I'll be the first to admit that not *everything* is available on the Internet. There are many fine books and magazines devoted to the art of animation. Below I will list only those which I have personally read. Many of these written sources were essential to the creation of this page. In addition, from time to time, I'll add a source that may not strictly be animation per se, but will be related to the topic. Examples would be books on comic books or manga.
For those of you who want to check these sources out for yourselves (and all of them are worthwhile) you could try searching their availability on the Internet and then patronizing your local library. Or you might want to drop by your nearest bookstore and see if they can order them for you.
You can find information on your local library at Yahoo If you'd like to see a bibliography of books I personally cannot vouch for (because I haven't read them), go to The Animator's Booklist
Adamson, Joe. (1975). Tex Avery, King of Cartoons. This book is a flashback to an era when the only way to study cartoons was to track down 16mm or Super8 prints of them, and when many of the original directors were alive and unappreciated. Adamson provides a fast-paced look at the career of cartoon director Tex Avery, one of the undeniable greats of the Golden Era. We learn little about Avery's behind-the-scenes life, but are treated to extensive interviews with Avery, and writers Michael Maltese and Heck Allen. As a bonus, several cartoons are analysed in detail and Adamson even tosses in an annotated filmography. The book's only weak points are the grainy and blurry black and white stills; Adamson compensates somewhat by including penciled animation art, cel setups, and character sheets. Adamson has a great writing style, and his introductory chapters are nearly as hilarious as Avery's own cartoons. Like Avery's own cartoons, it's a shame Adamson's book isn't longer.
Abrahms, Robert E. (1982). Treasures of Disney Animation Art. New York:Abbeville Press. This book is small enough to fit in your purse or pocket, and is a condensed version of a large coffee table book. It contains 311 illustrations from Disney films from the early shorts to *The Black Cauldron* - this includes pencil sketches, inspirational watercolors and final cel set ups. Abrahms is an art historian, and his book is an attempt to give credit to the craftsmanship and artistry of countless Disney employees. Many of the quick sketches in this book would do a professional illustrator proud as finished illustrations for a children's book. Every picture tells a story, and this book tells the story of how Disney evolved into the maker of American dreams.
Bendazzi, Giannalberto. (1994). Cartoons: One Hundred Years of Cinema Animation. London:John Libbey & Company Ltd. The international nature of animation is stressed in this lengthy volume. Whereas most books on animation focus on American studios or, more specifically Walt Disney, Bendazzi's book includes references to hundreds of animators worldwide. In this respect the book is a true eye opener, for it is unlikely that most animation fans in America are aware of how much animation was done outside the Hollywood studio systems. Anime fans will be shocked to learn that Asian animation existed long before *Astroboy*. The book is maddening at times; it will be difficult or impossible to locate many of these films unless you are located in a major international metropolis. Surprisingly, given the breadth of Bendazzi's expertise, his sections on American animation provides few insights that Leonard Maltin hadn't already made. Graphics fans should note that most of the illustrations are in black and white. As the title suggests, Bendazzi isn't interested in television animation at all.
Berger, Arthur Asa. (1970). Li'l Abner: A Study in American Satire. New York: Twayne Publishers, Inc. Al Capp is unfortunately a forgotten figure in American comic strips since the retirement of "Li'l Abner" in the late 1970s. He's of interest to animation fans mainly because his scathing social crtiques foreshadowed "The Simpsons" by decades and because his strip is proof that comic strips (and by extension comic books and cartoons) are capable of far more than making us laugh. The naive bumpkin Li'l Abner might just have influenced Toriyama's Goku, as both are strong, goodnatured to a fault, and have out-of-control black hair. The humor in these strips even surpasses the comedy of early *Mad* which is quite an achievement. Berger adapted this book from his dissertation, and at spots it seems to have been directly lifted from his Ph.D. thesis, which may be daunting for some readers.
Cabarga, Leslie. (1976). The Fleischer Story. New York: Nostalgia Press. One of the classic animation history books, Cabarga isn't limited to pure nostalgia - there are some serious criticisms of Fleischer's work contained in this book. The book also contains loving portraits of the best-known Fleischer cartoons (Betty Boop, Popeye, Superman). There are a plethora of promotional stills, model sheets, advertisement reproductions, etc contained here, making this book an essential scrapbook for all Fleischer fans. It's a joy to read Cabarga's writing, and one only wishes more books like this one were written about other animation studios.
Carr, Roy. (1996). Beatles at the Movies. New York :Harper Perennial. This is one of the few books available nowadays with an entire chapter devoted to *Yellow Submarine.* Carr includes several behind-the-scenes photos and cel setups, but doesn't bother labeling them. He also includes a host of errors about the film, including several alleged quotes that are never spoken onscreen. The most enlightening section of the chapter is an interview with Paul McCartney in which Sir Paul wishes that George Dunning had made a Disneylike film instead of trendy psychedelia.
