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From the studio that brought you such classics as WesternAnimation/BettyBoop and ComicStrip/{{Popeye}}, [[Creator/MaxAndDaveFleischer Fleischer Studios]] played a major role in cementing [[ComicBook/{{Superman}} the Man of Steel]] as a pop culture icon by means of these lavishly animated, massive budget short subjects which served to bring Superman to the big screen, from UsefulNotes/TheGoldenAgeOfAnimation. These cartoons were a big deal back in the '40s -- the first short, "[[WesternAnimation/TheMadScientist The Mad Scientist]]", was nominated for the 1942 UsefulNotes/AcademyAward (losing to a [[WesternAnimation/ClassicDisneyShorts Disney]] [[WesternAnimation/PlutoThePup Pluto short]], ''WesternAnimation/LendAPaw''). These shorts were among the first cartoons that were made for genuine action and drama, rather than crude comedy, which was part of what contributed to their success. Paramount in fact had such confidence in the shorts being a hit, they even had '''trailers''' made for them -- yes, that's right, trailers for ''short cartoons.'' Try to wrap your head around that.

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From the studio that brought you such classics as WesternAnimation/BettyBoop and ComicStrip/{{Popeye}}, [[Creator/MaxAndDaveFleischer Fleischer Studios]] played a major role in cementing [[ComicBook/{{Superman}} the Man of Steel]] as a pop culture icon by means of these lavishly animated, massive budget short subjects which served to bring Superman to the big screen, from UsefulNotes/TheGoldenAgeOfAnimation. MediaNotes/TheGoldenAgeOfAnimation. These cartoons were a big deal back in the '40s -- the first short, "[[WesternAnimation/TheMadScientist The Mad Scientist]]", "WesternAnimation/TheMadScientist", was nominated for the 1942 UsefulNotes/AcademyAward MediaNotes/AcademyAward (losing to a [[WesternAnimation/ClassicDisneyShorts Disney]] [[WesternAnimation/PlutoThePup Pluto short]], ''WesternAnimation/LendAPaw''). These shorts were among the first cartoons that were made for genuine action and drama, rather than crude comedy, which was part of what contributed to their success. Paramount in fact had such confidence in the shorts being a hit, they even had '''trailers''' made for them -- yes, that's right, trailers for ''short cartoons.'' Try to wrap your head around that.



On a side note, only the first nine shorts were made by [[Creator/MaxAndDaveFleischer Fleischer Studios]], with the other eight being handled by Creator/FamousStudios, their successor. Alas, the basic American economics of the ShortFilm format in UsefulNotes/TheGoldenAgeOfHollywood, where such films earned a set fee for screenings regardless of audience interest, couldn't sustain the series and it ended as simply too expensive.

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On a side note, only the first nine shorts were made by [[Creator/MaxAndDaveFleischer Fleischer Studios]], with the other eight being handled by Creator/FamousStudios, their successor. Alas, the basic American economics of the ShortFilm format in UsefulNotes/TheGoldenAgeOfHollywood, MediaNotes/TheGoldenAgeOfHollywood, where such films earned a set fee for screenings regardless of audience interest, couldn't sustain the series and it ended as simply too expensive.
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-->-- The opening narration of the shorts

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-->-- The opening narration of the shorts
narration
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-->-- The opening of the shorts

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-->-- The opening narration of the shorts
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''Possessing remarkable physical strength[[note]]''The Mechanical Monsters'' adds "Empowered with X-ray vision" before that[[/note]], Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent."''

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''Possessing remarkable physical strength[[note]]''The strength[[note]]"The Mechanical Monsters'' Monsters" adds "Empowered with X-ray vision" before that[[/note]], Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, reporter Clark Kent."''
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Possessing remarkable physical strength[[note]]''The Mechanical Monsters'' adds "Empowered with X-ray vision" before that[[/note]], Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent."''

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Possessing ''Possessing remarkable physical strength[[note]]''The Mechanical Monsters'' adds "Empowered with X-ray vision" before that[[/note]], Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent."''

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''The Man of Steel! (gong ring) [[Franchise/{{Superman}} SUPERMAN!]]"''

