looney tunes platinum collection torrent

characters were often the product of socio-political context as much as idle whimsy. The set’s content also revealed how Warner Bros. shield, was the product of decades of trial and error from four animation supervisors. It forced me to consider that the characters I’d grown to identify on television were developed over time, through various interpretations Daffy Duck’s miserliness, in particular, though easy to imagine as having sprung fully formed from the red and silver Warner Bros. Witnessing these etymologies was piquantly disorienting. The set finally introduced the prototypes for the Looney Tunes/Merrie Melodies pantheon on side two of disc one. Avery’s “I Love to Singa,” which imaginatively condenses The Jazz Singer into six minutes of cornball drama within a family of studiously musical owls, became a favorite in the Lanthier house. The compendium continued with early efforts from Friz Freleng and Tex Avery, auteurs whose names I’d heard before in passing but had never associated with a particular visual or humor aesthetic. It looked strange and lonely, not to mention derivative, beside the exploits of Bugs and that came later. The opening cartoon on the collection, “Smile, Darn Ya, Smile!” from 1931, features inexplicably diegetic, happy-go-lucky big-band music that slyly doubles as a sound effects track, and a short-lived Mickey Mouse knock-off named Foxy who conducts a misbehaving trolley car. The Golden Age of Looney Tunes, Volume 1, the first of five anthologies released by MGM in the early ’90s that escorted Warner Bros.’s most cherished animated shorts into the digital realm, fascinated me with its irreverent yet instructive taxonomy and unabashed historical quirks. (The jaggedly deliberate, but somehow graceful, movements of Henry Selick’s macabre figures both announced and apologized for their painstaking genesis these herky-jerky fingerprints add as much to the organic milieu as Danny Elfman’s unforgettable leitmotifs.) But the other boxed set was a different kind of reference source entirely, albeit no less hipped to the narrative of technical innovation and stylistic confidence.

The first of these-a what-was-then high-quality, CAV transfer of The Nightmare Before Christmas, accompanied by a cavalcade of behind-the-scenes supplements-insinuated that meticulous craftsmanship could be, rather than simply influence, cinematic content.

My understanding of animation as something more than a Saturday-morning distraction deserving only half of one’s attention was shaped by my father’s purchasing of two laserdisc boxed sets while I was in the sixth grade.

Looney tunes platinum collection torrent