Couperie, Pierre; Horn, Maurice; Destifanis, Proto; Francois, Edouard; Moliterni, Claude; Gassiot-Talabot, Gerald. (1968). A History of the Comic Strip. New York: Crown Publishers, Inc.. Early in this book it is stated that "the animated cartoon, the movie, and the comic strip were born simultaneously." Unfortunately, despite this tantalizing statement, the connections among the three media styles are not really explored. However, given the closeness between cartoons and comic strips (many strips were adapted to film and many film characters were given their own strips), it's worthwhile to explore this book. The focus is on American comic strips, and the authors of the book made several terrific choices of illustrations. Many of the Golden Age strips were truly marvels.
Dorfman, Ariel and Mattelart, Armand. (1975) How to read Donald Duck: Imperialist Ideology in the Disney Comic. New York: International General. Works of popular culture invariably reflect the values of the culture that created them. This may not be a mind-blowing thesis for animation fans who've read Smooden or Levi (or anyone who's ever read intercultural studies), but for a 1973 book on Walt Disney, this was a pretty radical notion. And, to a point, this makes interesting reading. Unfortunately, Dorfman and Mattelart have an axe to grind and pull out all the dirty tricks that would get you thrown off your high school debate team. Graphics and quotes are taken out of context, for example, in a move that recalls Wertham's Seduction of the Innocent . This translated version of Dorfman and Mattelart's Chilean book is a relic of the early 1970s, when well-meaning socially aware people could support Marxism with a straight face. Over 20 years after their 'expose', both men were tossed out of Chile, the Disney Empire is stronger than ever, and Dorfman is writing Broadway plays.
Hart, Christopher. (1997). How to Draw Animation New York: Watson-Guptill. While not a standalone how-to book, Hart makes several principles of animation draftsmanship explicit. The examples in the book (many drawn by Hart himself) are clearly of the 1990s Disney-Bluth style, and provide a good model for budding artists to emulate. Anyone who has tried to draw any of the characters from *Anastasia* or *Beauty and the Beast* will appreciate the crisp, clear instructions. Hart's sections on the more technical aspects of animation are disappointingly brief, as is an interview with *The Lion King*'s Roger Allers.
Kanfer, Stefan. (1997). Serious Business: The Art and Commerce of Animation in America from Betty Boop to Toy Story. New York: Scribner. Kanfer examines the American animated cartoon from the early silent days to the modern Disney revival - always with a jaundiced eye. The story Kanfer tells - in contrast to the version Maltin prefers - is one of almost irreversable decline in animation. A critic as cynical and sceptical as I will agree with many of Kanfer's arguments. However, Kanter's research is spotty, and once Kanter leaves the Fleischer years, his chapters become exceedingly sketchy. This is not a popular book among many animation fans, but histories of animation besides Maltin's are desperately needed.
Kitahara, Michio. (1989). Children of the Sun: The Japanese and the Outside World. Sandgate, England: Paul Norbury Publications. This book simply and clearly chronicles and explains Japan's attitude towards the West, particularly America. While not concerned at all with anime, it does make references to Japanese Pop Culture, and after reading the book, many of the more bizarre anime conventions (such as the Westernization of many characters) will make more sense. A fine introduction to Japanese culture, it is a wonderful starting point for appreciation of the Japanese way.
Laybourne, Kit. (1979). The Animation Book. New York:Crown Publishers, Inc. This is probably the most straightforward guide for the hobbyist who intends to make her own film. It provides insights on virtually every step of the production of the animated film from the simple DIY films to the Hollywood style productions. Included are several illustrations from Disney animator Preston Blair. It also includes an opening section on developing creativity, which should be of interest to just about anyone. I have no idea if this book has been updated; my copy's comments about computer animation do not reflect the current state on technology.
Lee, Stan and Buscema, John. (1978). How To Draw Comics the Marvel Way. New York: Simon and Shuster. I included this book in my list because many animation fans also read comic books, and many also like to draw as a hobby. This relatively slender book is well organized, packed with helpful illustration tips, and gives you a good basis for beginning your drawing adventures. Purists may have prefered Jack Kirby as a coauthor, but Buscema's no slouch in the art department and most of his examples take you step-by-step through a sequence. Every aspect of drawing comic books is touched upon, from designing covers to varying layouts to expressively posing your characters. Lee and Buscema provide a great foundation for explorating your art abilities. It'd be nice if Marvel's current crop of creators would read these and other books by Stan Lee; maybe then they could save the company from impending doom.