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''The Man of Steel! (gong ring) [[Franchise/{{Superman}} SUPERMAN!]]"''SUPERMAN!]]''\\\
Possessing remarkable physical strength[[note]]''The Mechanical Monsters'' adds "Empowered with X-ray vision" before that[[/note]], Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent."''
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* [[https://www.youtube.com/watch?v=-cXE65pPtj8 Billion Dollar Limited]]: January 9, 1942

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* [[https://www.youtube.com/watch?v=-cXE65pPtj8 com/watch?v=_TYxALvELBo Billion Dollar Limited]]: January 9, 1942
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* [[https://www.youtube.com/watch?v=mA4s1QeGlwI The Magnetic Telescope]]: April 24, 1942

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* [[https://www.youtube.com/watch?v=mA4s1QeGlwI com/watch?v=bU16YFt6-jo The Magnetic Telescope]]: April 24, 1942
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* [[https://www.youtube.com/watch?v=2wx4i5haGRI The Magnetic Telescope]]: April 24, 1942

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* [[https://www.youtube.com/watch?v=2wx4i5haGRI com/watch?v=mA4s1QeGlwI The Magnetic Telescope]]: April 24, 1942
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-->-- The iconic opening of the shorts

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-->-- The iconic opening of the shorts
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From the studio that brought you such classics as WesternAnimation/BettyBoop and ComicStrip/{{Popeye}}, [[Creator/MaxAndDaveFleischer Fleischer Studios]] played a major role in cementing [[ComicBook/{{Superman}} the Man of Steel]] as a pop culture icon by means of these lavishly animated, massive budget short subjects which served to bring Superman to the big screen, from UsefulNotes/TheGoldenAgeOfAnimation. These cartoons were a big deal back in the '40s -- the first short, "[[WesternAnimation/TheMadScientist The Mad Scientist]]", was nominated for the 1942 UsefulNotes/AcademyAward (losing to a [[WesternAnimation/ClassicDisneyShorts Disney]] [[WesternAnimation/PlutoThePup Pluto short]], ''WesternAnimation/LendAPaw''). These shorts were among the first cartoons that were made for genuine action and drama, rather than crude comedy, which was part of what contributed to their success. Paramount in fact had such confidence in the shorts being a hit, they even had had '''trailers''' made for them -- yes, that's right, trailers for ''short cartoons.'' Try to wrap your head around that.

to:

From the studio that brought you such classics as WesternAnimation/BettyBoop and ComicStrip/{{Popeye}}, [[Creator/MaxAndDaveFleischer Fleischer Studios]] played a major role in cementing [[ComicBook/{{Superman}} the Man of Steel]] as a pop culture icon by means of these lavishly animated, massive budget short subjects which served to bring Superman to the big screen, from UsefulNotes/TheGoldenAgeOfAnimation. These cartoons were a big deal back in the '40s -- the first short, "[[WesternAnimation/TheMadScientist The Mad Scientist]]", was nominated for the 1942 UsefulNotes/AcademyAward (losing to a [[WesternAnimation/ClassicDisneyShorts Disney]] [[WesternAnimation/PlutoThePup Pluto short]], ''WesternAnimation/LendAPaw''). These shorts were among the first cartoons that were made for genuine action and drama, rather than crude comedy, which was part of what contributed to their success. Paramount in fact had such confidence in the shorts being a hit, they even had had '''trailers''' made for them -- yes, that's right, trailers for ''short cartoons.'' Try to wrap your head around that.
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[[index]]


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[[/index]]

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Paramount returned to involvement in the ''Superman'' franchise first in 1972, when it produced an episode of the animated TV series ''WesternAnimation/TheBradyKids'' (a spin-off of ''Series/TheBradyBunch'') that featured Superman, then again in 1995, when the acquisition of the studio by [[Creator/ParamountGlobal Viacom]] gave Paramount the US TV rights to three of the Christopher Reeve ''Superman'' films - ''Film/SupermanIII'', ''Film/Supergirl1984'', and ''Film/SupermanIVTheQuestForPeace'' - along with US TV rights to the ''Series/TheAdventuresOfSuperboy'' TV series. The former two films are now fully owned by WB, while Paramount continues to own US TV rights to ''The Quest for Peace'' as it was a co-production of Creator/TheCannonGroup, whose films were distributed on US TV by Viacom and later Paramount, while Creator/{{CBS}} Media Ventures owns the US TV rights to ''The Adventures of Superboy''.

