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Extra resources for AN 08-10-94 SCR-578-A,B Radio Transmitter (maint.) (Mil TM)

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This need for a new professionalism in the maintenance of the craft of animation was important, even if it was seemingly at the initial expense of the art; but this was only in relation to the art as it had been previously understood. Animators had to go back to basics, and like Messmer all those years previously, make the most of the limitations of the design and the execution. Professional animators were essentially working to a new brief, and had to adapt to the requirements of what was essentially a new form.

Bibliography Adamson, J. (1980) “Chuck Jones Interviewed,” in D. and G. ), The American Animated Cartoon:A Critical Anthology, New York: E. P. Dutton. Canemaker, J. (1991) Felix:The Twisted Tale of theWorld’s Most Famous Cat, New York: Da Capo. Cohen, K. (1997) Forbidden Animation, Jefferson, NC and London: McFarland & Co. Crafton, D. (1993) Before Mickey: The Animated Film 1898–1928, Bloomington: Indiana University Press Davies, M. M. (2001) Dear BBC: Children, Television, Storytelling and the Public Sphere, Cambridge: Cambridge University Press.

Since cartoons had traditionally not been a source of direct studio income, they were one of the primary areas studios could trim to remain economically viable. 7 As a 35 INSTITUTIONS result of the declining theatrical market for cartoons, numerous studios dismantled their animation divisions: MGM in 1957, Warner Brothers in 1963, even Disney all but ceased short production in the 1960s. 8 Not only did these shutdowns make film animation scarce, but they also resulted in a number of out-of-work animators seeking employment through the new avenue of television production.

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AN 08-10-94 SCR-578-A,B Radio Transmitter (maint.) (Mil TM)

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