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Existentialism Is a Humanism

Existentialism Is a Humanism (L'existentialisme est un humanisme) is a 1946 work by the philosopher Jean-Paul Sartre, based on a lecture by the same name he gave at Club Maintenant in Paris, on 29 October 1945. In early translations, Existentialism and Humanism was the title used in the United Kingdom; the work was originally published in the United States as Existentialism, and a later translation employs the original title.

Summary
Sartre asserts that the key defining concept of existentialism is that the existence of a person is prior to their essence or "existence precedes essence".

Thus, Sartre rejects what he calls "deterministic excuses" and claims that people must take responsibility for their behavior. Sartre defines anguish as the emotion that people feel once they realize that they are responsible not just for themselves, but for all humanity. Anguish leads people to realize that their actions guide humanity and allows them to make judgments about others based on their attitude towards freedom. Nevertheless, "It is not the will that gives value to the possibility. Valuation depends on me, that’s true, but not on my will. It depends on my project, that is to say, on how I perceive the world, how I experience it." Anguish is also associated with Sartre's notion of despair, which he defines as optimistic reliance on a set of possibilities that make action possible. Sartre claims that "In fashioning myself, I fashion Man.", saying that the individual's action will affect and shape mankind. The being-for-itself uses despair to embrace freedom and take meaningful action in full acceptance of whatever consequences may arise as a result. He also describes abandonment as the loneliness that atheists feel when they realize that there is no God to prescribe a way of life, no guidance for people on how to live; that we're abandoned in the sense of being alone in the universe and the arbiters of our own essence. "There is a contingency of human existence. It is a condemnation of their being. Their being is not determined, so it is up to everyone to create their own existence, for which they are then responsible. They cannot not be free, there is a form of necessity for freedom, which can never be given up." Sartre closes his work by emphasizing that existentialism, as it is a philosophy of action and one's defining oneself, is optimistic and liberating. "Sartre offers a description of human beings as a project and as a commitment."

Publication history
First published in French in 1946, Existentialism and Humanism was published in an English translation by Philip Mairet in 1948. In the United States, the work was originally published as Existentialism. The work has also been published in German translation. An English translation by Carol Macomber, with an introduction by the sociologist Annie Cohen-Solal and notes and preface by Arlette Elkaïm-Sartre, was published under the title Existentialism Is a Humanism in 2007.

Reception
Existentialism Is a Humanism has been "a popular starting-point in discussions of existentialist thought," and in the philosopher Thomas Baldwin's words, "Seized the imagination of a generation." However, Sartre himself later rejected some of the views he expressed in the work, and regretted its publication. Other philosophers have critiqued the lecture on various grounds: Martin Heidegger wrote in a letter to the philosopher and Germanist Jean Beaufret that while Sartre's statement that "existence precedes essence" reverses the metaphysical statement that essence precedes existence, "The reversal of a metaphysical statement remains a metaphysical statement." In Heidegger's view, Sartre "Stays with metaphysics in oblivion of the truth of Being.". Heidegger reportedly told Hubert Dreyfus that Sartre's work was "dreck." Marjorie Grene found Sartre's discussion of "the problem of the relation between individuals" in Existentialism and Humanism to be weaker than the one he had previously offered in Being and Nothingness (1943). Walter Kaufmann commented that the lecture "has been widely mistaken for the definitive statement of existentialism," but is rather "a brilliant lecture which bears the stamp of the moment." According to Kaufmann, Sartre makes factual errors, including misidentifying philosopher Karl Jaspers as a Catholic, and presenting a definition of existentialism that is open to question. Thomas C. Anderson criticized Sartre for asserting without explanation that if a person seeks freedom from false, external authorities, then he or she must invariably allow this freedom for others. Iris Murdoch found one of Sartre's discussions with a Marxist interesting, but otherwise considered Existentialism and Humanism to be "a rather bad little book." Mary Warnock believed Sartre was right to dismiss the work. Gilles Deleuze and Michel Tournier were in attendance and also found the lecture disappointing.

The philosopher Frederick Copleston stated that Sartre, like Georg Wilhelm Friedrich Hegel and Edmund Husserl, interpreted the views of René Descartes as an anticipation of his own philosophical views. The neurobiologist Steven Rose described a statement in which Sartre maintained that man "will be what he makes of himself" as a "windily rhetorical paean to the dignity of universalistic man" and "more an exercise in political sloganeering than a sustainable philosophical position." He pointed to aging and disease as examples of factors that limit human freedom. The philosopher Slavoj Žižek argued that there is a parallel between Sartre's views and claims made by the character Father Zosima in Fyodor Dostoyevsky's novel The Brothers Karamazov (1880): whereas Sartre believes that with total freedom comes total responsibility, for Father Zosima "each of us must make us responsible for all men's sins".

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Existentialism Is a Humanism


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Talk:These are the Lost Tribes of Israel

Removed for NPOV by Stevert - already existing article, and besides this is not proper naming for an article... These are gummy bears... These are parts of a Ford F150. c'mon... Newcomers ===

We know that God's promises are true, for it is written,

"Indeed, let God be true and every man a liar." (Ro 3:4a) and, "For the gifts and callings of God are irrevocable." (Ro 11:29)

Contextually, both of these references are referring to all that the LORD has spoken through His prophets concerning ALL Israel.

Jew
It is important to understand (as the previous article hinted at) that one can not lable all decendants of Jacob as Jewish. The term "Jew," is a name derived from Israel's fourth born son, Judah, which has its first apearance in the book of 2 Kings 25:22: after the land of Judah was conquered and carried away captive by Nebuchadnezzar. Chronologically, the next use of, "Jew," is in Esther. Esther recounts the story of the Israelites which DID NOT RETURN TO THE LAND of Israel after 70 years of captivity in Babylon. Those Israelites which were carried away captive to Babylon were primarily composed of three tribes: Judah, Benjamin, and 1/2 the tribe of Levi. The Israelites who did return to the land of Israel after the 70 years of captivity, applied this term to themselves, demonstrating that the proper noun, "Jew," originated as a result of the Babylonian captivity refering to this specific sub group Israelites. Therefore, the term properly used (ancient and modern) describes the small remnant of Judah, Benjamin, and Levi as a result of the Babylonian captivity. Other terms which the Bible uses to describe this group are the House of Judah and Judean. (more commentary forthcoming)

Israel
(Commentary forthcoming)

All Israel
(Commentary forthcoming)

My People - Not My People - My People
(Commentary forthcoming)


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Marcel Marceau

Marcel Marceau (born Marcel Mangel; 22 March 1923 – 22 September 2007) was a French mime artist and actor most famous for his stage persona, "Bip the Clown". He referred to mime as the "art of silence", performing professionally worldwide for more than 60 years.

As a Jewish youth, he lived in hiding and worked with the French Resistance during most of World War II, giving his first major performance to 3,000 troops after the liberation of Paris in August. Following the war, he studied dramatic art and mime in Paris.

Early life
Marcel Marceau was born in Strasbourg, France, to a Jewish family. His father, Charles Mangel, was a kosher butcher originally from Będzin, Poland. His mother, Anne Werzberg, came from Yabluniv, present-day Ukraine. Through his mother's family, he was a cousin of Israeli singer Yardena Arazi. When Marcel was four years old, the family moved to Lille, but they later returned to Strasbourg.

After France's invasion by Nazi Germany, Marcel, then 17, fled with his family to Limoges. His cousin Georges Loinger, one of the members of the French Jewish Resistance in France (Organisation Juive de Combat-OJC, aka Armée Juive), urged him to join in order to help rescue Jews during the Holocaust. The OJC, which was composed of nine clandestine Jewish networks, rescued thousands of Jewish children and adults during the war in France.

He was schooled in the Paris suburbs at the home of Yvonne Hagnauer, while pretending to be a worker at the school she directed; Hagnauer would later receive the honor of Righteous Among the Nations from Yad Vashem. In 1944 Marcel's father was captured by the Gestapo and deported to the Auschwitz concentration camp, where he was killed. Marcel's mother survived.

