d in mid-1957,[5] at which time Hanna and Barbera took much of the staff to form their own company, Hanna-Barbera Productions.[6] Contents [hide] 1 Early years 2 Metro-Goldwyn-Mayer characters 3 Golden

Billy West (who also played Woody). However, his classic period was 1944-1948.
Wally continued to make appearances in Lantz comic books and on other licensed merchandise. Wally also made a cameo appearance amongst the crowd of Toons in a brief headshot during the final scene of Who Framed Roger Rabbit.
T
Key people    William Hanna
Joseph Barbera
Hugh Harman
Rudolf Ising
Tex Avery
Fred Quimby
Products    Animated films
Parent    Independent (1929–1937)
Metro-Goldwyn-Mayer (1937–1958)
The Metro-Goldwyn-Mayer cartoon studio was the in-house division of Metro-Goldwyn-Mayer (MGM) motion picture studio in Hollywood responsible for producing animated short subjects to accompany MGM feature films in Loew's Theaters. Active from 1937 until 1957, the cartoon studio produced some of the most popular cartoon series and characters in the world, including Barney Bear, Droopy, and their best-known work, Tom and Jerry.
Prior to MGM turned Harman and Ising, MGM released the work of independent animation producer Ub Iwerks, and later the Happy Harmonies series from Hugh Harman and Rudolph Ising.[2] The MGM cartoon studio was founded to replace Harman and Ising, although both men eventually became employees of the studio.[3] After a slow start, the studio began to take off in 1940 after its short The Milky Way became the first non-Disney cartoon to win the Academy Award for Best Short Subjects: Cartoons.[4] The studio's roster of talent was benefited from an exodus of animators from the Schlesinger and Disney studios, who were facing issues with union workers. Originally established and run by executive Fred Quimby, in 1955 William Hanna & Joseph Barbera, the writer-directors of the Tom and Jerry cartoons, became the heads of the studio. The cartoon studio was closed in mid-1957,[5] at which time Hanna and Barbera took much of the staff to form their own company, Hanna-Barbera Productions.[6]
Contents  [hide]
1 Early years
2 Metro-Goldwyn-Mayer characters
3 Golden Age of American animation
3.1 Early years
3.2 Harman and Ising return
3.3 Hanna-Barbera: Tom and Jerry
3.4 Tex Avery
3.5 1950s, CinemaScope
3.6 Later years
3.7 Legacy
4 Notable crew members
5 Productions
5.1 Theatrical cartoon shorts series
5.2 One-shot theatrical shorts
6 See also
7 Notes
8 References
Early years[edit]
he character's appearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A freq

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Billy West (who also played Woody). However, his classic period was 1944-1948. Wally continued to make appearances in Lantz comic books and on other licensed merchandise. Wally also made a cameo appearance amongst the crowd of Toons in a brief headshot during the final scene of Who Framed Roger Rabbit. The character's appearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A freq

rphic walrus who, in most of his appearances, speaks with a pronounced Swedish accent. Wally is rather slow-witted at times, and prone to anger when provoked. For many years, Wally was the primary foil for Woody Woodpecker, bearing roughly the same relationship to that character as Elmer Fudd had to Bugs Bunny in Warner Brothers' animated shorts from the same era. Wally is often heard humming or singing the popular song My Bonnie Lies Over the Ocean.
Wally's first appearance was opposite Woody in 1944's The Beach Nut and was voiced by Jack Mather, better known as the title character on The Cisco Kid on radio. Lantz stock player Will Wright gave him a growly, non-Swedish voice in The Reckless Driver. Wally continued to be featured in Lantz cartoons through 1948's Wacky-Bye Baby, at which time he was more or less replaced by Buzz Buzzard as Woody Woodpecker's primary foil. He would then make a few brief appearances in some 1950s cartoons like Puny Express, Sleep Happy, The Woody Woodpecker Polka, What's Sweepin' and Buccaneer Woodpecker. Wally also appeared, opposite Chilly Willy, in a pair of 1961 shorts (voiced by Paul Frees); as well as in a Woody TV special, Spook-a-Nanny (voiced by Daws Butler). Wally would years later reappear as a regular character on The New Woody Woodpecker Show in 1999 voiced by Billy West (who also played Woody). However, his classic period was 1944-1948.
Wally continued to make appearances in Lantz comic books and on other licensed merchandise. Wally also made a cameo appearance amongst the crowd of Toons in a brief headshot during the final scene of Who Framed Roger Rabbit.
The character's appearance changed somewhat over the years, with a complexion that ranged from dark to light flesh-tone and tusks that got variously smaller, larger, disappeared entirely, and reappeared. A frequent animation goof in The New Woody Woodpecker Show was to draw the mouth separate from the tusks, so it appeared theMetro-Goldwyn-Mayer cartoon studio
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2013)
Metro-Goldwyn-Mayer Cartoon Studio
Title Card for the shorts produced by the studio
Industry    Animation
Motion pictures
Successor(s)    MGM Animation/Visual Arts
Metro-Goldwyn-Mayer Animation
Founded    1937
Founder(s)    Fred Quimby
Defunct    1957
Headquarters   
Culver City, California, U.S.
Overland and Montana Avenue
[1]

