Word: cartoonist
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Dates: during 1970-1979
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Like masters of more exalted arts, Cartoonist Walt Kelly succeeded in turning an imaginary landscape into a public preserve. With pen and wit he put together the world of Pogo, an inspired amalgam of bogs, hollow stumps, hog-jowl dialect and cheery absurdity. There, over 150 anthropomorphic critters gnawed away at the English language, baring kernels of political meaning, and carried on not-so-innocent satires of human pomposity. Phineas T. Bridgeport, the Barnum of bears, orated in billboard letters that burlesqued hucksterism everywhere. "Nuclear physics ain't so new and it ain't so clear," declared Rowland...
...affection for the Southern dialect that was to become the patois of Pogo. (Though Kelly began using the Okefenokee setting in cartoons in 1942, he did not visit the swamp until 1955.) In 1948 he joined the short-lived New York Star as art director, editorial adviser and political cartoonist; he also donated Pogo strips to the impoverished paper. The Star folded the following year, but Pogo survived in the New York Post...
...Times hit the newsstands. The cover picture, Agnew's face superimposed on a golf ball, gained new force-leaving aside questions of taste. The supporting story-a two-page list of assorted choices to succeed the Vice President -is timely but frivolous. Eugene McCarthy nominates Pat Nixon, Cartoonist Jules Feiffer likes Bebe Rebozo, Senator William Saxbe votes for himself...
...with children (from all accounts, he was about as innocent as Bobby Riggs and somewhat less likable) but the grip of organization-first in his art itself, and then in the area of business and social manipulation-which made Disneyland and Disney World possible. He turned himself from a cartoonist into the Old Master of masscult, and from there became a Utopian environmentalist...
...most praised tricks in Traffic--the superposition of characters on an Edward Hopper painting of a restaurant or a Godfather parody in which the Mafia leader is shot up while eating spaghetti, are heavy-handed by comparison. The device of framing the film with shots of the cartoonist Michael at his favorite pinball machine is intended to serve as a metaphor for Bakshi's brand of East Village existentialism but since Tommy it's a pretty trite trick. The conventional film segments at the end only expose the paucity of the caricatures and if Bakshi is forced already...