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Kyle Femath
ATCM 4319-001
Professor: Dr. Veras
October 5th, 2019 “What’s, Opera, Doc?” (Critical Analysis)

The animation short called, “What’s, Opera, Doc?”, was created in 1957 and “directed by Chuck Jones, a loving parody of operas by the nineteenth-century German composer Richard Wagner” (129). Jones’ extreme appreciation for classical music and modern art was seen in his earlier work; for example, in the classic 1940, “A Wild Hare”, he experimented with his own music and animation stylized synchronization. Chuck Jones’ “interest in modern art influenced his work, especially the strong graphic look and stylized limited animation” (136). In addition, these early works helped set up a strong foundation for his seamless synchronization of story elements combined with sound; in turn, making the animation that much more memorable for the viewer and easier to comprehend. Chuck Jones utilized his passion for classical music and modern art when creating “What’s, Opera, Doc?”: The dramatic backgrounds, story, and operatic musical compositions combined to make a very strong impact on the cultural and historical animation timeline. First, the dramatic backgrounds used in each shot composition and animation performance was no accident. Maurice Noble was “known for creating playful environments, often including exaggerated perspectives, dramatic shadowing, and inventive painting styles” (206). Noble worked in watercolor painting, and his understanding of the color scheme palette helped him create vivid dramatic backgrounds that affect the emotions of the viewer and their feelings to each scene.

In brief, Chuck Jones allowed a very innovate workspace; as a result, his “backgrounds became a site for deeper exploration of design” (204). The dramatic backgrounds used provided a very colorful and emotional connection to the viewer; for example, various shades of red, purple, or blue were sometimes cast on Elmer Fudd to help shape the viewers' emotions to the scene or act in the animation. His lighting was captured in a way to bring the viewers a focal point to the subject matter at hand seamlessly with each shot. As a result, Noble provides a smooth visual transition to each frame: by providing the correct dramatic lighting and shadows, vivid colors, and dramatic background perspectives that leave the viewer feeling the space is a livable environment. Second, the story of the animation comes from a writer named Michael Maltese and the writer “was one of Jones collaborators for many years” (135). This previous relationship leads to a smooth collaboration, with a room filled with positive energy and free-flowing ideas. To add, much of the comedy of the animation comes from the characters' unique personalities throughout the opera. For instance, “both characters play their operatic roles while preserving their distinct personas…Bugs stays true to character as a “wascally wabbit” bent on shaming Elmer Fudd, who falls for his tricks every time” (136). So, they never break character or forget they are in an operatic musical performance the entire animation short. Further, Jones did not go by any time of pipeline or hierarchy that Disney highly relied on.

He was “instrumental in developing their function, encouraging experimentation within his unit and seeking collaborators who could contribute innovative ideas…form and color were vital to the construction of the story” (205). Therefore, by Jones allowing a free-flowing work environment filled with innovative ideas this led to the creation of a historical animated masterpiece, that will go on to influence many artists and animated creations that would span more than sixty films.

Third, the opera musical compositions “built around Richard Wagner…arranged by the studio’s music director Milt Franklyn” (136). Franklyn was “playing this score and other Wagner pieces at a relatively rapid pace and accompanying them with funny voices of Fudd and Bugs, creates humor through contrast” (136). This was very impactful for the animation short. As a result, the audience could follow along easier with music they already were familiar with and knew. To conclude, Jones was never properly recognized during the initial release of this animation short. In fact, it was not until a few decades later this animation got the recognition and credibility it deserved.

Ultimately, Jones’s use of dramatic backgrounds, story and operatic musical compositions was groundbreaking for him and Warner Bros. Thus, his passion for creating animation and entwining it with various other art forms sets this animation short in an entirely different historical category that will forever have a strong impact on the animation medium.

(Work Cited)
Furniss, Maureen. A New History of Animation. Thames & Hudson, 2016. Print.
topcartoons.tv/whats-opera-doc/

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