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<\/figure>\n\n\n\nA Flintstones recording session at Hanna-Barber studios<\/em>, 1960<\/em>, LIFE<\/em>.<\/p>\n\n\n\n The protruding element of Allan Grant\u2019s photograph is the life-size cardboard cutouts of The Flintstones<\/em> that appear in the recording booth next to their voice actors. This element can be seen in the works of Ad Reinhardt. On Reinhardt\u2019s \u201cSome Vacation,\u201d it can be seen how he mixes his own cartoon style with that of a more professional or serious tone, similar to drawing styles that could be found in academic papers or newspapers (Hill 83-85, Reinhardt). Both Reinhardt\u2019s drawing as well as Grant\u2019s picture share the composition of a viewer looking through a window to where there are two different forms of media\u2014one the same as the outside viewer, and one different to it. The relationship found with the immersion of media is used to connect to contrasting subjects or elements and make them interact in an innovative way. In Grant\u2019s picture, the thick outline of the characters make them stand out of the real life world they find themselves in, making their cartoonish appearance look out of place and unnatural in the recording booth. Reinhardt\u2019s image utilizes simplistic cartoon lines for the characters, their objects, and the window, while using a complex and detailed art style for the train. The difference in art styles between the two elements show this tone of out of placeness that was described in Grant\u2019s work. <\/p>\n<\/div>\n\n\n\n Ad Reinhardt, \u201cSome Vacation,\u201d PM, March 2, 1944, 9. Image courtesy New-York Historical Society \u00a92016 Estate of Ad Reinhardt\/Artists Rights Society (ARS), N.Y<\/p>\n<\/div>\n<\/div>\n\n\n\n Both Grant and Reinhardt created cartoons that were aimed at adults. On Reinhardt\u2019s \u201cThings You Should Know When You Buy Meat,\u201d it is clearly seen how he created a cartoon that is aimed at adults because they would be the ones to go to the grocery store and do the shopping. Since it was published in 1943, Reinhardt\u2019s comic was targeted to adults during wartime, teaching them about food rations through charming cartoons (Hill 82). I find it intriguing how Reinhardt combines something serious like wartime food rationing with cartoons that are conventionally aimed at children. Similarly, Grant\u2019s photograph is aimed at the adults that watch The Flintstones<\/em>, which parodied shows about families and the way they were portrayed as being perfect. Furthermore, television was something very important during the 60\u2019s. It was not only used for entertainment and to stay up to date with the news of the world, but the television was also used as a symbol of status. People would take their family pictures in front of their televisions to show that they had one, proving their social status, becoming a staple in old family snapshots (Spigel 1). The importance of social status can also be linked to being a factor to the sales of televisions. Due to this reason, it makes sense that this advertisement is found in a pop culture, social LIFE<\/em> magazine, promoting a television program. Grant\u2019s image is not expressing concern, but instead, trying to sell televisions and the lifestyle they are related to. Pictures like FIGURE I.4, 1961<\/em>, are perfect examples of the way people were actively posing with their televisions (Spigel 23). High social rankings were not only related to the stars in the programs, like the ones in Grant\u2019s photos, but they were also related to the people that had a television and watched the shows.<\/p>\n\n\n\n FIGURE I.4, 1961<\/em>.<\/p>\n\n\n\n Advertisements have come a long way. There are many different techniques that companies use to capture the attention of the audience and potential buyers. In this case, Allan Grant used the immersion of cartoon characters in the real world to connect the people with a fantasy world that is not real. It can be said that this immersion serves as a way to express escapism, showing people that through The Flintstones<\/em> television show, you can \u201cescape\u201d to a better place, even if it is just while you watch the program. I find it very interesting how the voice actors are in the same room as their cartoon characters because it breaks the fourth wall in a way. The photograph shows you both the real and the fake, but puts it all in the same place. Humans tend to create things to get away from others, be it drawing cartoons when talking about wartime food rations or creating a cartoon program to make fun of modern life. Even though the purpose of the image was advertisement, it provides a bigger message than that: through the world of entertainment, immersion and escape from reality is possible.<\/p>\n\n\n\n Works Cited<\/p>\n\n\n\n By: Emilia Chamorro Different types of mediums can be used and combined to create a sense of immersion. This outcome can be seen in a photograph taken by Allan Grant for LIFE on the issue of November 1960, A Flintstones recording session at Hanna-Barber studios, 1960 (Syken, Grant 58-59). Grant was a photographer for LIFE […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-112","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/posts\/112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/comments?post=112"}],"version-history":[{"count":5,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/posts\/112\/revisions"}],"predecessor-version":[{"id":326,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/posts\/112\/revisions\/326"}],"wp:attachment":[{"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/media?parent=112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/categories?post=112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-json\/wp\/v2\/tags?post=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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Ad Reinhardt, \u201cThings You Should Know When You Buy Meat,\u201d PM, March 29, 1943, 18. Image courtesy New-York Historical Society \u00a92016 Estate of Ad Reinhardt\/Artists Rights Society (ARS), N.Y.<\/p>\n\n\n\n![\"\"](\"https:\/\/arth.hamiltonlits.org\/fa-23-110\/wp-content\/uploads\/2023\/12\/Screen-Shot-2023-12-08-at-12.45.08-AM-1024x684.png\")
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