組織
Metro-Goldwyn-Mayer cartoon department
Metro-Goldwyn-Mayer operated an in-house animation studio, simply named its cartoon department, during the Golden Age of American animation. Active from 1937 until 1957, the studio was responsible for producing animated shorts to accompany MGM's feature films in Loew's Theaters, which included popular cartoon characters and series such as Tex Avery's various cartoon characters and William Hanna and Joseph Barbera's Tom and Jerry series.
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Metro-Goldwyn-Mayer operated an in-house animation studio, simply named its cartoon department, during the Golden Age of American animation. Active from 1937 until 1957, the studio was responsible for producing animated shorts to accompany MGM's feature films in Loew's Theaters, which included popular cartoon characters and series such as Tex Avery's various cartoon characters and William Hanna and Joseph Barbera's Tom and Jerry series.
Metro-Goldwyn-Mayer operated an in-house animation studio, simply named its cartoon department, during the Golden Age of American animation. Active from 1937 until 1957, the studio was responsible for producing animated shorts to accompany MGM's feature films in Loew's Theaters, which included popular cartoon characters and series such as Tex Avery's various cartoon characters and William Hanna and Joseph Barbera's Tom and Jerry series.
Prior to forming its own cartoon studio, MGM released the work of independent animation producer Ub Iwerks, and later the Happy Harmonies series from Hugh Harman and Rudolf Ising. The MGM cartoon studio was founded to replace Harman and Ising, although both men eventually became employees of the studio. 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. The studio's roster of talent benefited from an exodus of animators from the Warner Bros. and Disney studios, who were facing issues with union workers. Originally established and run by executive Fred Quimby, Hanna and Barbera became the heads of the studio in 1955 following Quimby's retirement. The cartoon studio was closed on May 15, 1957, at which time Hanna and Barbera took much of the staff to form their own company, Hanna-Barbera Productions, then named H-B Enterprises.
Turner Broadcasting System (via Turner Entertainment Co.) took over the library in 1986 after Ted Turner's short-lived ownership of MGM/UA. When Turner sold back the MGM/UA production unit, he kept the pre-May 1986 MGM library, including the MGM cartoons, for his own company. In 1996, Turner Broadcasting System merged with Time Warner, the parent company of Warner Bros., which currently owns the rights to the pre-May 1986 MGM library via Turner Entertainment Co. and also owns the rights to much of Hanna-Barbera's library after Hanna-Barbera was absorbed into Warner Bros. Animation and replaced by Cartoon Network Studios in 2001 following the death of William Hanna.
In March 1937, MGM hired film sales executive Fred Quimby, who had no experience in the animation industry, to set up and run the new MGM cartoon department. Among the holdovers from the Harman-Ising
來源：Metro-Goldwyn-Mayer cartoon department （CC BY-SA）
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In the 1930s, to promote their films and attract larger theater audiences, the studios produced many short subjects to supplement the main feature, including travelogues, serials, comedies, newsreels, and cartoons. During the late 1920s, Walt Disney Productions had achieved enormous popular and critical success with its Mickey Mouse and Silly Symphony cartoons. Several other studios, Metro-Goldwyn-Mayer among them, noted Disney's success and began looking for ways to equal or surpass Disney. MGM had tried but failed to acquire distribution rights to Mickey Mouse and Silly Symphonies shorts from then-distributors Columbia Pictures and United Artists. However, they succeeded in contracting Disney to work on their 1934 musical comedy Hollywood Party; a segment in Technicolor called The Hot Choc-late Soldiers, and a sequence with Jimmy Durante interacting with an animated Mickey Mouse were produced. Future attempts in collaborations with Disney, including Anchors Aweigh, did not materialize.
MGM's first foray into animation was the Flip the Frog cartoon series, produced independently for Celebrity Pictures by Ub Iwerks, formerly the head animator at the Disney studio. Celebrity Pictures' Pat Powers had hired Iwerks away from Disney with the promise of giving Iwerks his own studio, and was able to secure a distribution deal with MGM for the Flip the Frog cartoons. The first Flip the Frog cartoon, Fiddlesticks, was released in January 1931, and over two-dozen other Flip cartoons followed during the next three years. In 1934, the Flip character was dropped in favor of Willie Whopper. Willie Whopper failed to catch on, and MGM terminated its distribution deal with Iwerks and Powers, who had already begun independently distributing the Iwerks ComiColor cartoons.
In August 1934, MGM signed a new deal with Disney alumni Hugh Harman and Rudolf Ising, which had just broken ties with producer Leon Schlesinger and Warner Bros. Pictures over budget concerns, to work on a new series of high-budget color cartoons. The director team brought with them much of their staff from their time with Schlesinger, including animators and storymen such as C. G. Maxwell, William Hanna, and brothers Robert and Thomas McKimson. Also following Harman and Ising from Schlesinger was Bosko, a successful character the duo had created for the Looney Tunes series. After learning from Disney's experiences with Oswald the Lucky Rabbit, whose ownership by Universal Pictures led to Winkler Pictures' collapse after Disney's departure, Harman and Ising retained the rights to Bosko alongside their other characters; only Bosko was used in a significant capacity.
The first entry in MGM's new Happy Harmonies series, The Discontented Canary, was completed in September 1934 and released in October. The series continued for three years, moving from two-strip to three-strip Technicolor in 1935. The Happy Harmonies canon included a handful of entries starring Bosko, who, by 1936, was redesigned from an ambiguous "inkblot" character to a discernible little African-American boy. The directors worked separately on their own films, although both strived to create elaborate films that would compete with Disney's award-winning Silly Symphonies.
However, budget problems threatened to plague Harman and Ising a second time: Happy Harmonies cartoons regularly ran over budget, and Harman paid no heed to MGM's demands that he reduce the costs of the shorts. MGM retaliated in February 1937 by deciding to open its own cartoon studio and hired away most of the Harman-Ising staff to do so. The final Happy Harmonies short, The Little Bantamweight, was released in March 1938, and Harman and Ising went on to do freelance animation work for Walt Disney before their studio closed down for bankruptcy.
