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Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author’s permission.  \nAVIS:  \nL’auteur a accordé une licence non exclusive permettant à la Bibliothèque et Archives Canada de reproduire, publier, archiver, sauvegarder, conserver, transmettre au public par télécommunication ou par l’Internet, prêter, distribuer et vendre des thèses partout dans lemonde, à des fins commerciales ou autres, sur support microforme, papier, électronique et/ou autres formats.  \nL’auteur conserve la propriété du droit d’auteur et des droits moraux qui protège cette thèse. Ni la thèse ni des extraits substantiels de celle-cine doivent être imprimés ou autrementreproduits sans son autorisation.  \nIn compliance with the Canadian Privacy Act some supporting forms may have been removed from this thesis.  \nWhile these forms may be included in the document page count, their removal does not represent any loss of content from the thesis.  \nConformément à la loi canadienne sur la protection de la vie privée, quelques formulaires secondaires ont été enlevés decette thèse.  \nBien que ces formulaires aient inclus dans la pagination, il n’y aura aucun contenumanquant.  \nii  \nABSTRACT  \nThis thesis is a systematic study of significant American television animation programs produced between 1948 and 1980, with special attention given to selected works produced by three influential studios: Hanna-Barbera, Jay Ward and Filmation. It considers how outside forces such as television network censorship, grassroots political activism, and other social and political forces served to limit how the genre developed, and the extent to which producers chose to test the limits to get their points across. It provides a discussion of masculine images in television animation of the 1950s and 1960s, and of the reactions of television animation producers to outside concerns regarding violent imagery in children’s programming, and the threat of censorship related to this, in the 1970s. My thesis demonstrates that television animation producers, as a result of the need to remain actively involved in production, were forced to change and adapt with the times around them.  \niii  \nACKNOWLEDGEMENTS  \nI would like to thank my family and friends for supporting me through this endeavor. I have appreciated their support especially in those times when I doubted my abilities, because they never did. I particularly want to thank Professor Churchill and Professor Elvins for giving me their advice and guidance in the long and arduous process of conceiving the draft. I only hope that in further projects I will have as much support and fewer challenges to overcome.  \niv  \nCONTENTS  \nIntroduction 1  \nTelevision Animation: A Unique Genre 2","cbCaikRIIC2nSPVx","https://ap.wps.com/l/cbCaikRIIC2nSPVx","pdf",1827544,154,"English","# Introduction\n## Television Animation: A Unique Genre\n## The Evolution of Television Animation\n# Chapter One: “Don’t You Know I’m The Boss….?”: “Masculinity” and Television Animation in the Late 1950s and Early 1960s\n# Chapter Two. The “Kiddies” Didn’t Stay In The Picture: Filmation and Television Animation in the 1970s\n# Conclusion: Products and Legacies","[{\"question\":\"Which studios receive special attention in this thesis?\",\"answer\":\"The study focuses on selected works from Hanna-Barbera, Jay Ward, and Filmation.\"},{\"question\":\"How do outside forces affect the development of television animation in the thesis?\",\"answer\":\"It analyzes how network censorship, grassroots political activism, and other social and political forces limited how the genre developed and influenced how producers pushed boundaries.\"},{\"question\":\"What changes does the thesis describe for the 1970s regarding content concerns?\",\"answer\":\"It discusses producers’ reactions to threats of censorship connected to concerns about violent imagery in children’s programming.\"}]","TOON IN, TOON OUT - AMERICAN TELEVISION ANIMATION AND THE SHAPING OF AMERICAN POPULAR CULTURE, 1948-1980 - A Thesis | PDF",388]