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Another short, Bamboo Isle, contains a sequence in which Betty dances the hula topless, wearing only a lei over her breasts and a grass skirt. According to animator Shamus Culhane, Fleischer Studios and Paramount Pictures were shocked by the sequence, but because it was a major sequence, it could not be cut out of the film. Culhane also states that he does not remember any instance in which the film was censored. Betty’s hula animation was reused for a cameo appearance with Popeye the Sailor in his self-titled animated debut short.
Following the enforcement of the Hays Code, Betty's clothing was redesigned, and all future shorts portrayed her with a longer dress which did not portray her physique and sexuality.[4] Shorts produced following the enforcement of the Hays Code were also less surreal in nature, and Betty was portrayed as a rational adult.After the Hays Code By 1968, the Hays Office had been eliminated, and the former guidelines were replaced by the Motion Picture Association of America film rating system. The lifting of the Code meant that animated features from other countries could be distributed without censorship, and that censorship would not be required for American productions.Some underground cartoon films from the late 1960s were also aimed at an adult audience, such as Bambi Meets Godzilla (1968) and the anti-war film Mickey Mouse in Vietnam (1969). Film producer John Magnuson completed an animated short based upon an audio recording of a comedy routine by Lenny Bruce titled Thank You Mask Man (1971), in which The Lone Ranger shocks the residents of the town he saves when he tells them that he wants to have sex with Tonto. The short was made by San Francisco-based company Imagination, Inc. and directed by Jeff Hale, a former member of the National Film Board of Canada. The film was scheduled to premiere on the opening night of Z, as a supplement preceding the main feature, but was not shown. According to a former staff member of the festival, Magnuson ran up the aisle and shouted "They crucified Lenny when he was alive and now that he is dead they are screwing him again!" The festival's director told Magnuson that the producer of Z did not want any short shown that night. Rumors suggested that the wife of one of the festival's financiers hated Bruce, and threatened to withdraw her husband's money if the short was screened. Thank You Mask Man was later shown in art house screenings, and gained a following, but screenings did not perform well enough financially for Magnuson to profit from the filmAnimated feature films Ralph Bakshi Ralph Bakshi successfully established an alternative to mainstream animation through independent and adult-oriented productions in the 1970s.By the late-1960s, animator Ralph Bakshi felt that he could not continue to produce the same kind of animation as he had in the past. Bakshi was quoted in a 1971 article for the Los Angeles Times as saying that the idea of "grown men sitting in cubicles drawing butterflies floating over a field of flowers, while American planes are dropping bombs in Vietnam and kids are marching in the streets, is ludicrous." With producer Steve Krantz, Bakshi founded his own studio, Bakshi Productions, establishing the studio as an alternative to mainstream animation by producing animation his own way and accelerating the advancement of female and minority animators. He also paid his employees a higher salary than any other studio at that time.In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopædia Britannica. However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal. Bakshi soon developed Heavy Traffic, a tale of inner-city street life. However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience. While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of R. Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film Fritz the Cat was the first animated film to receive an X rating from the MPAA, and the highest grossing independent animated film of all time. While the film is widely noted in its innovation for featuring content that had not been portrayed in American animation before, such as explicit sexuality and violence, the film also offered commercial potential for alternative and independent animated films in the United States, as the film offered a mature, satirical portrayal of the 1960s, including portrayal of drug use, political tension and race relations. Bakshi has been credited for playing an important role in establishing animation as a medium where any story can be told, rather than a medium for children.[14] As a result of the acceptance of Bakshi's features, the director suggested that War and Peace could be produced as an animated film.Because of the perception that Fritz the Cat was pornographic, Krantz attempted to appeal the film's rating, but the MPAA refused to hear the appeal. Praise from Rolling Stone and The New York Times, and the film's acceptance into the 1972 Cannes Film Festival cleared up previous misconceptions. Bakshi then simultaneously directed a number of animated films, starting with Heavy Traffic. Krantz was nervous about showing too much nudity and sexual content, and had several versions of some scenes animated. Thanks to Heavy Traffic, Ralph Bakshi became the first person in the animation industry since Walt Disney to have two financially successful films released back-to-back. Although the film received critical praise, it was banned by the film censorship board in the province of Alberta, Canada when it was originally released.
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