and MGM theatrical productions in 1960. Norman M. Klein follows the scrambling graphics and upside-down ballet of Fleischer’s Betty Boop, Popeye, Superman of the Wolfie cartoons by Tex Avery, of the Bugs and Daffy, Tweetie and Roadrunner cartoons from Warners, of full animation at Disney, of the “whiteness of Snow White”, and of how Mickey Mouse became a logo. Reviewing the graphics, scripts and marketing of each era, he discovers the links between cartoons and live action movies, newspapers, popular illustration, and the entertainment architecture coming out of Disneyland. Klein shows that the cartoon was a perverse juggling act, invaded constantly by economic and political pressures, by marketing for sound, by licensing characters to stave off bankruptcies, by Prohibition, the Great Depression, World War II and the first wave of television.

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