Marcel and his older brother, Alain, adopted the last name "Marceau" during the German occupation of France; the name was chosen as a reference to François Séverin Marceau-Desgraviers, a general of the French Revolution. The two brothers joined the French Resistance in Limoges. They rescued numerous children from the race laws and concentration camps in the framework of the Jewish Resistance in France, and, after the liberation of Paris, joined the French army. Owing to Marceau's fluency in English, French, and German, he worked as a liaison officer with General George Patton's Third Army.

According to Marceau, when he was five years of age, his mother took him to see a Charlie Chaplin film, which entranced him and led him to want to become a mime artist. The first time he used mime was after France was invaded, in order to keep Jewish children quiet while he helped them escape to neutral Switzerland.

After the war ended in 1945, he enrolled as a student in Charles Dullin's School of Dramatic Art in the Sarah Bernhardt Theatre in Paris, where he studied with teachers such as Joshua Smith and Étienne Decroux and Jean-Louis Barrault.

Career
Marceau joined Jean-Louis Barrault's company and was soon cast in the role of Arlequin in a pantomime, Baptiste (which Barrault had interpreted in the film Les Enfants du Paradis). Marceau's performance won him such acclaim that he was encouraged to present his first "mimodrama", Praxitele and the Golden Fish, at the Bernhardt Theatre that same year. The acclaim was unanimous, and Marceau's career as a mime artist was firmly established.

In 1947 Marceau created Bip the Clown, whom he first played at the Théâtre de Poche (Pocket Theatre) in Paris. In his appearance, he wore a striped pullover and a battered, be-flowered silk opera hat. The outfit signified life's fragility, and Bip became his alter ego, just as the "Little Tramp" had become Charlie Chaplin's. Bip's misadventures with everything from butterflies to lions, from ships and trains to dancehalls and restaurants, were limitless. As a stylist of pantomime, Marceau was acknowledged without peer. Marceau, during a televised talk with Todd Farley, expresses his respect for the mime techniques that Charlie Chaplin used in his films, noting that Chaplin seemed to be the only silent film actor who used mime.

His silent mimed exercises, which included The Cage, Walking Against the Wind, The Mask Maker, and In The Park, all became classic displays. Satires on everything from sculptors to matadors were described as works of genius. Of his summation of the ages of man in the famous Youth, Maturity, Old Age and Death, one critic said: "He accomplishes in less than two minutes what most novelists cannot do in volumes." During an interview with CBS in 1987, Marceau tried to explain some of his inner feelings while creating mime, calling it the "art of silence:" "The art of silence speaks to the soul, like music, making comedy, tragedy, and romance, involving you and your life. . . . creating character and space, by making a whole show on stage – showing our lives, our dreams, our expectations."

In 1949, following his receipt of the Deburau Prize (established as a memorial to the 19th-century mime master Jean-Gaspard Deburau) for his second mimodrama, Death before Dawn, Marceau founded Compagnie de Mime Marcel Marceau, the only company of pantomime in the world at the time. The ensemble played the leading Paris theatres, such as Le Théâtre des Champs-Élysées, Le Théâtre de la Renaissance, and the Bernhardt Theatre, as well as other playhouses throughout the world.

From 1959 to 1960, a retrospective of his mimodramas, including The Overcoat by Gogol, ran for a full year at the Amibigu Théâtre in Paris. He produced 15 other mimodramas, including Pierrot de Montmartre, The Three Wigs, The Pawn Shop, 14 July, The Wolf of Tsu Ku Mi, Paris Cries — Paris Laughs and Don Juan (adapted from the Spanish writer Tirso de Molina).

World recognition
Marceau performed all over the world to spread the "art of silence" (L'art du silence). It was the intellectual minority who knew of him until he first toured the United States in 1955 and 1956, close on the heels of his North American debut at the Stratford Festival of Canada. After his opening engagement at the Phoenix Theater in New York, which received rave reviews, he moved to the larger Barrymore Theater to accommodate the public demand. This first U.S. tour ended with a record-breaking return to standing-room-only crowds in San Francisco, Chicago, Washington, D.C., Philadelphia, Los Angeles, and other major cities. His extensive transcontinental tours included South America, Africa, Australia, China, Japan, South East Asia, Taiwan, Russia, and Europe. His last world tour covered the United States in 2004, and he returned to Europe in 2005 and to Australia in 2006. He was one of the world's most renowned mime artists.

Marceau's art became familiar to millions through his many television appearances. His first television performance as a star performer on the Max Liebman, Mike Douglas and Dinah Shore, and he also had his one-man show entitled "Meet Marcel Marceau". He teamed with Red Skelton in three concerts of pantomimes.

Marceau also showed his versatility in motion pictures such as Professor Ping in Barbarella (1968); First Class (1970), in which he played 17 roles; Shanks (1974), where he combined his silent art, playing a deaf and mute puppeteer, and his speaking talent, as a mad scientist; and a cameo as himself in Mel Brooks' Silent Movie (1976), in which, with intentional irony, his character has the only audible speaking part, uttering the single word "Non!" when Brooks asks him (via intertitle) if he would participate in the film. His last film appearances included small roles in Klaus Kinski's Paganini (1989) and Joseph's Gift (1998). He also had a role in a low-budget film roughly based on his life story called Paint It White. The film was never completed because another actor in the movie, a lifelong friend with whom he had attended school, died halfway through filming.

As an author, Marceau published two books for children, the Marcel Marceau Alphabet Book and the Marcel Marceau Counting Book, and poetry and illustrations, including La ballade de Paris et du Monde (The Ballad of Paris and the World), an art book which he wrote in 1966, and The Story of Bip, written and illustrated by Marceau and published by Harper and Row. In 1974, he posed for artist Kenneth Hari and worked on paintings and drawings that resulted in a book and artwork in many museum collections. In 1982, Le Troisième Œil, (The Third Eye), his collection of ten original lithographs, was published in Paris with an accompanying text by Marceau. Belfond of Paris published Pimporello in 1987. In 2001, a new photo book for children titled Bip in a Book, published by Stewart, Tabori & Chang, appeared in bookstores in the U.S., France, and Australia.

In 1969, Marcel Marceau opened his first school, École Internationale de Mime, in the Théàtre de la Musique in Paris. The school was open for two years with fencing, acrobatics, ballet, and five teachers of mime. In 1978, Marceau established his school, École Internationale de Mimodrame de Paris, Marcel Marceau (International School of Mimodrame of Paris, Marcel Marceau). In 1996, he established the Marceau Foundation to promote mime in the United States.

In 1995, pop megastar Michael Jackson, who had been friends with Marceau for nearly 20 years, planned a concert together with him for HBO, but the concert was canceled after Jackson was hospitalized for exhaustion during rehearsals. Jackson, during an interview, said that he had always been "in awe" at Marceau's skill as a performer: "He was a great guy. I used to go see Marcel Marceau all of the time, before Off the Wall. I used to sneak in and sit in the audience and watch how he would defy the laws of gravity like he was stepping on air. I would take some of those things and include it into rhythm and dance when I move."

In 2000, Marceau brought his full mime company to New York City to present his new melodrama, The Bowler Hat, previously seen in Paris, London, Tokyo, Taipei, Caracas, Santo Domingo, Valencia (Venezuela), and Munich. From 1999, when Marceau returned with his classic solo show to New York and San Francisco after 15-year absences for critically acclaimed sold-out runs, his career in America enjoyed a remarkable renaissance with strong appeal to a third generation. He later appeared to overwhelming acclaim for extended engagements at such legendary American theaters as The Ford's Theatre in Washington, D.C., the American Repertory Theater in Cambridge, Massachusetts, and the Geffen Playhouse in Los Angeles demonstrating the timeless appeal of the work and the mastery of this unique artist.

Marceau's new total company production Les Contes Fantastiques (Fantasy Tales) opened to great acclaim at the Théâtre Antoine in Paris.

Personal life
Marceau was married three times: first to Huguette Mallet, with whom he had two sons, Michel and Baptiste; then, to Ella Jaroszewicz, with whom he had no children. His third wife was Anne Sicco, with whom he had two daughters, Camille and Aurélia.

Artist and fellow mime Paulette Frankl released a memoir in August 2014 about her decades-long relationship with Marceau, Marcel & Me: A Memoir of Love, Lust, and Illusion.

