1955 in Film - Short Film Series

Short Film Series

  • Looney Tunes (1930–1969)
  • Terrytoons (1930–1964)
  • Merrie Melodies (1931–1969)
  • Popeye (1933–1957)
  • Donald Duck (1934–1956)
  • The Three Stooges (1934–1959)
  • Tom and Jerry (1940–1958)
  • Bugs Bunny (1940–1962)
  • Mighty Mouse (1942-1955)
  • Chip and Dale (1943–1956)
  • Droopy (1943–1958)
  • Yosemite Sam (1945–1963)
  • Ranger Don (1953–1956)
  • Speedy Gonzales (1953–1968)

Cartoon:

  • Good Will to Men (MGM Cartoon Series) (Frederick Quimby, William Hanna and Joseph Barbera, producers; MGM)
  • The Legend of Rockabye Point (Walter Lantz Productions; Universal-International)
  • No Hunting (Donald Duck Series) (Walt Disney Productions; RKO Radio)
  • Speedy Gonzales (Merrie Melodies Series) (Warner Bros. Cartoons, Inc.; Warner Bros.)

One-Reel:

  • Gadgets Galore (Warner Varieties Series) (Robert Youngson, producer; Warner Bros.)
  • Survival City (Movietone CinemaScope Series) (Edmund Reek, producer; Twentieth Century-Fox)
  • 3rd Ave. El (Carson Davidson Productions; Ardee Films)
  • Three Kisses (Topper Special Series) (Justin Herman, producer; Paramount)

Two-Reel:

  • The Battle of Gettysburg (Dore Schary, producer; MGM)
  • The Face of Lincoln (University of Southern California Presentation; Cavalcade Pictures, Inc.)
  • On The Twelfth Day…(United Kingdom Series) (Go Pictures, Inc.; George Brest and Associates)
  • Switzerland (People and Places Series) (Walt Disney Productions; Buena Vista)
  • 24-Hour Alert (Cedric Francis, producer; Warner Bros.)

Read more about this topic:  1955 In Film

Famous quotes containing the words short, film and/or series:

    “Iambics march from short to long;—
    With a leap and a bound the swift Anapaests throng;”
    —Samuel Taylor Coleridge (1772–1834)

    “Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film.... You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves.”
    —Don Delillo (b. 1926)

    “The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
    —Jeanine Basinger (b. 1936)