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I'm going to veer away from the concert photos for a while and concentrate on photo shoots. Lately I've been feeling that I haven't been growing as a photographer, and so I'm going to put all my creative effort into working on my fashion and conceptual photo shoot skills.
Anyway, on to the picture. This was a debutante my team and I shot a while back, as part of an editorial package we offer for 18th birthday celebrants. This has to be one of my favorite shots from the shoot because of, 1) the set (it's gorgeous) and 2) the movement of the skirt.
This shot used two(2) continuous lights positioned on Max's left and right.
[ENG]
Did you know that our flickr group will have a meeting in Turin on december, 17th ?
Join us!! More details on our group page.
If you like it, press F
wanna see it larger? press L
[ITA]
Ehi! Il gruppo NOI DEL PIEMONTE ha organizzato un meeting l 17 dicembre a Torino?
Tutti i dettagli sulla pagina del gruppo!
se vi piace, premete F
se volete vederla meglio, premete L
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I'm also on: Getty Images / 500px / Google Earth
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Leica M6 TTL
Leica Summicron 50mm f/2 IV
Kodak T-Max 400 pushed to 1600 ISO
Kodak HC-110 Dil B (1+31)
9 min 20°C
Scan from negative film
Dear people, I'm Max, a Stabijhoun. The Stabyhoun or Friese Stabij is a rare dog breed that originates from Friesland, a province in the North of the Netherlands.
Today I write a few words to this photo, because my owner is too busy.
Saturday morning we leave to the Alsace in France. Holiday call you that.
I have my 10 tennis balls and other toys ready, so they are not forgotten.
As you see, I have just taken a dive, so I clean departure.
Beste mensen, ik ben Max, een Stabijhoun, meestal Friese Stabij genoemd.
Vandaag schrijf ik een paar woorden bij deze foto, omdat mijn baasje te druk is. Zaterdagmorgen vertrekken wij naar de Elzas in Frankrijk. Vakantie noemen jullie dat.
Ik heb mijn 10 tennisballen en overige speelgoed klaargelegd, zodat ze die niet vergeten. Zoals jullie zien, heb ik even een duik genomen, zodat ik schoon vertrek.
[order] Charadriiformes | [family] Scolopacidae | [latin] Calidris minuta | [UK] Little Stint | [FR] Bécasseau minute | [DE] Zwergstrandläufer | [ES] Correlimos Menudo | [IT] Gambecchio comune | [NL] Kleine Strandloper | [IRL] Gobadáinín beag
spanwidth min.: 27 cm
spanwidth max.: 30 cm
size min.: 14 cm
size max.: 15 cm
Breeding
incubation min.: 20 days
incubation max.: 21 days
fledging min.: 0 days
fledging max.: 0 days
broods 1
eggs min.: 3
eggs max.: 4
Little Sandpiper
Status: Scarce passage migrant - occurs while on passage from northern Scandinavia and Russia between August & October.
Conservation Concern: Green-listed in Ireland. The European population has been evaluated as Secure.
Identification: The smallest regularly occurring wader in Ireland, mostly seen on passage from August to October. It is roughly two-thirds the size of a Dunlin, with which it often associates. Its small size, rufous tones on the upperparts contrasting with a white underparts and agitated rapid feeding action all help to identify it. It has black legs and a small pointed bill. Most of the birds occurring here are juveniles, which show a distinctive white "V" on the back - visible as the bird bends to feed. Usually seen singly or in groups of less than five.
Similar Species: Dunlin
Call: Sharp, short, high-pitched 'stit' in flight. Song is a weak and repeated 'swee', with the occasional 'svirr-r-r'.
Diet: Feeds on invertebrates found on mudflats.
Breeding: Does not breed in Ireland. Passage birds seen in Ireland breed on the tundra of northern Siberia.
Wintering: Little Stints winter on the Mediterranean coast, as well as tropical Africa.
Where to see: Mid-Clare Coast (Mal Bay-Doonbeg Bay) in County Clare, Ballycotton and Shanagarry in County Cork, as well as Tacumshin in County Wexford are reliable sites. Very few records from November to July.
Physical characteristics
Tiny, stint with short bill, feathers of upperparts have dark brown cintres and pale rufous fringes or tips. Mantle with yellowish edges forming distinct "V". Head, neck and breast rufous buff with brown streaks, rest of underparts, throat and chin white. Female averages larger. Non-breeding adult has brownish grey upperparts mottled dark and fringed pale, crown gey, streaked dark, eyestripe and sides of breast dull grey, rest of face and underparts white.
Habitat
Tundra, chiefly on dry ground, often among dwarf willows, near swampy areas or salt marshes. On migration found at small inland waters and riverbanks, or coastal, on mudflats and seashore. In winter quarters mainly coastal, at estuarine mudflats, enclosed lagoons, tidal creeks, also at inland fresh waters.