Death
Marceau died in a retirement home in Cahors, France, on 22 September 2007 at the age of 84. At his burial ceremony, the second movement of Mozart's Piano Concerto No. 21 (which Marceau long used as an accompaniment for an elegant mime routine) was played, as was the sarabande of Bach's Cello Suite No. 5. Marceau was interred at the Père Lachaise Cemetery in Paris.

Theater

 * 1946 : Baptiste by Jacques Prévert & Joseph Kosma, mise en scène Jean-Louis Barrault, Théâtre Marigny
 * 1947 : Baptiste by Jacques Prévert & Joseph Kosma, mise en scène Jean-Louis Barrault, Théâtre des Célestins
 * 1947 : La Fontaine de jouvence de Boris Kochno, mise en scène Jean-Louis Barrault, Théâtre Marigny
 * 1947 : Le Procès inspired by Franz Kafka, mise en scène Jean-Louis Barrault, Théâtre Marigny
 * 1947 : Spectacle Marcel Marceau, Théâtre de Poche Montparnasse
 * 1948 : L'État de siège (The State of Siege) by Albert Camus, mise en scène Jean-Louis Barrault, Théâtre Marigny
 * 1949 : Nouvelles Pantomimes burlesques and Un mimodrame by Marcel Marceau, mise en scène Marcel Marceau, Théâtre de Poche Montparnasse
 * 1950 : Les Pantomimes de Bip and Mort avant l'aube, Studio des Champs-Élysées
 * 1951 : Le Manteau – Moriana et Galvan by Nikolai Gogol and Alexandre Arnoux, mise en scène Marcel Marceau, Studio des Champs-Élysées
 * 1952 : Le Pierrot de Montmartre by Marcel Marceau, Théâtre Sarah Bernhardt
 * 1953 : Les Trois Perruques – Un soir aux Funambules by Marcel Marceau, Comédie des Champs-Élysées
 * 1956 : Loup de Tsu Ku Mi – Mont de Piété – 14 Juillet de Marcel Marceau, Théâtre de l'Ambigu
 * 1958 : Le Petit Cirque and Les Matadors by Marcel Marceau, Théâtre de l'Ambigu
 * 1964 : Don Juan by Marcel Marceau, Théâtre de l'Ambigu
 * 1972 : Le Vagabond des étoiles by Marcel Marceau, Théâtre des Champs-Élysées
 * 1974 : Pantomimes by Marcel Marceau, USA Tour
 * 1978 : Mimodrame by Marcel Marceau, Théâtre de la Porte-Saint-Martin
 * 1997 : Le Chapeau Melon by Marcel Marceau, Espace Cardin
 * 1997 : Déserts ou les 7 rêves de Sarah, mise en scène Anne Sicco, Scène Nationale d'Albi
 * 2003 : Contes fantastiques by Marcel Marceau, Théâtre Antoine

Awards and honors
Marceau was made a commander of the Ordre des Arts et des Lettres, an Officer of the Légion d'honneur, and in 1978 he received the Médaille Vermeil de la Ville de Paris. The City of Paris awarded him a grant which enabled him to reopen his International School which offered a three-year curriculum. In November 1998, President Jacques Chirac made Marceau a grand officer of the Ordre national du Mérite.

Marceau was an elected member of the Academy of Fine Arts Berlin, the Academy of Fine Arts Munich, the Académie des Beaux-Arts of the Institut de France.

Marceau held honorary doctorates from Ohio State University, Linfield College, Princeton University and the University of Michigan. In April 2001, Marceau was awarded the Wallenberg Medal by the University of Michigan in recognition of his humanitarianism and acts of courage aiding Jewish people and other refugees during World War II.

In 1999 New York City declared 18 March "Marcel Marceau Day".

Marceau accepted the honor and responsibilities of serving as Goodwill Ambassador for the United Nations Second World Assembly on Aging, which took place in Madrid, Spain, in April 2002.

On 22 March 2023, Google celebrated his 100th birthday with a Google Doodle.

Published works

 * Preface to the French high wire artist Philippe Petit's 1985 book, On The High Wire. ISBN 0-394-71573-X
 * Foreword to Stefan Niedziałkowski's and Jonathan Winslow's 1993 book, Beyond the Word—the World of Mime. ISBN 1-879094-23-1
 * Book, "Pimporello," adapted and edited by Robert Hammond, 1991, Peter Owen Publishers. ISBN 0-7206-0813-9

title: Marcel Marceau


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Fleischer Studios

Fleischer Studios was an American animation studio founded in 1929 by brothers Max and Dave Fleischer, who ran the pioneering company from its inception until its acquisition by Paramount Pictures, the parent company and the distributor of its films. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions being its chief competitor in the 1930s.

Fleischer Studios included Out of the Inkwell and Talkartoons characters like, Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and the comic character Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers' most successful characters were humans (with the exception of Bimbo, a black-and-white cartoon dog). The cartoons of the Fleischer Studio were very different from those of Disney, both in concept and in execution. As a result, they were rough rather than refined and consciously artistic rather than commercial, but in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality. Furthermore, the environments were grittier and urban, often set in squalid surroundings, reflecting the Great Depression as well as German Expressionism.

The Silent Era
The Fleischer Studio was built on Max Fleischer's novelty film series Out of the Inkwell (1918–1927). The novelty was based largely on the results of the "rotoscope", invented by Fleischer to produce realistic animation. The first Out of the Inkwell films were produced through The Bray Studio. They featured Fleischer's first character, "The Clown", which became known as Ko-Ko the Clown in 1924.

In 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, Goldwyn Pictures. The Fleischer Brothers left and began their own studio Out of the Inkwell Films with Dave Fleischer as director and production supervisor, and Max as producer, at 129 East 45th Street, later to 1600 Broadway, Times Square, midtown Manhattan, New York City. In 1924, animator, Dick Huemer came to the Out of the Inkwell Films studio and redesigned "The Clown" for more efficient animation. Huemer's new design and experience as an animator moved them away from their dependency on the rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko's companion, Fitz the Dog, who would evolve into Bimbo in 1930.

Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations. These innovations include the "Rotograph", an early "Aerial Image" photographic process for compositing animation with live action backgrounds. Other innovations included Ko-Ko Song Car-Tunes and sing-along shorts (featuring the famous "bouncing ball"), a precursor to karaoke.

In 1924, distributor Edwin Miles Fadiman and Hugo Riesenfeld formed the Red Seal Pictures Corporation. Riesenfeld was the theatrical manager of the Strand, Rivoli, and Rialto theaters on Broadway. Because the Out of the Inkwell films were a major part of the program in Riesenfeld's theaters, the Fleischers were invited to become partners. The Red Seal Company committed to an ambitious release schedule of 26 films with The Inkwell Studio as the primary supplier. The following year, Red Seal released 141 films that included documentaries, short comedy subjects, and live-action serials. Carrie of the Chorus, also known as Backstage Comedies, was one of the Red Seal series that featured Max's daughter, Ruth in a supporting role. Ray Bolger made his screen debut in this series and dated Ruth for a short time.

Red Seal released cartoon novelty series such as The Animated Hair cartoons by cartoonist "Marcus", and Inklings. The Animated Hair series resembled the on-screen hand drawing gimmick established in Out of the Inkwell. In this case, "Marcus" produced high-quality ink line portraits of celebrities and political figures. Then through stop motion animation techniques, the lines and forms would break away to entertainingly re-form the portrait into another. Inklings was similar in concept to the Animated Hair films, but was more of a visual puzzle novelty using a variety of progressive scratch-off/reveal techniques and rearranged animated cutouts to change the images.

It was during this time that Lee de Forest started filming his Phonofilms experiments featuring several of the major Broadway headliners. The Red Seal company began acquiring more theaters outside of New York and equipped them with sound equipment produced by Lee de Forest, displaying "talkies" three years before the sound revolution began. Because of Max's interest in technology, Riesenfeld introduced him to de Forest. It was through this partnership that Max produced a number of the Ko-Ko Song Car-tunes as sound releases. Of the 36 song films produced between 1924 and 1927, 12 were produced as sound films beginning in 1926 with standard silent versions as well. The first sound release was Mother Pin a Rose on Me. Other sound releases included Darling Nellie Gray, Has Anybody Here Seen Kelly?, When the Midnight Choo-Choo Leaves for Alabam', Coming Through the Rye, My Wife's Gone to the Country, Margie, Oh, How I Hate to Get Up in the Morning, Sweet Adeline, Old Black Joe, Come Take A Trip in My Airship, and By the Light of the Silvery Moon.

