“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

— Dana Gioia

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

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Dana Gioia 80

American writer 1950

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“When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned…but that's the point.”

Ralph Bakshi (1938) Animator, filmmaker

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“If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!”

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Walt Disney (1901–1966) American film producer and businessman

“The main thing missing from cartoons is today that old cartoons were cartoony. They did things you can't do in any other medium. Today's cartoons are very conservative and are more like live action. The characters look the same in every frame of the damn cartoon. The old cartoons squashed, stretched, and did crazy expressions. They were imaginative and crazy. A lot of cartoons aren't imaginative, they just say things. It might as well be radio. There is no point in having anything to look at in modern cartoons. But you can't say that about every cartoon. Genndy Tartakovsky's cartoons are beautiful. The closest thing now to what I'm saying is SpongeBob but even that doesn't go very far. It's like a conservative version of Ren & Stimpy.”

John Kricfalusi (1955) Canadian animator

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“It is so difficult to mix with artists! You must choose business men to talk to, because artists only talk of money.”

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Bengt de Törne Sibelius: A Close-Up (London: Faber and Faber, 1937), p. 94.
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“.. more significant, perhaps, was the fact that during the war [1940-1945] many of the Surrealists came [from Europe] to America and we were able to see them as just other human beings like ourselves and not as mythical characters who had superhuman capacities and talents. I think that there was a feeling after meeting them [a. o. Marcel Duchamp, Andre Masson, André Breton, Max Ernst ] personally that, well, if these men can have these great achievements and talents, there is hope for us [younger American artists]”

Adolph Gottlieb (1903–1974) American artist

Quote of Gottlieb, in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 29
1960s

“The two most important people in animation are Winsor McCay and Walt Disney, and I'm not sure which should go first.”

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“I was deeply distressed that the cartoons were seen by many Muslims as an attempt by Denmark to mark and insult or behave disrespectfully towards Islam or Mohammed.”

Anders Fogh Rasmussen (1953) former Prime Minister of Denmark and NATO secretary general

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“The interpretation of constitutional principles must not be too literal. We must remember that the machinery of government would not work if it were not allowed a little play in its joints.”

Oliver Wendell Holmes Jr. (1841–1935) United States Supreme Court justice

Writing for the Court, Bain Peanut Co. v. Pinson, 282 U.S. 499, 501 (1931).
1930s

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