Lee, Stan. (1974). Origins of Marvel Comics. New York: Simon and Shuster. While it's true that Stan Lee minimizes the roles that Jack Kirby and Steve Ditko had in the creation of the Marvel Empire of the 1960s, Lee's book provides a good introduction to the characters that have sustained the Marvel Universe through several decades. Since Spider Man, the Fantastic Four, the Hulk, and others pop up in animation regularly, it's nice to read the philosophies behind the original stories. In the pre- "Dark Knight" and manga world, Marvel Comics presented some of the most sophisticated pulp tales around, mixing seriousness and comedy in appropriate doses. The current animated versions of Batman and Superman owe just as much to the Marvel attitude as to the original DC comics. Lee emphasises the importance of properly motivating your characters, creating tight scripts, and looking towards other media for inspiration. Also recommended are Lee's sequels Son of Origins of Marvel Comics and Bring on the Bad Guys.
Levi, Antonia. (1996). Samurai From Outer Space: Understanding Japanese Animation. Chicago: Open Court. Levi states that her book is "a shameless attempt to introduce Americans to the amazing world of Japanese animation," and, indeed, this book is a goldmine of useful tidbits about Japanese culture and history. It's no introductory primer, however, (despite the poppy writing style and humorous chapter headings) since most of the series Levi talks about are not the well-known titles(i.e. *Sailor Moon*) of which a casual fan might have heard. We learn a lot about generalities behind anime and manga, but nothing about specific animation studios or artists; Levi's purpose is not to create a Maltin-like overview but instead provide generalities which apply to multiple series. I'd recommend this book for someone who's already seen a few examples of anime and wants to learn more about the subject matter.
Maltin, Leonard. (1980). Of Mice and Magic. New York: McGraw-Hill Book Company. Maltin's book deals with American theatrical cartoons from the silent days to the current era. Maltin discusses both short subjects and feature films, with the focus on short subjects. He periodically updates his work, so you might get a good price on an earlier edition if you shop around. The book contains an extensive filmography of all the major Hollywood studios, and also includes a generous selections of stills and model sheets from many cartoons. Unfortunately, most of the stills are black and white. This is arguably the best and most authoritative general history of animation available. It belongs in any serious animation or film collection. Maltin's enthusiasm is only surpassed by the quality of his scholarship.
Mast, Gerald, and Cohen, Marshall. (Eds.) (1985). Film Theory and Criticism. Third Edition.New York: Oxford University Press.Mast and Cohen's book contains essays by major film critics including Pauline Kael, Andre Bazin and Bruce Kawin. Some of the essays are heavy-duty reading; this is a textbook often used on the University level. I can't guarantee what essays will appear in future editions, but mine has several references to Walt Disney and animation throughout the text. Animation fans might also want to check out the various pieces on slapstick comedy and science-fiction.
Newitz, Annalee. (1995). "Magical Girls and Atomic Bomb Sperm: Japanese Animation in America" in Film Quarterly, Volume 49, Fall 1995. This article is, to this date, the only major article on anime that has appeared in a serious, academically-oriented publication. Newitz provides a feminist, sociological interpretation of *Ranma* and other anime series. She also neglects to note that both *Sailor Moon* , the biggest recent anime crossover, and *Ranma*, one of the more popular cult items, were created by women, which further complicates her thesis. The criticism of anime's political overtones is both interesting and overdue; unfortunately the article lapses into an extremely unflattering portrayal of the otaku (who, we are led to believe, is the only American viewer of Japanese animation). It' s a troubling article, but is well worth reading; Newitz might have the genesis of a book.
Nyberg, Amy Kiste. (1998) Seal of Approval: The History of the Comics Code. University Press of Mississippi: Jackson. This book chronicles, in great detail, the social and political movements responsible for forcing the comic book industry to create a Comics Code in the mid 1950s. The Code was heavily based on the Hollywood Production Code of 1934, and for that reason (and the close cultural proximity of comic books to cartoons) should be of interest to animation fans. Nyberg details the complications that arose from the creation of the Code, the resistance of some companies to join the Code, and how the Code helped to shape the comics industry well into the 1970s. The book's weak points are the attempts at half-hearted historical revisionism; Dr. Wertham, an enemy of comic books who would shape their history more powerfully than many actual comic book creators, comes across better than most other historical sources suggest. Regardless, this book will be enjoyed by anyone interested in learning more about the censorship of a uniquely American artform.