Red Seal owned 56 theaters, extending as far west as Cleveland, Ohio. But after only two years of operation, Red Seal was broke. Max (Fleischer) sought an appointment of receiver in bankruptcy in October 1926. Just as the situation looked hopeless, Alfred Weiss appeared from the horizon with a Paramount contact.

The Paramount deal provided financing and distribution, but due to legal complications of the bankruptcy, the title to Out of the Inkwell was changed to The Inkwell Imps (1927–1929) and the studio was renamed Inkwell Studios. One year into the relationship, the Fleischer Brothers discovered mismanagement under Weiss and left before the end of the Imps contract. Out of the Inkwell Films, Inc. filed bankruptcy in January 1929. In March, Max formed Fleischer Studios with Dave as his partner. Operations were first set up at the Carpenter-Goldman Laboratories in Queens. With a skeleton staff, Fleischer Studios started out doing industrial films, most notably, Finding His Voice, a technical demonstration film explaining Western Electric's Variable Density recording and reproduction system. Max Fleischer secured a new contract with Paramount to produce a revival of the "Bouncing Ball" song films, re-branded as Screen Songs, with The Sidewalks of New York as the first release on February 5, 1929.

Sound films
The early experiments with sound synchronization gave Fleischer Studios experience in perfecting the post-production method of recording, aided by several inventions by founder, Max Fleischer. With the conversion to sound, Paramount needed more sound films, and cartoons could be produced faster than feature films. As the Screen Songs returned Fleischer to the established song film format, a new sound series, Talkartoons replaced the silent Inkwell Imps, the first being Noah's Lark released on October 25, 1929. Earlier entries in the series were one-shot cartoons, until the appearance of Bimbo as of the fourth entry. Bimbo evolved through several redesigns in each cartoon for the first year. While the intent was to develop him as the star of the series, it was the cameo appearance of a Helen Kane caricature in the seventh entry, Dizzy Dishes that took center stage. Audience reactions to the New York preview were so great that Paramount encouraged the continued development of the most famous character to come from the Fleischer Studio by that time, Betty Boop. While originated as a hybrid human/canine character, Betty Boop was transformed into the human character she is known as by 1932. Having become the main attraction of the Talkartoons, she was given her own series, which ran until 1939.

The "Jazz Baby" Flapper character, Betty Boop lifted the spirits of Depression Era audiences with her paradoxical mixture of childlike innocence and sexual allure. Being a musical novelty character, she was a natural for theatrical entertainment. Several of her early cartoons were developed as promotional vehicles for some of the top Black Jazz performers of the day including Louis Armstrong (I'll Be Glad When You're Dead You Rascal, You), Don Redman (I Heard), and most notably, the three cartoons made with Cab Calloway, Minnie the Moocher, Snow White, and The Old Man of the Mountain. This was considered a bold action in light of the Jim Crow policies active in the South where such films would not be shown.

In 1934, the Hays Code resulted in severe censorship for films. This affected the content of all of Paramount's films as well, which tended to reflect a more "mature" tone in the features of the Marx Brothers, W.C. Fields, and most of all, Mae West. As a result, each of these stars was released as Paramount changed the content of its films to reflect a more "general audience" in order to comply with the new Code and stay in business. Paramount had also gone through three reorganizations from bankruptcy between 1931 and 1936. The new management under Barney Balaban set out to make more general audience films of the type made at MGM, but for lower budgets. This change in content policy affected the content of cartoons that Fleischer was to produce for Paramount, which urged emulation of the Walt Disney product.

While Paramount was a large organization with a network of theaters, its fiscal consciousness was largely responsible for preventing Fleischer Studios from acquiring the three-strip Technicolor process, leaving it available for a four-year exclusivity with Walt Disney, who created a new market for color cartoons, established by Academy Award winner, Flowers and Trees (1932).

Paramount acquiesced to the release of the Color Classics series starting in 1934, but with the exclusivity of the three-color process still held by Disney, Fleischer Studios used the available two-color processes, Cinecolor, a two-emulsion red and blue process, and Two-color Technicolor, using red and green. By 1936, the Disney exclusivity had expired, and Fleischer Studios used the three-color process in its color cartoons beginning with Somewhere in Dreamland and continued using it for the remainder of its active years.

The Fleischer Studio's greatest success came with the licensing of E.C. Segar's comic strip character Popeye the Sailor beginning in 1933. Popeye eventually became the most popular series the studio ever produced, and its success surpassed Walt Disney's Mickey Mouse cartoons, documented by popularity polls. With the availability of full spectrum color, the Fleischer Studios produced three two-reel Popeye featurettes, Popeye the Sailor Meets Sindbad the Sailor (1936), Popeye the Sailor Meets Ali Baba's Forty Thieves (1937), and Popeye the Sailor Meets Aladdin's Wonderful Lamp (1939). This series of longer-format cartoons were an indication of the emergence of the animated feature film as a commercially viable project beginning with Walt Disney's Snow White and the Seven Dwarfs (1937).

The Fleischer Studios had reached its zenith by 1936, with four series and 52 annual releases. Due to the phenomenal success of the Popeye cartoons, Paramount demanded more, and the Fleischer Studio experienced rapid expansion in order to balance out the increased workload. The crowded conditions, production speedups, drawing quotas, and internal management problems resulted in a labor strike beginning in May 1937 which lasted for five months. This strike was a test case, the first launched in the motion picture industry, and produced a nationwide boycott of Fleischer cartoons for the duration.

Max Fleischer had been petitioning Paramount for three years about producing an animated feature. Paramount vetoed his proposals until the proven success of Disney's Snow White and the Seven Dwarfs (1937). Paramount now wanted an animated feature for a 1939 Christmas release. This request came at the time of preparations for relocating to Miami, Florida. While the relocation had been a consideration for some time, its final motivation was made a reality due to lower corporate tax structures and an alleged escape from the remaining hostility from the strike.

The new Fleischer Studio opened in October 1938, and production on its first feature, Gulliver's Travels (1939), went from the development stage begun in New York to active production in Miami. The score was by Paramount staff composer, Victor Young and recorded at the Paramount west coast facilities. While limited to only 60 theaters in a one-month release, Gulliver's Travels earned more than $3 million, in spite of exceeding its original $500,000 estimated cost. Accordingly, a second feature was ordered for the Christmas period, Mr. Bug Goes to Town (1941).

Fall of Fleischer
The personal relationship between Max and Dave Fleischer deteriorated during the Miami period due to complications associated with the pressures of finishing the studio's first feature film and Dave's very public adulterous affair with his secretary, Mae Schwartz. Max and Dave stopped speaking to each other altogether by the end of 1939, communicating solely by memo.

Dave gained total control of production in 1940, relegating Max to business affairs and research. The studio was in need of new products going into the new decade, but the new shorts series that debuted in 1939 and 1940, Gabby, Stone Age Cartoons, and Animated Antics, were unsuccessful. Theater operators complained, with the Popeye cartoons having the only value.

Paramount acquired the rights to comic book superhero Superman in 1941, and the Fleischers were assigned to work on a series of animated Superman shorts. The first entry, Superman, had a budget of $50,000, the highest ever for a Fleischer theatrical short, and was nominated for an Academy Award.

The animated Superman series, with its action-adventure and science fiction fantasy content, was a huge success, but that did not help the studio out of its financial trouble. It was penalized $350,000 for going over budget on Gulliver's Travels, and the revenues earned from the rentals of the Popeye cartoons had to be used to offset the loss of $250,000 incurred by the rejection of cartoons in 1940.

Acquisition by Paramount
While profits dwindled, Paramount continued to advance money to Fleischer Studios to continue the production of cartoons with its focus mainly on Popeye, Superman, and Mr. Bug Goes to Town, a new feature film for the 1941 Christmas season. On May 24, 1941, Paramount demanded reimbursement on the penalties still owed after 18 months and assumed full ownership of Fleischer Studios, Inc. The Fleischers remained in control of production until that November. Mr. Bug Goes to Town, intended for release in December 1941, was not released until February 1942, and never recouped its costs.