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Paramount returned to involvement in the ''Superman'' franchise first in 1972, when it produced an episode of the animated TV series ''WesternAnimation/TheBradyKids'' (a spin-off of ''Series/TheBradyBunch'') that featured Superman, then again in 1995, when the acquisition of the studio by [[Creator/ParamountGlobal Viacom]] gave Paramount the US TV rights to three of the Christopher Reeve ''Superman'' films - ''Film/SupermanIII'', ''Film/Supergirl1984'', and ''Film/SupermanIVTheQuestForPeace'' - along with US TV rights to the ''Series/TheAdventuresOfSuperboy'' TV series. The former two films are now fully owned by WB, while Paramount continues to own US TV rights to ''The Quest for Peace'' as it was a co-production of Creator/TheCannonGroup, whose films were distributed on US TV by Viacom and later Paramount, while Creator/{{CBS}} Media Ventures owns the US TV rights to ''The Adventures of Superboy''.
Superboy''. Coincidentally, when Creator/TheCW aired the later ''[[Series/Supergirl2015 Supergirl]]'' TV show, it was a joint venture of CBS and WB.
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* EarlyAdaptationWeirdness: With this being the second earliest adaptation of ''Franchise/{{Superman}}'' (coming just a year after ''Radio/TheAdventuresOfSuperman''), it contains a lot of stuff that modern day viewers familiar with the current Superman might find weird. This incarnation of Clark was raised in an orphanage without his adopted parents around, and he doesn't fight any supervillains barring the occasional mad scientist who has no connection to Lex Luthor. Kryptonite is completely absent (it hadn't even been created yet!), as are pretty much all notable characters except Lois Lane and Perry White. Also, Superman's power is a lot lower than what it would become in later installments; his enhanced senses, EyeBeams, and freeze breath are absent, and in one short, Superman gets around by jumping, not flying. Superman gained his flight specifically because it was easier to draw and it was later [[RetCanon added onto the comics]].

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* CoolCar: The flying car from "The Bulleteers."
* CoolPlane: The [[UnnecessarilyLargeVessel aptly named Giant Bomber]] in "Japoteurs", which dwarfs its own air traffic control tower and [[AirborneAircraftCarrier has a rapid-fire runway for normal-sized bombers on its back]].

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* CoolCar: CoolCar:
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The flying car from "The Bulleteers."
** The crooks' car in "Billion Dollar Limited" transforms from an average-looking sedan by deploying armored shutters over the windows and a ramming plate on the front that also conveniently conceals the license plate. It's fast enough to pull ahead of the titular train even when [[RunawayTrain it's running like a bat outta hell]], allowing them to repeatedly sabotage the tracks.
* CoolPlane: CoolPlane:
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The [[UnnecessarilyLargeVessel aptly named Giant Bomber]] in "Japoteurs", which dwarfs its own air traffic control tower and [[AirborneAircraftCarrier has a rapid-fire runway for normal-sized bombers on its back]].

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** According to early reviews, their Blu-ray release uses DVNR to the point where linework is obscured along with the previously established audio issues.

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** According to early reviews, their Their Blu-ray release uses DVNR to the point where linework is obscured along with the previously established audio issues.

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* DigitalDestruction: Warner's DVD compilation has superb restorations of the cartoons, with no DVNR damage or digital interlacing; however, it does include some jarring auditory changes, such as missing sound effects from the opening credits of "Electric Earthquake" and "The Magnetic Telescope", and a jump in the prologue of the first short.

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* DigitalDestruction: DigitalDestruction:
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Warner's DVD compilation has superb restorations of the cartoons, with no DVNR damage or digital interlacing; however, it does include some jarring auditory changes, such as missing sound effects from the opening credits of "Electric Earthquake" and "The Magnetic Telescope", and a jump in the prologue of the first short.

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** Their Blu-ray release, however, uses DVNR to the point where linework is obscured along with the previously established audio issues.

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** Their According to early reviews, their Blu-ray release, however, release uses DVNR to the point where linework is obscured along with the previously established audio issues.

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** Their Blu-ray release, however, uses DVNR to a significant extent along with the previously established audio issues.

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** Their Blu-ray release, however, uses DVNR to a significant extent the point where linework is obscured along with the previously established audio issues.

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