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Lionel Stander (1948-1949) Dallas McKennon (1950-1972) Daws Butler (in "Spook-A-Nanny") Mark Hamill (1999-2002) Jess Harnell (film) Information Species Buzzard

 the rise of television—that would result in some of these libraries being sold to other entities. Paramount itself sold off a majority of its films to MCA, which created EMKA, Ltd. to manage this library. Universal Television, an MCA successor, currently holds this library.
See alsoBuzz Buzzard
From Wikipedia, the free encyclopedia

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)
Buzz Buzzard
Woody Woodpecker character
Woody-wet-blanket-policy.jpg
Buzz Buzzard with Woody Woodpecker in his debut in 1948's Wet Blanket Policy.
First appearance    Wet Blanket Policy
Created by    Walter Lantz
Portrayed by    Lionel Stander (1948-1949)
Dallas McKennon (1950-1972)
Daws Butler (in "Spook-A-Nanny")
Mark Hamill (1999-2002) Jess Harnell (film)
Information
Species    Buzzard
Gender    Male
Relatives    Bizz Buzzard, Booze Buzzard
Buzz Buzzard is a fictional animated cartoon character who appeared in several films produced by Walter Lantz Productions in the 1940s, '50s, and 70’s.[1]
Contents  [hide]
1 History
2 Buzz Buzzard appearances
3 Other media
4 See also
5 References
History[edit]

Buzz is an anthropomorphic buzzard that can really buzz and, in most of his appearances, was a con artist looking for a way to swindle someone, usually Woody Woodpecker, out of money or food. In other appearances, Buzz has been a cowboy, a carnival barker, a soda jerk yet he still remained a royal pain to Woody. For most of Woody’s career, Buzz was the primary foil for Woody, bearing roughly the same relationship to that character as Yosemite Sam had to Bugs Bunny in Warner Brothers' animated shorts from the same era.
Buzz's first appearance was opposite Woody in 1948's Wet Blanket Policy, the first and only animated short subject to be nominated for the Academy Award for Best Song,[2] at which time he was more or

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p in the movie business, a slump that would not be reversed until 1972, with the release of The Godfather, the first modern blockbuster. The Paramount decision is a bedrock of corporate antitrust law, and as such is cited in most cases where issues of vertical integration play a prominent role in restricting fair trade. Decision[edit] The Court ruled 7-1 in the government's favor, affirming much of the consent decree (Justice Robert H. Jackson took no part in the proceedings). William O. Douglas delivered the Court's opinion, with Felix Frankfu