In spite of living up to his contractual obligations and delivering the film, Max Fleischer was asked to resign. Dave Fleischer had resigned the month before, and Paramount finished out the last five months of the Fleischer contract without the Fleischer brothers. The last cartoon produced at the credited Fleischer Studios was the Superman cartoon Terror on the Midway. Paramount formed a new company, Famous Studios, as a successor to Fleischer Studios effective on July 3, 1942.

Television
With the exception of the Superman and Popeye cartoons, Paramount's cartoon library of releases prior to October 1950 was originally sold to U.M. & M. TV Corporation in 1955. A condition of the purchase required the removal of the Paramount logos and copyright lines from the main titles.

As soon as the Fleischer library was sold to television, Max Fleischer noticed that some of the cartoons were being shown without his name in the credits, which was a violation of his original contracts. On June 17, 1956, Max Fleischer filed suit against Paramount and its TV distribution partners, seeking $2,750,000 in damages. The infringement on his name was corrected on all subsequent prints exhibited on television.

Before U.M.& M. had finished the title alterations, the company was bought by National Telefilm Associates. NTA placed their logo at the heads and tails of the films and blacked out references to Paramount, Technicolor, Cinecolor and Polacolor. The majority of the Fleischer cartoons were off the air by the mid 60s when the original copyrights were due for renewal. NTA failed to renew the copyrights, which placed the majority of the Fleischer film library (including the Color Classics series, the Screen Songs series, and Gulliver's Travels) into the public domain. Mr. Bug Goes to Town, various Betty Boop cartoons, and the 1938 Color Classic, The Tears of an Onion, are among the few films that remain under copyright to Melange Pictures, LLC.

In the mid-1970s, NTA converted 85 black and white Betty Boop cartoons to color through Fred Ladd's Color Systems company. The process was done by having the cartoons traced and re-colored by Korean animators. These were packaged in 1976 under the title Betty Boop for President. This was refashioned as a compilation feature, Hooray for Betty Boop, and ran on HBO in 1980.

Paramount has reacquired ownership of the original Fleischer film library (through their acquisition of Republic Pictures) since 1996 and continues to own the theatrical rights.

Popeye and Superman
The Popeye series, a property licensed from King Features Syndicate, was acquired by Associated Artists Productions (a.a.p.), which later became part of United Artists (for info on the Popeye retitling, see the a.a.p. article) and Metro-Goldwyn-Mayer. Turner Entertainment Co., after briefly owning MGM outright, settled for ownership of the library, including the Popeye cartoons, in 1986. A small number of Popeye cartoons have also entered the public domain.

Superman, the other series based on licensing, reverted to National Comics after Paramount's rights to the character expired. TV syndication rights were initially licensed to Flamingo Films, distributors of the 1950s Adventures of Superman TV series. All 17 entries in this series entered the public domain in the late 1960s, when National failed to renew their copyrights.

Nevertheless, the Superman and Popeye cartoons are now under the ownership of Warner Bros., a subsidiary of Warner Bros. Discovery; Warner bought the original film elements to the Superman series in 1969, after becoming a sibling (and later the parent) to DC Comics.

Home video
Most of the Fleischer color titles have been widely available on video since the 1980s, often on inexpensive videotapes sold in supermarkets and discount stores. Animation fans, the UCLA Film and Television Archive, and more recently the Max Fleischer estate and Paramount Pictures (via the Republic/Melange library) have worked to release high-quality restored editions of the Fleischer cartoons. These have also been made available on pay-cable, home video, DVD, and online on YouTube. Many of these restored versions now include the original front-and-end Paramount titles.

Most of the silent Fleischer titles from the Out of the Inkwell/Inkwell Imps series have entered the public domain.

An official Betty Boop VHS set, Betty Boop Confidential, was released by Republic Pictures in 1995, included several black-and-white Betty Boop cartoons as well as Betty's only color appearance, Poor Cinderella.

There have been several video releases for the Superman series. These include a 1991 VHS set produced by Bosko Video, titled The Complete Superman Collection: Golden Anniversary Edition – The Paramount Cartoon Classics of Max & Dave Fleischer released as two volumes which featured transfers from 35mm prints. It was reissued on DVD as The Complete Superman Cartoons — Diamond Anniversary Edition in 2000 by Image Entertainment, and Superman Adventures in 2004 by Platinum Disc Corporation.

A third (and more "official") compilation using restored and remastered materials was released in November 2006 by Warner Home Video as part of their DVD box set of Superman films. In 2009, Warner gave these Superman shorts their own stand-alone 2-disc DVD release, Max Fleischer's Superman: 1941–1942.

Olive Films, under exclusive license from Melange/Viacom, acquired the rights to the 66 non-public domain Betty Boop cartoons, and released four volumes of Betty Boop DVDs and Blu-rays.

Warner Home Video has released all of the Fleischer Popeye cartoons in three volumes as part of the Popeye the Sailor DVD collection.

VCI Entertainment/Kit Parker Films' DVD compilation of all the Color Classics (except The Tears of an Onion), entitled Somewhere In Dreamland, was released in 2003. It includes only a fraction of shorts remastered from 35mm film, but otherwise taken from the best available sources Kit Parker could provide VCI, and digitally recreating the original front-and-end Paramount titles. Animation archivist Jerry Beck served as consultant for this box set, as well as providing audio commentary for select shorts.

VCI Entertainment also released a DVD compilation of all the public domain Popeye cartoons (both Fleischer and Famous) entitled Popeye the Sailor Man Classic Cartoons: 75th Anniversary Collector's Edition in 2004.

In Japan, Mr. Bug Goes to Town was released on DVD in April 2010 by Walt Disney Studios Home Entertainment as part of the Studio Ghibli's Ghibli Museum Library collection.

Fleischer Studios today
In 1985, DC Comics named Fleischer Studios as one of the honorees in the company's 50th anniversary publication Fifty Who Made DC Great for its work on the Superman cartoons.

Today, a new iteration of Fleischer Studios effectively holds the rights to Betty Boop and associated characters such as Koko the Clown, Bimbo and Grampy, though courts have never supported their ownership claims. It is headed by Max's grandson Mark Fleischer, who oversees merchandising activities. Fleischer Studios utilizes King Features Syndicate to license Fleischer characters for various merchandise.

In 2021, after decades of being shown in altered and worn prints, the Fabulous Fleischer Cartoons Restored company was started by Max Fleischer's granddaughter, Jane Fleischer Reid, to focus on the restoration and screening of the Fleischer Studios library. The restoration efforts are a collaboration between film archives around the world including Paramount Pictures which owns the original camera negatives. Beginning with Somewhere in Dreamland; the restored cartoon had its premiere on the MeTV network in December of the same year. In March of 2023, a week long screening event took place at the Museum of Modern Art which showcased around 60 brand new Fleischer restorations.

Legacy and influence
The loose, improvisatory animation, frequently surreal action generally termed "The New York Style" (particularly in films such as Snow White and Bimbo's Initiation), grungy atmosphere, and racy pre-Code content of the early Fleischer Studios cartoons have been a major influence on many underground and alternative cartoonists. Kim Deitch, Robert Crumb, Jim Woodring, and Al Columbia are among the creators who have specifically acknowledged their inspiration. Much of Richard Elfman's 1980 cult film Forbidden Zone is a live action pastiche of the early Fleischer Studios style. The Fleischer style was also used in the 1995 animated series The Twisted Tales of Felix the Cat. The studio's art style and surreal atmosphere was a central influence on the indie game Cuphead, with the studio being described as "magnetic north" for the game's art style. Genndy Tartakovsky has also cited the works of the studio as a major inspiration for the look of his 2023 animated series Unicorn: Warriors Eternal.