Other details
Calidris minuta breeds in the arctic north of Norway and Russia, with Europe accounting for less than half of its global breeding range. Although estimates of its European breeding population vary widely, it is probably relatively large (as many as 460,000 pairs), and was stable between 1970-1990. Although there were fluctuations in Norway during 1990-2000, the stronghold population in Russia was stable, and the species probably remained stable overall.
Feeding
Feeds by rapid pecking actions, sometimes probes. Detects prey by sight. Gregarious, in small to large flocks, sometimes up to several thousand birds, and sometimes defends feeding territory.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 100,000-1,000,000 km². It has a large global population estimated to be 1,400,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
Bredding in June-July. Monogamous, polygynous or polyandrous. Little or no fidelity to breeding site. Nest on ground, exposed, but sometimes covered by vegetation, and lined with leaves and pieces of grass. 4 eggs, incubation 21 days, by both parents, but in cases of polygamy by male or female only. Polyandrous females may incubate a second clutch. Chick orange to tawny, mottled above with black bands and dense rows of white or pale down tips, white underparts. Chic care by one parent.
Migration
Migratory; in broad front across much of W Palearctic; movements S-SW in Jul-Nov, birds returning mid-May to early Jun. Juveniles probably migrate farther W than adults, due to weather displacement. Finnish and Swedish population crosses C Europe, Italy, Mediterranean, France and Tunisia; also major routes between C Mediterranean and Black Sea, and via Caspian Sea and Kazakhstan lakes to and from E & S Africa, apparently following route via Rift Valley lakes; W & C Siberian breeders presumably winter in India, passing through Kazakhstan and also N through Mongolia and Tuva. In Britain, commoner in autumn than in spring, with few birds passing winter. Small numbers may migrate along E Asian coasts, including Hong Kong and Philippines. Many immatures remain S all year. Typical migrating flocks comprise 20-30 birds.
So in lego world builder: worldbuilder.tongal.com/world/29bd7d16-c96c-420e-8eb8-186...
this moc are now in lego idea.
link: and nope its a fail. cauz i use of cop alien.
here the project text:
Set 966 69: The revenge of Fury Kitty.
This set was initially a simple personal MOC aiming to make tribute to the world of Mad Max but with that humor that made me giggle while watching the lego movies. Then i make it, my mind is put to make a story for them, nothing crazy we all do that. Once i was finished, my son enjoying the moc and the associated history so much that when we discovered the lego idea site he asked me to 'post' it. But the 'little story' invented to justify the existence of this bunch of broken arms is not enough to bring the project to life. We must invent the MLU: Multi License Universe. As in the film, it goes from one country to another in its own form but in addition it is able to travel through all the licenses acquired by lego.
Fury Kitty and his team are capable of crossing the universe of all Lego licenses or traveling with lego. The possibilities are endless (yes its a bit Marvel copy, but a tiny bit;))! Of course we need a common thread that justifies this adventure through the lego worlds. How about revenge? Indeed, a very long time ago to acquire more powers Lord Business made a deal with Queen Fury Kitty (UniKitty's mother) She had to abandon her kingdom and become empress of the lego underworld. In exchange, Lord Business stops selling toxic products from his industrial companies in the land of the perched clouds and leaves his daughter UniKitty to become the next queen (the kingdom of UniKitty in the lego movie). Fury Kitty accepts. But she soon realized that she had been ripped off. Lego being toys they cannot die. The only way for a lego to get to hell is to be forgotten by everyone, for some lego that never happens. Deciding well on this revenge she travels the lego universes in search of his enemy jurer, Lord Business (nope, he did not die during the explosion of the kragle at the end of the first film ... he just disappeared :) ).
Fury Kitty and all his team will therefore be the heros of a series such as rick and morty, solar opposed or Futurama. Quirky spirit, totally ubiquitous situation, dark humor, burelesque and a little trashy (but less than the adultswim series). All in PEGI 14/16.
The team:
FuryKitty: The Empress of the Hell lego. So certainly a lego does not die. But it can get to hell. By forgetting, once a lego is forgotten by all it ends up in hell and inevitably appears in front of FuryKitty (this is why furykitty knows that lord business is not dead nor forgetting by all). This is how fury kitty recruited his gang. Much like Deadpool, Fury Kitty knows that she is a fictional character and more specifically a toy.
Hot Road Max: FuryKitty's Living Car. HRM is able to travel from one lego universe to another as soon as it reaches 88mph. Yes she eat Doc's Deloreane. Besides, HRM often eats Fury Kitty's enemies. This is how it fills up. Unfailingly loyal, HRM has special ties to Lieutenant Gunmerick's pilot.
