By Sandra Annett (auth.)
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Additional info for Anime Fan Communities: Transcultural Flows and Frictions
The problem for scholars is that less evidence of early non-American animated cinema remains. For instance, all copies of the first known animated feature film, Argentinean Quirino Cristiani’s 1917 political satire The Apostle (El Apóstol), were destroyed by fires in 1957 and 1961, along with Cristiani’s entire career-spanning archive of film prints, ephemera, and original drawings (Bendazzi 1996). Likewise, many early Japanese animated works have been lost to natural disasters such as the Great Kanto Earthquake of 1923 and the ravages of World War II.
Along with sex appeal, this series also used allusions to the urban underworld of booze and jazz to hold adult attention. It featured “gags built on urban and industrial experience, a fantasy world of neighbourhoods, sweatshops, pool halls, Coney Island rides, and . . Manhattan vaudeville” (Klein 1993, 62), both reflecting and reconstructing the Fleischers’ own experiences of growing up in New York. More particularly, the Fleischers’ works were embedded in the cultural climate of Lower East Side Jewish immigrant neighborhoods.
So, in order to understand animation’s international manifestations, we must pay close attention to how animation was framed as such by depicting the animator’s work. In addition, I would also like to introduce another reflexive figuration common in early cartoons that animation scholars, including Crafton, often overlook: the audience. While Crafton discusses live spectators’ reactions to early films, he does not consider animators’ representations of their audiences in their own films at any length.