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Still from an Inkwell Imps cartoon featuring Koko the Clown and Fitz the Dog. The National Film Registry-Preserver short featuring Koko the Clown and Fitz the Dog. Out of the Inkwell is an American animated film series of the silent era. It was produced by Max Fleischer from 1918 to 1929 and was called The Inkwell Imps at the end of that period ...
Koko's first color appearance was a cameo in the cartoon "Toys Will Be Toys" (1949), one of the revived Screen Songs series produced by Famous Studios.In 1958, Max Fleischer set out to revive Out of the Inkwell for television, and a series of 100 color episodes were produced in 1960–1961 by Hal Seeger using the voice talents of Larry Storch.
Out of the Inkwell is a 1938 Max Fleischer/Betty Boop live-action and animated short film. [1] The title and concept for the film were a tribute to the Out of the Inkwell series of films that Max Fleischer had produced during the 1920s.
Most of the silent Fleischer titles from the Out of the Inkwell/Inkwell Imps series have entered the public domain. An official Betty Boop VHS set, Betty Boop Confidential, was released by Republic Pictures in 1995, included several black-and-white Betty Boop cartoons as well as Betty's only color appearance, Poor Cinderella.
The following year she signed another contract to distribute for Fleischer Studios on the Out of the Inkwell series. [4] This established her reputation as the top distributor in the cartoon world. It was a good thing, because at the end of the same year the Fleischer brothers, flush with success as a result of Winkler's work, left her to form ...
Mother, Mother, Mother Pin a Rose on Me is a film, produced by Out of the Inkwell Studios in the Phonofilm sound-on-film system, and released on March 1, 1925, as part of the Song Car-Tunes series. [1] Max Fleischer, Lee de Forest, Hugo Riesenfeld, and Edwin Miles Fadiman formed Red Seal Pictures to release the Song Car-Tunes series.
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In 1921, claymation appeared in a short sequence in the Out of the Inkwell episode Modeling, a film from the newly formed Fleischer Brothers studio. Modeling included animated clay in eight shots, a novel integration of the technique into an existing cartoon series and one of the rare uses of claymation in a theatrical short from the 1920s. [16]
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