Producers

 * Max Fleischer

Directors

 * James Culhane (Mr. Bug Goes to Town; uncredited)
 * Dave Fleischer

Writers

 * Eric St. Clair
 * Pinto Colvig
 * Max Fleischer
 * Dave Fleischer
 * Warren Foster
 * Dan Gordon
 * Cal Howard
 * Seymour Kneitel
 * George Manuell
 * Jack Mercer
 * Carl Meyer
 * Tedd Pierce
 * Graham Place
 * Hal Seeger
 * Edmond Seward
 * Isadore Sparber
 * David Tendlar
 * William Turner
 * Jack Ward
 * Bob Wickersham

Animators

 * Tom Baron
 * Bob Bemiller
 * Thomas Bonfiglio
 * Eli Brucker
 * Robert Bentley
 * Willard Bowsky
 * Orestes Calpini
 * Joel Clive
 * Herman Cohen
 * Roland Crandall
 * James Culhane
 * Joe D'Igalo
 * Ugo D'Orsi
 * James Davis
 * Nelson Demorest
 * Anthony Di Paola
 * H.C Ellison
 * Frank Endres
 * Al Eugster
 * Otto Feuer
 * Don Figlozzi
 * Dave Fleischer
 * Max Fleischer
 * Lillian Friedman Astor
 * George Germanetti
 * Arnold Gillespie
 * Tom Golden
 * Reuben Grossman
 * Charles Hastings
 * William Henning
 * Winfield Hoskins
 * Tom Johnson
 * Abner Matthews Kneitel
 * Seymour Kneitel
 * Bob Leffingwell
 * Michael Maltese
 * Carl Meyer
 * Thomas Moore
 * George Moreno Jr.
 * Steve Muffati
 * Grim Natwick
 * Bill Nolan
 * Joe Oriolo
 * Sid Pillet
 * Graham Place
 * Lod Rossner
 * Ted Sears
 * Hal Seeger
 * Gordon Sheehan
 * Ben Solomon
 * Irving Spector
 * Sam Stimson
 * William Sturm
 * Dave Tendlar
 * Jim Tyer
 * Edith Vernick
 * Myron Waldman
 * Harold Walker
 * John Walworth
 * Bob Wickersham
 * Bernard Wolf
 * Lou Zukor

Animation directors
Note: An animator who is credited first in a Fleischer cartoon is a director of animation. Dave Fleischer's role during production is more in line with a creative supervisor.

 * Willard Bowsky
 * Orestes Calpini
 * Roland Crandall
 * James Culhane
 * H. C. Ellison
 * Al Eugster
 * Arnold Gillespie
 * Tom Johnson
 * Seymour Kneitel
 * Bob Leffingwell
 * Bill Nolan
 * Tom Palmer
 * Graham Place
 * Stan Quackenbush
 * Dave Tendlar
 * Myron Waldman

Layout and scenic artists

 * Eddi Bowlds
 * Hemia Calpini
 * Robert Connavale
 * Robert Little
 * Anton Loeb
 * Shane Miller
 * Erich Schenk
 * Gustaf Tenggren

Photographers

 * Leonard McCormick

Voice actors

 * Joan Alexander
 * Dave Barry
 * Jackson Beck
 * Bud Collyer
 * Pinto Colvig
 * William Costello
 * Margie Hines
 * Cal Howard
 * Little Ann Little
 * Jack Mercer
 * Billy Murray
 * Julian Noa
 * William Pennell
 * Tedd Pierce
 * Bonnie Poe
 * Mae Questel
 * Ann Rothschild
 * Gus Wickie
 * Kate Wright

Musical supervisor and arrangements

 * Lou Fleischer (supervisor, 1930–1942)
 * George Steiner (1930–1935)
 * Sammy Timberg (1932–1942)
 * Winston Sharples (1940–1942)

title: Fleischer Studios


text:
Totò

Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio (15 February 1898 – 15 April 1967), best known by his stage name Totò, or simply as Antonio de Curtis, and nicknamed il principe della risata ("the prince of laughter"), was an Italian actor, comedian, screenwriter, dramatist, poet, singer and lyricist. He is commonly referred to as one of the most popular Italian performers of all time. While best known for his funny and sometimes cynical comic characters in theatre and then many successful comedy films made from the 1940s to the 1960s, he also worked with many iconic Italian film directors in dramatic roles.

Early life
Totò was born Antonio Vincenzo Stefano Clemente on 15 February 1898 in the Rione Sanità, a poor district of Naples, the illegitimate son of Anna Clemente (1881–1947), a Sicilian woman, and the Neapolitan marquis Giuseppe de Curtis (1873–1944). His father did not legally recognize him, and Totò so regretted growing up without a father that in 1933, at age 35, he managed to have the marquis Francesco Maria Gagliardi Focas adopt him in exchange for a life annuity. As a consequence, when Marquis de Curtis finally recognized him in 1937 Totò had become an heir of two noble families, ultimately claiming an impressive slew of titles.

Totò's mother wanted him to become a priest, but as early as 1913, at the age of 15, he was already acting as a comedian in small theatres, under the pseudonym Clerment. His early repertoire mostly consisted in imitations of Gustavo De Marco's characters. In the minor venues where he performed, Totò had the chance to meet famous artists like Eduardo and Peppino De Filippo. He served in the Italian Army during World War I and then went back to acting. He learned the art of the guitti, the Neapolitan scriptless comedians, heirs to the tradition of the Commedia dell'Arte, and began developing the trademarks of his style, including a puppet-like, disjointed gesticulation, emphasized facial expressions, and an extreme, sometimes surrealistic, sense of humor, largely based on emphasizing primitive urges such as hunger and sexual desire.

Career
In 1922, he moved to Rome to perform in bigger theatres. He performed in the genre of avanspettacolo, a vaudevillian mixture of music, ballet and comedy preceding the main act (hence its name, which roughly translates as "before show"). He became adept at these shows (also known as rivista – Revue), and in the 1930s he had his own company, with which he travelled across Italy. In 1937, he appeared in his first movie Fermo con le mani, and later starred in 96 other films.

As the vast majority of his movies were essentially meant to showcase his performances, many have his name "Totò" in the title. Some of his best-known films are Fifa e Arena, Totò al Giro d'Italia, Totò Sceicco, Guardie e ladri, Totò e le donne, Totò Tarzan, Totò terzo uomo, Totò a colori (one of the first Italian color movies, 1952, in Ferraniacolor), I soliti ignoti, Totò, Peppino e la malafemmina, La legge è legge. Pier Paolo Pasolini's The Hawks and the Sparrows and the episode "Che cosa sono le nuvole" from Capriccio all'italiana (the latter released after his death), showed his dramatic skills.

In his vast cinematographic career, Totò had the opportunity to act side by side with virtually all major Italian actors of the time. With some of them he paired in several films, the most renowned and successful teams being established with Aldo Fabrizi and Peppino De Filippo. De Filippo was one of the few actors to have his name appear in movie titles along with that of Totò, for example in Totò, Peppino e la malafemmina and Totò e Peppino divisi a Berlino.

Partly because of the radical, naive immorality of his roles, some of his more spicy gags raised much controversy in a society that was both strictly Catholic and ruled by the conservative Democrazia Cristiana (Christian Democracy) party. For example, Totò's 1964 movie Che fine ha fatto Totò Baby? (a parody of What Ever Happened to Baby Jane?) included a humorous celebration of cannabis in an era when drugs were perceived by the Italian audience as something exotic, depraved and dangerous.

Writing
During the 1950s, he started to compose poetry. The best-known is probably 'A Livella, in which an arrogant rich man and a humble poor man meet after their deaths and discuss their differences. Totò was also a songwriter: Malafemmena (Wayward Woman), dedicated to his wife Diana after they separated, is considered a classic of the Neapolitan popular music.

Personal life
Totò had a reputation as a playboy. One of his lovers, the well known chanteuse and dancer Liliana Castagnola, committed suicide after their relationship ended. This tragedy marked his life. He buried Liliana in his family's chapel, and named his only daughter Liliana (born 10 May 1933 to his wife, Diana Bandini Rogliani, whom he married in 1935).

Another personal tragedy was the premature birth of his son Massenzio in 1954. The child died a few hours later. He was the son of Totò's mistress Franca Faldini. During a tour in 1956, he lost most of his eyesight due to an eye infection that he had ignored to avoid cancelling his show and disappointing his fans. Arguably however, the handicap almost never affected his schedule and acting abilities.