Reynolds, Richard. (1996) Super Heroes: A Modern Mythology. University Press of Mississippi: Jackson. In the late 1960s and early 1970s, Stan Lee liked to describe his Marvel Comics as "Modern Mythology." Taking that statement at face value, Reynolds explores the origins, transformations, development and decline of the American comic book superhero - all from the standpoint of mythology. Some sections are better than others (Thor naturally shines in this book, as do Superman and Batman but too little space is given to superheroines). The problem with the book is that it's too short; Reynolds doesn't take the time or space to fully elaborate on DC's decision to totally revamp their continuity with the "Crisis" storyline, the differences between those comics that bear the Comics Code and those that do not,or the shifting sophistication of comics stories from the 1940s to the modern era.
Schodt, Frederik. (1983). Manga!Manga!The World of Japanese Comics. Kodansha International: Tokyo. The history and status of comic books in Japan is so similar to yet so different from their counterparts in the USA; it reminds one of the Earth One-Earth Two stories from the old DC storylines. In Japan, far from being marginalized as alternative or children's entertainment, comic books are actually mainstream entertainment. Although somewhat dated, Manga! Manga! offers a useful primer to the world of Japanese comics. A good proportion of the series highlighted for attention have been adapted to anime and are still vaguely familiar to many fans; Golgo 13 and Great Mazinga may not be exactly household names in the USA, but seeing them in the text is a very nostalgic experience. More impressively, Schodt realistically appraises the slim chances manga and anime have of becoming a sweeping success in the USA. Four somewhat stereotypical (but fun) excerpts from manga stories appear in the appendix of the book; Schodt's good taste is once again impressive as three out of the four artists represented are still well-known today. Tezuka himself wrote the introduction to the book, lending it a seal of approval from one of the most important men in the history of comics and animation.
Skylar, Robert (1975). Movie-Made America. New York:Random House. There are a few chapters in Skylar's book that you may find interesting, most notably his chapter on the parallel development of Walt Disney's and Frank Capra's careers. His section on the influx of foreign film foreshadows much of the anime movement in the USA, although Skylar is writing about live-action film.
Smoodin, Eric (1993). Animating Culture. New Jersey: Rutgers University Press. Smoodin examines the animated film in the broader context of American culture. While purporting to be a discussion of animation in general, the heart of the book is dedicated to the Disney studios. Disney emerges not as the heroic forefather of animation, but as as enigma filled with contradictions. For those less interested in the "how-to" aspect of animation than the larger ramifications of animated films - this is the book for you. Smooden documents how the general public reacted to cartoons and how cartoon makers reacted to both the public and the government.
Solomon, Charles (1989). Enchanted Drawings: The History of Animation. New York: Knopf. This oversized book contains many beautiful stills and illustrations from dozens of American cartoons. The non-Disney studios are given equal space to Disney, resulting in a very balanced overview. It works well as a compliment to Maltin's more text-heavy approach. As a bonus, most of Solomon's photos are in full color.
In general, I'm not a fan of most magazines dedicated to cartoons. For starters, they tend to be overpriced and are short on reading material. The articles tend to be mainly promotions for the latest releases. As such I don't buy them very often! The exception would be In Toon! a magazine targeted at cel collectors. The magazine is frequently well written, and because the images in the magazine are largely of pieces that are up for sale, you never know what you'll see inside. Another exception would be Toon Magazine. This magazine covers all types of cel animation, from feature films to shorts to TV production. Thankfully, advertising in this magazine is scarce, unlike other animation magazines which seem to contain non-stop advertising.
As these are pop-oriented magazines catering to a specific genre, it may be difficult to find back issues in your local library. It may also be difficult to find them at your local newsstand.
Animeco is published semi-regularly by Limelight Publishing. This fanzine, intended for anime fans, contains a collection of useful articles about Japanese culture, a few reviews, and a cute mascot. Quite a few snafus get past the editor though; in one recent issue the fanzine falsely claimed that two founding members of the Ramones wrote the *Project-Ako* soundtrack.
Animerica is published monthly by Viz Communications, Inc. As its title suggests, this is an anime and manga magazine, filled with advertisements for the latest video releases.
Comics Scene is published monthly by Starlog Press.
Combo is published monthly by Century Publishing Company and covers comic books, video games and animation. It is written primarily for teen collectors of such memorabilia as trading cards, and is a graphics-intensive magazine.
In Toon! is published quarterly and is a trademark of All House Publishing, Inc. It is oriented towards the serious animation collector.
Toon Magazine is published quarterly by Black Bear Press. It is aimed towards the serious animation fan and, as such, often includes model sheets as illustrations. For someone like myself, who has a very strong weakness for model sheets, this is a real pleasure.
Wild Cartoon Kingdom is published by LFP, Inc. I have no idea if this magazine is still being printed. It contained a mix of classic and contemporary animation articles.
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