Jones was not a fan of much contemporary animation, terming most of it, especially television cartoons such as those of Hanna-Barbera, " illustrated radio ".

In the mid-1980s, Hanna-Barbera developed another potential Mad animated television series which was never broadcast.

The Hanna-Barbera cartoon, The Flintstones, was the first successful primetime animated series in the United States, running from 1960-66 ( and in reruns since ).

The studio began in 1994 as a division of Hanna-Barbera Cartoons which was then focused on producing original programming for Cartoon Network, including latter-day Hanna-Barbera creations such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls.

In March 2001, the Hanna-Barbera name was dropped as a production entity and the H-B studio was folded into Warner Bros.

Cartoon Network Studios was then revived as a separate entity from Hanna-Barbera, growing out of the animation studio.

The show was produced by Hanna-Barbera Productions.

Besides their cartoons and characters, Hanna-Barbera was also noted for their large library of sound effects.

A fifth CD was added in 1996, entitled Hanna-Barbera Lost Treasures, and featured more sound effects, including sounds from Space Ghost and The Impossibles.

Also in 1994, Rhino Records released a CD containing some of Hanna-Barbera's famous sound effects, titled simply as Hanna-Barbera Cartoon Sound FX, and also included some answering-machine messages and birthday greetings and short stories starring classic Hanna-Barbera characters, and was hosted by Fred Flintstone.

By 1996, each TV series from the studio typically had its own set of sound effects, including some selected from the classic Hanna-Barbera sound library, as well as some new ones and various sounds from Disney and Warner Bros. cartoons ( this was especially true of Dexter's Laboratory and Cow and Chicken ).

It was Hanna-Barbera ’ s Space Age counterpart to The Flintstones, a half-hour family sitcom projecting contemporary culture and lifestyle into another time period.

The film, to be produced by Denise Di Novi alongside Donald De Line with Hanna-Barbera Productions, Universal and Warner Bros. was set for a 2012 release.

" Independent animation studios such as Hanna-Barbera were selling shows to the networks, even as the series produced by Terrytoons ( which was owned by CBS ) were declining in popularity.

A Durante-like voice was also used for Marvel Comics superhero The Thing in the Hanna-Barbera cartoon Fred and Barney Meet the Thing.

The series was produced by Cartoon Network Studios, then a division of Hanna-Barbera Cartoons.

Genndy was influenced by Hanna-Barbera, Japanese animation, Warner Bros. cartoons, and the UPA shorts.

Since he knew that he was designing the show for television, he purposely limited the design to a certain degree ( designing the nose and mouth, for instance, in a Hanna-Barbera style to animate easily ).

Many of the sounds and explosion effects used in its cartoons are also very familiar, the majority of them being recycled from Hanna-Barbera ( though this was, and still is a common trait among animation companies ), though the company's DC Comics cartoons of 1966-7 used more realistic sound effects.

The UPA style of limited animation was adopted by other animation studios, and especially by TV cartoon studios such as Hanna-Barbera Productions.

With Hanna-Barbera under their belts, MGM cartoon studio was finally able to compete with Disney in the field of animated cartoons.

The first major animation studio to produce cartoons exclusively for television was Hanna-Barbera Productions.

Takamoto was Vice-President of Creative Design at Hanna-Barbera, and was responsible for overseeing H-B's many product related merchandising.

This movie was produced by Hanna-Barbera ( the same company responsible for the Challenge of the GoBots series ) and released to theaters in 1986 by Clubhouse Pictures.

The company was responsible for distributing the Screen Gems television output, as well as many of the post-1948 Bob Hope theatrical output, with the exception of Hanna-Barbera produced programs ( excluding Jeannie and Partridge Family 2200 A. D .), which were syndicated by Worldvision Enterprises and later by Turner Broadcasting.

* 1958 – The Smurfs, a fictional race of blue dwarves, later popularized in a Hanna-Barbera animated cartoon series, appear for the first time in the story La flute à six schtroumpfs, a Johan and Peewit adventure by Peyo which is serialized in the weekly comics magazine Spirou.

The Powerpuff Girls is an American animated television series created by animator Craig McCracken and produced by Hanna-Barbera ( later Cartoon Network Studios ) for Cartoon Network.

In 1984, Hanna-Barbera began producing new episodes specifically for syndication ; by September 1985, the 24 episodes from the first season were combined with 41 new episodes and began airing in late afternoon time slots in 80 U. S. media markets, including the 30 largest.

In the late 1980's Universal Studios purchased the film rights for the Flintstones and the Jetstons from Hanna-Barbera Productions.

Filmation used this strategy for much of its productions, and Hanna-Barbera often used it when necessary ( most notably on Scooby-Doo, Where Are You ?.

* In cartoon series Dexter's Laboratory produced by Hanna-Barbera, the Dial M for Monkey shorts feature Dexter's pet lab monkey, Monkey, who, unknown to Dexter, has superpowers and fights evil with his lovely secret agent and a team of superhero partners.

Evanier subsequently wrote for the Hanna-Barbera comic book division and a number of variety shows and specials, and he began writing for animated cartoon shows, including Scooby Doo, Plastic Man, Thundarr the Barbarian, The ABC Weekend Special, Richie Rich, The Wuzzles, and Dungeons & Dragons.

In 1995, Hanna-Barbera producer Fred Seibert offered Bakshi the chance to create two animated short films for Cartoon Network's What a Cartoon!

The most prominent of these is Weldon's Yakky Doodle for Hanna-Barbera.

A few years later, Abbott provided his own voice for the Hanna-Barbera animated series Abbott and Costello, with Stan Irwin providing the voice of Lou Costello.

When MGM closed its cartoon studio in 1957, Hanna-Barbera began producing cartoons directly for television, finding an audience in the evening " family hour " time.

But after the end of The Flintstones in 1966, Hanna-Barbera largely turned its efforts to the growing market for Saturday morning cartoons, outside of isolated series for first run syndication in the 1970s such as Wait Till Your Father Gets Home.

Hanna-Barbera was notorious for using common tropes in its series.

The late 1980s and early 1990s saw Hanna-Barbera join the numerous studios producing younger and junior versions of cartoon characters for the Saturday morning cartoon market.

Hanna-Barbera Productions became the leader in the production of TV cartoons for children.

The program originated from a short on Cartoon Network's animation showcase series created by Hanna-Barbera president Fred Seibert, " What A Cartoon!

When Seibert left Hanna-Barbera in 1997 and founded Frederator Studios, many of the animators that had worked on What A Cartoon!