Totò died at the age of 69 on 15 April 1967 in Rome after a series of heart attacks. Due to overwhelming demand, there were no fewer than three funeral services: the first in Rome, a second in his birth city of Naples—and a few days later, in a third one by the local Camorra boss, an empty casket was carried along the packed streets of the popular Rione Sanità quarter where he was born.

Noble titles
In 1946, when the Consulta Araldica—the body that advised the Kingdom of Italy on matters of nobility—ceased operations, the Tribunal of Naples recognized his numerous titles, so his complete name was changed from Antonio Clemente to Antonio Griffo Focas Flavio Ducas Komnenos Gagliardi de Curtis of Byzantium, His Imperial Highness, Palatine Count, Knight of the Holy Roman Empire, Exarch of Ravenna, Duke of Macedonia and Illyria, Prince of Constantinople, Cilicia, Thessaly, Pontus, Moldavia, Dardania, Peloponnesus, Count of Cyprus and Epirus, Count and Duke of Drivasto and Durazzo. For someone born and raised in one of the poorest Neapolitan neighbourhoods, this must have been quite an achievement, but in claiming the titles (at the time they had become meaningless) the comedian also mocked them for their intrinsic worthlessness. In fact, when he was not using his stage name Totò, he mostly referred to himself simply as Antonio de Curtis.

Actor
Totò starred in 97 films:

 * Hands Off Me! (1937) as Antonio 'Totò' Toretota
 * Mad Animals (1939) as Totò / Barone Tolomeo dei Tolomei
 * Saint John, the Beheaded (1940) as Mastro Agostino Miciacio
 * The Happy Ghost (1941) as Nicolino & Gelsomino & Antonino
 * Two Hearts Among the Beasts (1943) as Totò
 * Arcobaleno (film) (1943)
 * Romulus and the Sabines (1945) as Aristide Tromboni
 * The Two Orphans (1947) as Gasparre
 * Toto Tours Italy (1948) as Prof. Toto' Casamandrei
 * Fear and Sand (1948) as Nicolino Capece
 * The Firemen of Viggiù (1949) as The Suitor - Disguises Himself as Dummy / Band Leader
 * Yvonne of the Night (1949) as Nino, il fantasista
 * Toto Looks for a House (1949) as Beniamino Lomacchio
 * The Emperor of Capri (1949) as Antonio De Fazio
 * Totò Le Mokò (1949) as Antonio Lumaconi / Totò le Moko
 * Side Street Story (1950) as Pasquale Miele
 * Figaro Here, Figaro There (1950) as Figaro
 * Toto Looks for a Wife (1950) as Toto
 * Totò Tarzan (1950) as Antonio Della Buffas
 * Bluebeard's Six Wives (1950) as Totò Esposito
 * Toto the Sheik (1950) as Antonio Sapore, il maggiordomo
 * 47 morto che parla (1950) as Il barone Antonio Peletti
 * Toto the Third Man (1951) as Piero / Paolo / Totò
 * Seven Hours of Trouble (1951) as Totò De Pasquale
 * Cops and Robbers (1951) as Ferdinando Esposito
 * Toto in Color (1952) as Antonio Scannagatti
 * Toto and the King of Rome (1952) as Ercole Pappalardo
 * Toto and the Women (1952) as Antonio Scaparro
 * One of Those (1953) as Rocco
 * Man, Beast and Virtue (1953) as Prof. Paolino
 * Neapolitan Turk (1953) as Felice Sciosciammocca
 * Funniest Show on Earth (1953) as Tottons, il clown / Una signora del pubblico
 * Of Life and Love (1954) as Rosario Chiarchiaro (segment "La patente")
 * Where Is Freedom? (1954) as Salvatore Lojacono
 * A Slice of Life (1954) as Il fotografo
 * Poverty and Nobility (1954) as Felice Sciosciammocca
 * The Doctor of the Mad (1954) as Felice Sciosciammocca
 * The Three Thieves (1954) as Tapioca
 * Toto Seeks Peace (1954) as Gennaro Piselli
 * The Gold of Naples (1954) as Don Saverio Petrillo (segment "Il guappo")
 * Totò and Carolina (1955) as Antonio Caccavallo
 * Toto in Hell (1955) as Antonio Marchi / March' Antonio
 * Carousel of Variety (1955)
 * Are We Men or Corporals? (1955) as Toto Esposito
 * Destination Piovarolo (1955) as Antonio La Quaglia
 * Roman Tales (1955) as Professore Semprini
 * Il coraggio (1955) as Gennaro Vaccariello
 * The Band of Honest Men (1956) as Antonio Buonocore
 * Totò, lascia o raddoppia? (1956) as Duca Gagliardo della Forcoletta
 * Toto, Peppino, and the Hussy (1956) as Antonio Caponi
 * Toto, Peppino and the Outlaws (1956) as Antonio
 * The Lady Doctor (1957) as Michele 'Mike' Spillone
 * Toto and Marcellino (1958) as Il professore
 * The Law Is the Law (1958) as Giuseppe La Paglia
 * Big Deal on Madonna Street (1958) as Dante Cruciani
 * Toto, Peppino and the Fanatics (1958) as Ragionier Antonio Vignanelli
 * Toto in Paris (1958) as Marchese Gastone de Chemantel / Chateau-Boiron / il vagabondo Totò
 * Toto in the Moon (1958) as Pasquale Belafronte
 * Legs of Gold (1958) as barone Luigi Fontana
 * Toto in Madrid (1959) as Totò Scorceletti
 * The Overtaxed (1959) as Torquato Pezzella
 * The Thieves (1959) as Commissario Di Sapio
 * You're on Your Own (1959) as Il nonno illuminato
 * La cambiale (1959) as Cesare Posalaquaglia
 * Tough Guys (1960) as L'Algerino
 * Gentlemen Are Born (1960) as Ottone Degli Ulivi, detto Zazà
 * Toto, Fabrizi and the Young People Today (1960) as Antonio Cocozza
 * Letto a tre piazze (1960) as Antonio Di Cosimo
 * The Passionate Thief (1960) as Umberto 'Infortunio' Pennazzuto
 * Who Hesitates Is Lost (1960) as Antonio Guardalavecchia
 * Totò ciak (1960) as Toto
 * Totò, Peppino e... la dolce vita (1961) as Antonio Barbacane
 * Sua Eccellenza si fermò a mangiare (1961) as The So-Called Dr Biagio Tanzarella
 * Totòtruffa 62 (1961) as Antonio Peluffo
 * The Two Marshals (1961) as Antonio Capurro
 * Toto vs. Maciste (1962) as Totokamen Sabachi
 * Totò Diabolicus (1962) as Marquis Galeazzo di Torrealta / Gen. Scipione di Torrealta / Prof. Carlo di Torrealta / Baroness Laudomia di Torrealta / Mons. Antonino di Torrealta / Pasquale Bonocore
 * Lo smemorato di Collegno (1962) as Lo smemorato
 * Toto and Peppino Divided in Berlin (1962) as Antonio La Puzza / Canarinis
 * Toto's First Night (1962) as Nini
 * The Two Colonels (1962) as Colonnello Di Maggio
 * The Shortest Day (1962) as Frate bersagliere
 * Toto vs. the Four (1963) as Antonio Saracino
 * The Monk of Monza (1963) as Pasquale Cicciacalda / Don Manuel
 * Toto and Cleopatra (1963) as Mark Antony / Totonno
 * Le motorizzate (1963) as Urbano Cacace (segment "Il Vigile Ignoto")
 * Sexy Toto (1963) as Nini Cantachiaro
 * Gli onorevoli (1963) as Antonio La Trippa
 * The Commandant (1963) as Col. Antonio Cavalli
 * Toto vs. the Black Pirate (1964) as José
 * Beautiful Families (1964) as Filiberto Comanducci (segment "Amare è un po' morire")
 * What Ever Happened to Baby Toto? (1964) as Totò Baby / il Padre
 * Toto of Arabia (1965) as Totò
 * Latin Lovers (1965) as Antonio Gargiulo (segment "Amore e morte")
 * The Mandrake (1965) as Il Frate
 * Rita the American Girl (1965) as Serafino Benvenuti
 * The Hawks and the Sparrows (1966) as Innocenti Totò / Brother Ciccillo
 * Treasure of San Gennaro (1966) as Don Vincenzo
 * The Witches (1967) as Ciancicato Miao (segment "La terra vista dalla luna")
 * The Head of the Family (1968) as Man at Funeral (uncredited, released posthumously)
 * Caprice Italian Style (1968) as Anziano signore (segment "Mostro della domenica, Il") / Iago (segment "Che cosa sono le nuvole?") (final film role, released posthumously)