Lieutenant Gunmerick: FuryKitty's first recruit. A Victorian scotland yard inspector. But once he retired, he quickly fell into oblivion. Fury Kitty gave meaning to its existence. Since then he has been the pilot of HRM and right-hand man of FuryKitty.
CopAlien: A xenomorph rejected by its pairs. Why ? A childhood dream, to become a police officer! He is secretly in love with Fury Kitty. CopAlien doesn't have a weapon, he is a weapon. But on the other hand he loves his plate, the only proof that he is an good xenomorph. Then people run away if he doesn't show them his license plate ... in fact they always run away.
Satyr çacogne: A prince from an ancient Greek kingdom who is almost forgotten by everyone. The prince wants to marry Fury Kitty in order to restore his kingdom to its former power. But Fury Kitty is not interested in. Only revenge counts. If Fury Kitty tolerates her presence it is for a completely different reason, that she will never surround (I assure you its not love).
The set has 1355 pieces.
This set could be the basis of a great adventure. An epic as funny as it is gripping. For that we just need 10,000 votes!
Whenever Max needs a drink, he sits on the windowsill behind the tap, headbutting it, until someone realises he is thirsty!
German postcard by Ross Verlag, no. 3156/1, 1928-1929. Photo: Alex Binder, Berlin
Danish cabaret artist, actor, comedian, and singer Max Hansen (1897-1961) was known as 'The Little Caruso'. During the 1920s, he was one of the most popular stars in Berlin.
Max Hansen was born Max Josef Haller in Mannheim, Imperial Germany in 1897. He was an illegitimate child to the Danish actress Eva Haller and the Swedish Officer Schürer von Waldheim (according to other sources he had a Jewish father, the Hungarian artist Joseph Walder). Max grew up with foster parents in Munich, where he first appeared at the Cabaret Simplizissimus at the age of 17. In 1914 he moved to Vienna, where he completed his studies as a ballad singer. Filmportal.de: “Thinking that it may perhaps be advantageous to draw attention to his Scandinavian origins, he changes his name to Hansen. Profiting from his powerful, highly modulating voice, he becomes known as the ‘little Caruso’ in cabarets and variety theatres, performing comical couplets, sketches and opera parodies.” In 1923, Hansen was discovered by Hubert Marischka. He asked him for the tenor role of Baron Kolomán Zsupán in the Emmerich Kálmán operetta 'Gräfin Mariza' (Countess Mariza) at the Theater an der Wien in Vienna. After 900 performances, the popular production moved to the Metropoltheater in Berlin, where Hansen became very successful. In Berlin, he founded the KadeKo, the Kabarett der Komiker (the Cabaret of Comedians) with Paul Morgan and Kurt Robitschek in 1924. Hansen was engaged by Max Reinhardt for his revival of Jacques Offenbach's 'La belle Hélène', and by Erik Charell for his production of Franz Lehar's 'Die lustige Witwe' (The Merry Widow). Hansen's greatest stage success was playing Leopold the waiter in Ralph Benatzky's operetta-musical 'Im weißen Rößl' (The White Horse Inn) in 1930. He had already undertaken this part in the silent film Im weißen Rößl/The White Horse Inn (Richard Oswald, 1926) with Liane Haid. A year earlier, he had made his film debut in Husarenfieber/Hussars Fever (Georg Jacoby, 1925) with Georg Alexander. In the following years, he appeared in popular silent films like Familie Schimeck/The Schimeck Family (Alfred Halm, Rudolf Dworsky,1926), and Venus im Frack/Venus in evening dress (Robert Land, 1927) with Carmen Boni. From 1925, Hansen also recorded his own hits, which audiences appreciated for their parody and cabaret-like wit. His real film career began in the sound film era. His first sound film was Wien, du Stadt der Lieder/Vienna, City of Song (Richard Oswald, 1930) with Charlotte Ander and Paul Morgan. The excellent singer was soon pinned down for swinging musicals and comedies. He found an ideal partner in Jenny Jugo in films like Wer nimmt die Liebe ernst.../Who Takes Love Seriously? (Erich Engel, 1931). He also played opposite Gitta Alpar in Die - oder keine/She, or Nobody (Carl Froelich, 1932).
