Seven Minutes The Life and Death of the American Animated Cartoon
“Seven Minutes: The Life and Death of the American Animated Cartoon” by Norman M. Klein, published by Verso in 1993, offers a detailed exploration of the evolution of animated cartoons in America. This 292-page work examines the interplay between social and aesthetic elements within the medium, tracing its development from early talking characters like Mickey Mouse to the decline of major studios such as Warner Bros. and MGM by 1960. Klein delves into the unique characteristics of various iconic cartoons, highlighting their cultural significance and the influences that shaped them.
Readers will find an in-depth analysis of the “controlled anarchy” that defines the cartoon genre, as Klein reviews the graphics, scripts, and marketing strategies employed throughout different eras. He connects the dots between animated features and live-action films, newspapers, and popular illustrations, while also addressing the impact of significant historical events such as the Great Depression and World War II on the industry. This edition provides a comprehensive look at the intricate relationship between animation and broader cultural and social contexts, making it a valuable resource for those interested in the history and criticism of film and performing arts.
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Seven Minutes is a social and aesthetic history of the “controlled anarchy” of the cartoon, from the first talking Mickeys to the demise of Warners 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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