Screenwriter

 * Il medico dei pazzi
 * Totò all'inferno
 * Siamo uomini o caporali
 * Il coraggio
 * I due marescialli

TV

 * TuttoTotò (1967, aired posthumously)

title: Totò


text:
Talk:Lists of military aircraft of the United States

Splitting proposal
I propose that this article be split into two articles, with one covering 1919 and 1924 USAAS sequence and the other covering the 1962 Tri-service sequence (the relatively short 1956 US Army sequence is already covered on the sequence's main article). The current list is extremely long, and covers all but one major US military designation system. For sequences that were continued from where they left off after 1962 (such as the original transport, trainer, and helicopter sequences), the post-1962 designations would be included in the Tri-service article. - ZLEA  T \ C 15:15, 16 August 2021 (UTC)
 * Support per nom. Carguychris (talk) 15:51, 21 September 2021 (UTC)
 * Oppose - better to have this list be a list of the other existing articles as in List of military aircraft of the United Kingdom rather than double up on existing articles - you already have List of military aircraft of the United States (1909–1919). You could also consider lists more like List of aircraft of the Royal Air Force which actually carry further information. GraemeLeggett (talk) 17:36, 21 September 2021 (UTC)
 * I agree that this article should become a list of lists, but not in the same way as List of military aircraft of the United Kingdom. The problem I have with your proposal is that the British use a name-based designation system (with the exception of a few undesignated aircraft using manufacturer designations) which makes splitting lists by branch convenient and easy.  American designations, on the other hand, are numerical sequences.  Many designation systems (especially the 1962 Tri-service system) are shared between branches, which is inconvenient if we want to split by branch rather than system. -  ZLEA  T \ C 19:47, 21 September 2021 (UTC)

 * Support The Article should be divided into two articles, with pre and post unified systems. It would be easier to navigate, and for future additions to the tri-service system. It should not be divided by branch post-1962, because that would be stupid, as it's the whole point of the tri-service designation. — Preceding unsigned comment added by 72.76.213.170 (talk) 12:38, 26 October 2021 (UTC)

 * Comment. I would suggest that the actual list could be usefully split into two new articles, but that this page could be retained and transclude the two halves, to offer a single comprehensive list without having to maintain the same information twice. There is Wikitext markup which can be used to identify the parts of the separate pages to be transcluded and those not to be, so that all three pages can present a clean and functional appearance. — Cheers, Steelpillow (Talk) 10:03, 1 June 2022 (UTC)
 * Sounds good to me. - w o lf  17:51, 1 June 2022 (UTC)

"Comment - the article would be shorter if it didn't double list aircraft under every different designation it carried rather than eg once by common name with alternate designations after.GraemeLeggett (talk) 04:31, 2 June 2022 (UTC)
 * Support the split, but I agree with the proposal to split, but I have a problem with the use of the term "Military".  This system was used by the Army through 1947, and by the Air Force afterwards, but not by the Navy until the joint system, and "Military" implies usage by all services.  In addition, the Army used its own system in the 1950s. Lineagegeek (talk) 22:58, 1 June 2022 (UTC)

 * Sorry to miss this discussion, this was a weak consensus for such a dramatic change to a decades old article. The new format of seperate lists, seems to have introduced factual and readability issues. A75 (talk) 14:08, 3 December 2023 (UTC)
 * Could you please elaborate? - ZLEA  T \ C 16:13, 3 December 2023 (UTC)
 * I find it awkward to shift between different lists to see aircraft that were part of similar periods, for example the B-52. The second point, that some aircraft are designated under the current system, even if their number started under a previous system. Take for example the B-52J, which is new designation even though the "52" was originally arrived at under an earlier setup. Maybe in the end it will turn out better at some point, the previous page was getting a bit long after all. That page had been updated for two decades so it had a lot of corrections and was easy to search a single page. A75 (talk) 16:51, 3 December 2023 (UTC)
 * Let's continue this discussion at Talk:List of U.S. DoD aircraft designations since the issues are heavily related. - ZLEA  T \ C 20:30, 3 December 2023 (UTC)
 * OK see you there, thank you. A75 (talk) 23:35, 3 December 2023 (UTC)


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Sugoroku

Sugoroku (雙六 or 双六) (literally 'double six') refers to two different forms of a Japanese board game: ban-sugoroku (盤双六, 'board-sugoroku') which is similar to western tables games like backgammon, and e-sugoroku (絵双六, 'picture-sugoroku') which is similar to Western snakes and ladders.

Ban-sugoroku
Ban-sugoroku is played in a similar way to western tables games. It has the same starting position as backgammon, but the aim and rules of play are different. For example:

 * Doubles are not special. If a player rolls doubles, each die still counts only once.
 * There is no "bearing off". The goal is to move all of one's men to within the last six spaces of the board.
 * There is no doubling cube.
 * "Closing out", that is forming a prime of six contiguous points with one or more of opponents men on the bar, is an automatic win.

The game is thought to have been introduced from China (where it was known as Shuanglu) into Japan in the sixth century.

It is known that in the centuries following the game's introduction into Japan it was made illegal several times, most prominently in 689 and 754. This is because the simple and luck-based nature of sugoroku made it an ideal gambling game. This version of sugoroku and records of playing for gambling continuously appeared until early Edo era. In early Edo-era, a new and quick gambling game called Chō-han (丁半) appeared and using sugoroku for gambling quickly dwindled.

This variant of the tables family has died out in Japan and most other countries, while the Western style modern backgammon (with doubling-cube) still has some avid players.

E-sugoroku
A simpler e-sugoroku, with rules similar to snakes and ladders, appeared as early as late 13th century and was made popular due to the cheap and elaborate wooden block printing technology of the Edo period. Thousands of variations of boards were made with pictures and themes from religion, political, actors, and even adult material. In the Meiji and later periods, this variation of the game remained popular and was often included in child-oriented magazines. With ban-sugoroku being obsolete, today the word sugoroku almost always means e-sugoroku.

Other sugoroku games
Many e-sugoroku-based video games were released, including: Kiteretsu Daihyakka: Chōjikū Sugoroku, Sugoroku Ginga Senki, Battle Hunter, Ganbare Goemon: Mononoke Sugoroku, Culdcept, Dokodemo Hamster 4: Doki Doki Sugoroku Daibouken!, Hello Kitty: Minna de Sugoroku, Gotouchi Hello Kitty Sugoroku Monogatari, Yu-Gi-Oh! Sugoroku's Board Game, Family Pirate Party, Hidamari Sketch: Doko Demo Sugoroku x 365, and PictureBook Games: Pop-Up Pursuit.

The video game Samurai Warriors 2 features a mini-game named Sugoroku, but it bears very little resemblance to traditional Sugoroku. Instead, it plays very much like Itadaki Street, Wily & Right no RockBoard: That's Paradise, or a simplified version of Monopoly: players take turns in moving around a board, the spaces of which are designated as different territories of Japan. By landing on an unoccupied space, the player is able to buy that space for a set amount of money. If one player lands on a space purchased by another, they must pay a fee to that player, or else can choose to challenge the player for control of that space (utilising the main Samurai Warriors 2 game engine for special challenge games). Also present on the board are "Shrine" spaces, which are roughly analogous to Monopoly's Chance and Community Chest spaces.

The Mario Party series can be seen with heavy influences from sugoroku, especially e-sugoroku.

The video game Eternal Melody is primarily a simulation game with RPG elements, including dungeons. Dungeon exploration plays out as a game of Sugoroku.

The survival horror game Kuon features ban-sugoroku as a minigame that can be unlocked.

Several of the Dragon Quest games feature a minigame called sugoroku (known as Treasures n' Trapdoors or Pachisi in English localizations) that has players moving along a board with spaces after rolling a 6-sided die.

title: Sugoroku