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* WesternAnimation/{{Boop-Oop-a-Doop}}: January 16
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* WesternAnimation/{{Boop-Oop-a-Doop}}: WesternAnimation/BoopOopADoop: January 16
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* Swim or Sink: (S.O.S.) March 11
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* Swim or Sink: (S.O.S.) WesternAnimation/SwimOrSinkSOS: March 11
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* The Bum Bandit: April 3
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* The Bum Bandit: WesternAnimation/TheBumBandit: April 3
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* Minnie the Moocher: February 26
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* Minnie the Moocher: WesternAnimation/MinnieTheMoocher: February 26
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* Any scene from the 1930-31 shorts animated by Grim Natwick, typically identifiable through their distorted, 'jittering' motion (allegedly attributable to Natwick 'stretching' the designs of the characters in consecutively-different directions in between key poses), which incongruously amounts to some of the most fluid and 'spontaneous' animation in the entire Fleischer catalogue.
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* Boop-Oop-a-Doop: January 16
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* Boop-Oop-a-Doop: WesternAnimation/{{Boop-Oop-a-Doop}}: January 16
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* Dizzy Dishes: August 9 - First appearance of the Betty Boop prototype; first appearance of new title card design.
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* Dizzy Dishes: WesternAnimation/DizzyDishes: August 9 - First appearance of the Betty Boop prototype; first appearance of new title card design.
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A quick history of the series can be found on [[http://en.wikipedia.org/wiki/Talkartoons this article]], courtesy of Wiki/TheOtherWiki.
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A quick history of the series can be found on [[http://en.wikipedia.org/wiki/Talkartoons this article]], courtesy of Wiki/TheOtherWiki.Website/TheOtherWiki.
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* ArtEvolution: The earliest shorts had a stiff, newspaper comic-esque feeling (accentuated by their lack of gray tones) to the animation (presumably due to the aforementioned shorts being among the final Fleischer shorts to utilize the paper-cutout animation process utilized throughout the ''WesternAnimation/OutOfTheInkwell'' cartoons, as well as the first ''WesternAnimation/ScreenSongs''). This was immediately done away with as soon as the studio converted to cel animation and got Creator/GrimNatwick on board the staff, who helped beef up the animation of the Fleischer cartoons considerably.
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* ArtEvolution: The earliest shorts had a stiff, newspaper comic-esque feeling aesthetic (accentuated by their lack of gray tones) to the animation (presumably due to the aforementioned shorts being among the final Fleischer shorts to utilize the paper-cutout animation process utilized throughout the ''WesternAnimation/OutOfTheInkwell'' cartoons, as well as the first ''WesternAnimation/ScreenSongs''). This was immediately done away with as soon as the studio converted to cel animation and got Creator/GrimNatwick on board the staff, who helped beef up the animation of the Fleischer cartoons considerably.
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Changed line(s) 62 (click to see context) from:
* ArtEvolution: The earliest shorts had a stiff, paper cut-out like feeling to the animation, a holdover from the Fleischers' work on their ''WesternAnimation/OutOfTheInkwell'' cartoons (as well as the first ''WesternAnimation/ScreenSongs''). This was immediately done away with as soon as they got Creator/GrimNatwick on board the staff, who helped beef up the animation of the Fleischer cartoons considerably.
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* ArtEvolution: The earliest shorts had a stiff, paper cut-out like newspaper comic-esque feeling (accentuated by their lack of gray tones) to the animation, a holdover from animation (presumably due to the Fleischers' work on their aforementioned shorts being among the final Fleischer shorts to utilize the paper-cutout animation process utilized throughout the ''WesternAnimation/OutOfTheInkwell'' cartoons (as cartoons, as well as the first ''WesternAnimation/ScreenSongs''). This was immediately done away with as soon as they the studio converted to cel animation and got Creator/GrimNatwick on board the staff, who helped beef up the animation of the Fleischer cartoons considerably.
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Added DiffLines:
* Any scene from the 1930-31 shorts animated by Grim Natwick, typically identifiable through their distorted, 'jittering' motion (allegedly attributable to Natwick 'stretching' the designs of the characters in consecutively-different directions in between key poses), which incongruously amounts to some of the most fluid and 'spontaneous' animation in the entire Fleischer catalogue.
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* DerangedAnimation: As is typical of the Fleischers' early-30s style (effectively a bizarre amalgamation of mechanical, evenly-timed motion, characters continuously 'twitching' to sync with the background score and abrupt, randomly-implemented interpolating gags), some of these shorts are just plain nutty, especially compared to Disney's product from around the same time. "WesternAnimation/SwingYouSinners!", the lesser-known "Twenty Legs Under the Sea" and "WesternAnimation/BimbosInitiation" stand among the most esoteric animated shorts in existence.
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* DerangedAnimation: As is typical of the Fleischers' early-30s style (effectively a bizarre amalgamation of mechanical, evenly-timed motion, characters continuously 'twitching' to sync with the background score and abrupt, randomly-implemented interpolating gags), some of these shorts are just plain nutty, especially compared to Disney's product from around the same time. "WesternAnimation/SwingYouSinners!", the lesser-known "Twenty Legs Under the Sea" and "WesternAnimation/BimbosInitiation" in particular stand among the most esoteric animated shorts in existence.
