activities for the Year 1952, House report number 2516, Union Calendar 803. The report was reprinted in Film Culture, no. 50-51 (1970), as 10 pages inserted between p. 78 and p. 79.
35. The information was provided first by Milt Gary's co-researcher, Mike Barrier, in a telephone conversation on March 24, 1991. I met Milt Gray later that year in Los Angeles, and he confirmed these facts.
36. Ceplair and Englund, The Inquisition, p. 440.
37. (82) 1348-6-A, pp. 1576-1612. Most people who named names only provided HUAC with two or three names, and most included well-known names that others had already mentioned. Berkeley named 161 people, according to Victor Navesky, Naming Names (New York: Penguin, 1981), p. 317.
Berkeley said Pomerance "was brought out here by the party to work in the Guild and was a party member when he got here because he was brought right into our faction. I can presume from that that he was a party member before he reached California." Berkeley was referring to the Screen Writers' Guild, the association Berkeley was a member of. Had he known Pomerance better he would have known he had worked in Los Angeles from 1941 to December 1944, as business agent of the Screen Cartoonists' Guild. He then took the job with the Writers' Guild. In a court of law a lawyer might use this error to show Berkeley was not an authority on Pomerance and that his testimony should be discredited.
38. Pomerance's hearing is identified as (82) H 1375-6, pp. 2871-2893.
39. Phone interview, April 7, 1990. Logan later read for errors a version of a conference paper that contained the quote. The paper he read was presented at the Society for Animation Studies Conference at Rochester Institute of Technology in October 1991.
40. Harvey Deneroff pointed out that most of the fired employees found work quickly because New York's animation industry was growing quickly in the 1950s owing to the need for animated television commercials. Telephone conversation, September 23, 1996.
41. Fourth Report, Un-American Activities in California, 1948, Communist Front Organizations (Sacramento: California Legislature, 1948), p. 192. Maurice Rapf also worked on the film as a writer, but because he was on contract with Disney his name did not appear in the film's credits and so did not appear in the California Legislature report. He was given credit for his work on the film in the Hollywood Quarterly, vol. 1, no. 4 (1946), which ran a feature article on the film. He was also given credit in vol. 2, no. 3 (April 1947), which ran an update on the film's distribution success on p. 305. In a letter to the author dated September 1, 1996, Rapf says, "That script took about six months to prepare. Hubley and Eastman were in uniform and working for the Air Force unit at the Hal Roach studio. We met only once a week — week-ends — when Phil and John were free. The project and the teaming of Lardner, Eastman, Hubley and me was arranged by the Hollywood Writers Mobilization which was an offshoot of the Screen Writers' Guild, headed by Robert Rossen, for the purposes of producing a variety of writing projects for agencies of the government seeking to further the causes of the war."
42. Etcheverry's interview of Scott dates from the 1980s. Tom Sito says that in the Special Collections Library at California State University, Northridge, there are documents regarding the animation unions in New York and Los Angeles, including a pamphlet written by Bill Scott on why people should not join IATSE.
43. Schwartz, The Hollywood Writers' Wars, p. 253.
44. Bill Melendez was interviewed at the Society for Animation Studies Conference at CAL Arts in Valencia, California, October 24, 1992. Faith Hubley, in a letter to the author dated July 23, 1991, confirmed the rumor, but according to Hubley the rumor mill put the sum at $35,000. Charles Solomon in The History of Animation (New York: Knopf, 1989), p. 222, mentioned the rumor.
45. David Raksin testified on September 20, 1951, (82) H 1348-6-B, pp. 1682-1695. He named 11 people. Bill Scott in Paul Etcheverry's interview said, "Several minor figures ... assistant animators and so forth" also left UPA for being "disloyal."
46. Charles Dagget refused to name names on September 17, 1951, (82) H 1348-6-A, pp. 1488-1491, but on January 21, 1952, (82) I-1 1375-7, pp. 2459-2487, he named names.
47. Telephone conversation, March 23, 1993.
48. Eastman's hearing is identified as (83) H 1428-2-A, pp. 319-326.
49. Letter to the author, June 20, 1990. Culhane also referred to this incident in a less detailed manner in his autobiography, Talking Animals and Other People (New York: St. Martin's, 1986), pp. 321-322.