The federal government's case, filed in 1938, was settled with a consent decree in 1940,[2] which allowed the government to reinstate the lawsuit if, in three years' time, it had not seen a satisfactory level of compliance. Among other requirements, the consent decree included the following conditions:
The Big Five studios could no longer block-book short film subjects along with feature films (known as one-shot, or full force, block booking);
the Big Five studios could continue to block-book features, but the block size would be limited to five films;
(3) blind buying (buying of films by theater districts without seeing films beforehand) would now be outlawed and replaced with "trade showing," special screenings every two weeks at which representatives of all 31 theater districts in the United States could see films before they decided to book a film; and
the creation of an administration board to enforce these requirements.[3] The film industry did not satisfactorily meet the requirements of the consent decree, forcing the government to reinstate the lawsuit—as promised—three years later, in 1943. The case went to trial—with now all of the Big Eight as defendants—on October 8, 1945, months after the end of World War II.[4]
The case reached the U.S. Supreme Court in 1948. The verdict went against the movie studios, forcing all of them to divest themselves of their movie theater chains. In addition to Paramount, RKO Radio Pictures, Inc., Loew's, 20th Century-Fox Film Corporation, Columbia Pictures Corporation, Universal-International, Warner Bros., the American Theatres Association and W.C. Allred (the former of which no longer exists as a film studio) were named as defendants.
This, coupled with the advent of television and the attendant drop in movie ticket sales, brought about a severe slump in the movie business, a slump that would not be reversed until 1972, with the release of The Godfather, the first modern blockbuster.
The Paramount decision is a bedrock of corporate antitrust law, and as such is cited in most cases where issues of vertical integration play a prominent role in restricting fair trade.
Decision[edit]

The Court ruled 7-1 in the government's favor, affirming much of the consent decree (Justice Robert H. Jackson took no part in the proceedings). William O. Douglas delivered the Court's opinion, with Felix Frankfurter dissenting in part, arguing the Court should have left all of the decree intact but its arbitration provisions.
Douglas[edit]
Douglas's opinion reiterated the facts and history of the case and reviewed the District Court's opinion, agreeing that its conclusion was "incontestable".[5] He considered five different trade practices addressed by the consent decree:
Clearances and runs, under which movies were scheduled so they would only be showing at particular theatres at any given time, to avoid competing with another theater's showing;
Pooling agreements, the joint ownership of theaters by two nominally competitive studios;
Formula deals, master agreements, and franchises: arrangements by which an exhibitor or distributor allocated profits among theaters that had shown a particular film, and awarded exclusive rights to independent theatres, sometimes without competitive bidding;
Block booking, the studios' practice of requiring theaters to take an entire slate of its films, sometimes without even seeing them, sometimes before the films had even been produced ("blind bidding"), and
Discrimination against smaller, independent theaters in favor of larger chains.
Douglas let stand the District Court's sevenfold test for when a clearance agreement was a restraint of trade

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e United States Supreme Court.svg Supreme Court of the United States Argued February 9–11, 1948 Decided May 3, 1948 Full case n

ncludes more intense movements than the Simpsons Ride. This is currently the most packed ride at the theme park and the ride with the longest wait time. All 3 rides on the lower lot have a single rider line. A single rider can use the single rider as many times he/she may desire to use.
Similar to other Universal theme parks around the world, where duplicates of Jurassic Park: The Ride exist, the area surrounding the ride features a Jurassic Park merchandise shop named Jurassic Outfitters[24] and a dining facility named Jurassic Café.[23] Similarly a Revenge of the Mummy gift shop, called Tomb Treasures, greets guests as they exit that ride.[24]
RidesUnited States v. Paramount Pictures, Inc.
From Wikipedia, the free encyclopedia
  (Redirected from Paramount case)

This article needs attention from an expert in U.S. Supreme Court cases. Please add a reason or a talk parameter to this template to explain the issue with the article. WikiProject U.S. Supreme Court cases (or its Portal) may be able to help recruit an expert. (November 2008)
United States v. Paramount Pictures, Inc.
Seal of the United States Supreme Court.svg
Supreme Court of the United States
Argued February 9–11, 1948
Decided May 3, 1948
Full case name    United States v. Paramount Pictures, Inc. et al.
Citations    334 U.S. 131 (more)
68 S. Ct. 915; 92 L. Ed. 1260; 1948 U.S. LEXIS 2850; 77 U.S.P.Q. (BNA) 243; 1948 Trade Cas. (CCH) P62,244
Prior history    Injunction granted, U.S. District Court (66 F.Supp. 323)
Holding
Practice of block booking and ownership of theater chains by film studios constituted anti-competitive and monopolistic trade practices.
Court membership
Chief Justice
Fred M. Vinson
Associate Justices
Hugo Black · Stanley F. Reed
Felix Frankfurter · William O. Douglas
Frank Murphy · Robert H. Jackson
Wiley B. Rutledge · Harold H. Burton
Case opinions
Majority    Douglas
Concur/dissent    Frankfurter
Jackson took no part in the consideration or decision of the case.
Laws applied

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