Max Hansen satirised Adolf Hitler as a homosexual with his song 'War'n Sie schon mal in mich verliebt?' (Have you ever been in love with me?), which caused the rage of the Nazis. He was thrown with tomatoes at the premiere of the comedy Das häßliche Mädchen/The Ugly Girl (Hermann Kosterlitz, 1933) with Dolly Haas. The film was made in early 1933, during the transition from the Weimar Republic to Nazi Germany, and premiered in September that year. According to Wikipedia, the film's representation of the ‘ugly girl’ as an outsider has been described as a metaphorical way to explore the outsider existence of Jews. Star Dolly Haas and director Hermann Kosterlitz, both Jewish, left Germany and later worked in the United States, where Kosterlitz became well known as Henry Koster. Hansen returned to Vienna and worked again at the Theater an der Wien. He starred in the film Csardas (Jacob Fleck, Luise Fleck, Walter Kolm-Veltée, 1935) with Irén Zilahy. He also performed in Switzerland, Amsterdam, Oslo and Helsinki. In 1936 he met Zarah Leander on a Scandinavian tour and engaged her as his stage partner in the operetta 'Axel an der Himmels Tür' (Axel at Heaven’s Gate), with music by Ralph Benatzky and produced in Theater an der Wien. It was a hit. After Austria was invaded by Germany in 1938, Hansen emigrated to Denmark, where he founded his own theatre at Copenhagen. He also appeared in Danish films like Tror du jeg er født i går!/Do you think I was born yesterday! (Lau Lauritzen, Jr., Alice O'Fredericks, 1941) and En flicka för mej/A girl for me (Börje Larsson, 1943). In addition, he wrote several songs under the pseudonymous ‘Sylvester’. In 1951 he returned to Germany and was successful once again singing the role of Leopold the waiter in 'The White Horse Inn'. In 1953 Hansen moved back to Copenhagen, where he died in 1961. His final film appearance was in the Danish comedy Hvad vil De ha'?/What do you want? (Jens Henriksen, Preben Neergaard, 1956) starring Dirch Passer. Hansen was married to Austrian actress Lizzi Waldmüller till 1938 and since 1940 to Britta Annette Sylvester-Hvid. He had four children. His daughter Ann-Mari Max Hansen (1949) and his son Max Hansen Jr. (1954) are both actors too. In 2004 German director Douglas Wolfsperger portrayed Hansen in his documentary War'n Sie schon mal in mich verliebt?
Sources: Thomas Staedeli (Cyranos), Stephanie D’heil (Steffi-line), Rudi Polt (IMDb), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
My godson Max and his girlfriend Malia. These two are convinced they are destined for marriage. Works for me.
Max has been spending a lot of time in front of the mirror working on that "just right" smile. It’s a work in progress.
At Halloween party, Azuki deceived Max saying that all assistants will wear cute costumes so that was the result :P
German postcard by Senator Film. Photo: Jim Rakete. Max Tidof in Comedian Harmonists (Joseph Vilsmaier, 1997).
Max Tidof (1960) is is one of Germany's most versatile actors. In Comedian Harmonists (1997) he played singer Ari Leschnikow.
Max Tidof was born in 1960 in Polch, Germany. He grew up in Hamburg and after dropping out of high school at the age of 17, he lived on the street for a while. In 1979, he moved to Munich where he made his stage debut at the Studiotheater in Munich. He later performed at the Munich Kammerspiele (1984), the Schauspiel in Bonn (1987/88), and the Berlin Schaubühne (1990). In 1983, he made his screen debut with the famous German TV series Rote Erde/Red Earth (1983), the story of a fictional family of miners in the Ruhr area over a period of about 70 years between the end of the 19th and the mid 20th century. This series was followed by many films on television and in cinema. He appeared opposite Armin Mueller-Stahl in the West German-Czechoslovak mystery film Vergeßt Mozart/Forget Mozart (Miloslav Luther, 1985) about the cause of Mozart's death. He co-starred with Katja Riemann in the German film Abgeschminkt!/Making Up! (Katja von Garnier, 1993). In 1994-1995 Tidof lived three months in Australia to shoot three episodes of the Australian series The Feds.
One of Max Tidof's biggest successes was the role of Ari Leschnikow in the German film Comedian Harmonists (Joseph Vilsmaier, 1997) which won many awards. He also appeared in the TV series Körner und Köter/Körner and Köter (2002), the film Bergkristall/Rock crystal (Joseph Vilsmaier, 2004) with Dana Vávrová, and the Sci-Fi thriller Reality XL (Thomas Bohn, 2012) with Heiner Lauterbach. He continued to work with directors Joseph Vilsmaier and Katha von Garnier, such as in the TV film Der Meineidbauer/The perjurer (Joseph Vilsmaier, 2012) and the family film Ostwind 2/Windstorm2 (Katja von Garnier, 2015). However, he now mostly guest stars in such Krimis as Tatort (1987-2019) and Der Alte/The Old Fox (1988-2017). Since 1996 Max Tidof is married to Lisa Seitz, they are living in Munich together with their daughter Luzie.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Swope Park Rangers 5, San Antonio FC 2
September 17, 2017
Swope Soccer Village
Photo taken by Nick Smith
Manufacturer: Boeing
Model: 737 MAX 9
Aircraft type: Boeing 737 MAX
Construction number: 44163
Line number: 7208
Year built: 2018
Owner: Copa Airlines
Operator: Copa Airlines
Status: Active
MAX FLEISCHER
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.