50. Telephone interview, 1994.
51. John Hubley's testimony is identified as (84) H 1583-2, pp. 5809-5815.
52. Letter to the author, July 23, 1991.
53. Pat McGilligan, "Faith Hubley: An Interview," Film Quarterly, winter 1988-89, pp. 14-15.
54. John Canemaker, "Lost Rainbow," Print, March/April 1993.
55. Letter to the author, July 23, 1991.
56. The quote is from Pat McGilligan's interview.
57. From a telephone conversation with Klein in 1991 and a letter to the author dated January 28, 1992. Klein was mentioned briefly by Charlotte Darling Adams in her HUAC testimony on June 2, 1953. She said she barely knew him. Klein wrote, "Nothing came of that."
58. Maurice Rapf tells this story in his unpublished manuscript Back Lot: Growing Up with the Movies.
59. Pat Terry Leahy is a cousin of Alex Anderson, who introduced me to her when she visited San Francisco in 1995. The quote is from a statement by Paul Robeson repeated in Bentley, Thirty Years of Treason, pp. 768-770. On July 6, 1958, the Supreme Court ruled that the travel of Americans cannot be restricted because of political views.
60. Letter to the author from Bill Melendez, August 26, 1994.
61. Dr. Deneroff say the only studios to stay with the SCG or to join them after the major studios joined IATSE were animation houses doing television and non-theatrical animation. J. Ward's employees were represented by the SCG when his company was formed in the late 1950s.
62. Canemaker, "Lost Rainbow," p. 121. Dr. Deneroff's comments about Roy Brewer were made at the Society for Animation Studies conference at CAL Arts in 1992.
63. John Cogley, Report on Blacklisting, Vol. 1, Movies (New York: Fund for the Republic, 1956) pp. 84-85. The second volume of this book covers blacklisting in the radio and television industry.
64. Cogley, pp. 89-90.
65. Cogley, pp. 89-90.
66. Robert Vaughn, Only Victims (New York: Putnam, 1972), pp. 267-268.
67. Schwartz's hearing is identified as H 1428-4 D, pp. 1442-1453. Schwartz discussed why he joined and left the party. He said he heard Ed Biberman's lecture on Marxism and art and the talk "disgusted me." He said he had been present at meetings with Mrs. Fleury. He called the art discussion group "ineffectual," and said "in terms of painting, communist policy or dogma had relatively little importance in this country." He had not seen any communist influence in any American motion picture, and "as far as sabotage, or anything of that kind, there was never a smell of anything like that." The only other person he mentioned by name in his testimony besides Fleury and Biberman was Ed Nolan, an animator who had once held a meeting in his home.
68. Ceplair and Englund, The Inquisition, p. 345.
69. Vaughn, Only Victims, p. 14.
70. Victor Navasky Naming Names (New York: Penguin, 1981), pp. 314-317.
71. The discussion on the purge in Canada is based to a large extent on information found in Forsyth Hardy, John Grierson (London: Faber and Faber, 1979), pp. 154-155, and Gary Evans, John Grierson and the National Film Board of Canada (Toronto: University of Toronto Press, 1984), pp. 240-258.
72. Hardy, John Grierson, p. 156.
73. Hardy, John Grierson, pp. 156-163.
74. Evans, John Grierson, p. 262.
75. Evans, John Grierson, pp. 258-265.
76. Both Don McWilliams, a film historian and biographer of Norman McLaren who works for the NFB, and the unnamed retired NFB animator were familiar with the woman's history. McWilliams said he thought she was not hired as a permanent employee because her husband once had been active with the left. The retired animator said it was her college activity that kept her off the payroll. He said he had introduced her to McLaren and that she was a friend of the family, so it seems more likely that his account is correct.
77. Telephone conversation with Don McWilliams, December 1, 1993. He mentions McLaren's connections with communists in The Creative Process: Norman McLaren.
1. Jerry Beck and Will Friedwald, Looney Tunes and Merrie Melodies (New York: Holt, 1989), p. 265; and from a discussion of these films with Mark Kausler and Paul Mular. Information about the Sloane Foundation comes from a pamphlet in the files of the Foundation Library in San Francisco.
2. The films Harding sponsored are mentioned briefly in Leonard Maltin, Of Mice and Magic (New York: Plume, 1980), p. 425. He lists the titles of six films made between 1948 and 1950. Mark Kausler says the list is incomplete and that there were several other films in the series.