cartoon sex

  • Cartoon pornography is the portrayal of illustrated or animated fictional characters in erotic or sexual situations. Cartoon pornography includes but is not limited to parody renditions of famous cartoons and comics.


  • Walt (1901–66), US animator and movie and television producer; full name Walter Elias Disney. He became known for his cartoon characters that included Mickey Mouse (who first appeared in 1928), Donald Duck, Goofy, and Pluto. Snow White and the Seven Dwarfs (1937) was the first full-length cartoon with sound and color. Other notable animated movies: Pinocchio (1940), Dumbo (1941), Bambi (1942), Cinderella (1950), and Peter Pan (1953)
  • United States film maker who pioneered animated cartoons and created such characters as Mickey Mouse and Donald Duck; founded Disneyland (1901-1966)
  • (in  Walt Disney (American film producer): First animated cartoons; in  history of the motion picture: Nontechnical effects of sound )
  • The Walt Disney Company is the largest media and entertainment conglomerate in the world in terms of revenue. Founded on October 16, 1923 by brothers Walt Disney and Roy Disney as the Disney Brothers Cartoon Studio, the company was reincorporated as Walt Disney Productions in 1929.

disney cartoon sex

disney cartoon sex – Classic Cartoon

Classic Cartoon Favorites, Vol. 4 – Starring Chip 'n Dale
Classic Cartoon Favorites, Vol. 4 - Starring Chip 'n Dale
An hour-long collection of Disney cartoons. Chicken in the Rough, 1951, In a farmyard a hen is sitting on a nest of eggs when Chip an’ Dale, who are picking acorns, come upon the eggs. A baby chick comes out of one of the eggs and Dale, in trying to stuff chick back into the egg, gets involved with a rooster. He is finally trapped under hen with rooster pacing out in front. Chip ‘n’ Dale, 1947, Cold Awakens Donald; he goes out to chop tree for log. Chipmunks, Dale and Chip, inside log, shaken out into snow, follow Don into house to get nuts left in log. They try various ways to get log from fireplace and finally succeed. Out of Scale, 1951, Donald, as the engineer of a miniature train, runs into difficulties with Chip ‘n Dale when he replaces an oak tree, where they have stored nuts, with a miniature tree. A chase follows and chipmunks end up in the miniature village where they duck into a tiny house. Gags follow with Donald simulating extremes of weather. Chips decide to get their tree back. Tree is kicked onto tracks and train drives a hold through the tree. Chips put “Giant Redwood” sign on tree and convince Donald it is in scale. Two Chips and a Miss, 1952, Chipmunks attend a nightclub and vie with one another for attention of a nightclub singer who divides her attention between the two. Food for Feudin’, 1950, Chipmunks fill a tree with nuts. Pluto causes the nuts to roll down into his doghouse. They try to retrieve nuts. Eventually lure Pluto up hill with nuts. Working for Peanuts, 1953, Chip and Dale steal peanuts from Dolores, the elephant. Donald, using Dolore’s trunk as a vacuum cleaner, pulls the peanuts away from the thieves, and then in machine-gun fashion, he shoots the nuts back at the chipmunks. He misses the chipmunks, they laugh, he chases them and knocks himself out by hitting a wall. Chipmunks cover themselves with whitewash, and sneak back into the zoo as rare albino chipmunks, fooling both Donald and Dolores into giving them more peanuts. Out on a Limb, 1950, Donald, as a tree surgeon, discovers the tree home of Chip an’ Dale and decides to have sport. The chipmunks, unaware he is in the tree, think the tree pruner is a monster. Gags with pruner and lawn mower; Donald loses and has tantrum. Three for Breakfast, 1948, Chip and Dale try to get pancakes which Donald is making. Fork flies in and leaves with pancake on it. Continues until fork misses and sticks into pan of rubber cement, spilling on stove which forms rubber pancake. Donald replaces pancake with rubber cake. The chipmunks are frustrated, and the gag backfires on Donald. Dragon Around, 1954, Donald, a steamshovel operator, is clearing an excavation and must tear out the tree where the Chips are living. Chip and Dale have been reading a fairy tale and imagine the steamshovel is a dragon. When they see their home threatened, they set out to ‘kill’ the dragon. Donald decides he is going to have some fun and tease the Chips. In the course of the battle that ensues, the Chips manage to get into Donald’s tool chest. With his wrench they unbolt the steamshovel, causing it to fall apart. Having thus ‘slain’ the “Dragon,” they save their home.

The mischievous chipmunks Chip and Dale began as the unnamed rodent-pests in “Private Pluto” (1943); they acquired names in their third film, “Chip an’ Dale” (1947). Although the duo became a mainstay of the Disney shorts during the late ’40s and ’50s, primarily as adversaries for Donald Duck, the characters never quite gelled. Their appearance and the pitch and comprehensibility of their voices change noticeably from film to film. Chip (the smarter one with the smaller nose) and Dale (the dim one with the larger nose and, often, buck teeth) are at their best when they’re trying to protect their home and acorns from Donald (“Chip an’ Dale,” “Out on a Limb”) or Pluto (“Food for Feudin'”). They’re less appealing when they become aggressors (“Three for Breakfast”). The other three entries in the Classic Cartoon Favorites series, devoted to Mickey, Donald, and Pluto, repeat many of the shorts previously released in the Walt Disney Treasures series. This disc is the first one devoted entirely to Chip an’ Dale. (Unrated, suitable for ages 5 and older: cartoon violence, minor ethnic stereotyping) –Charles Solomon

Elvis and Marilyn, Lunch Box Heros

Elvis and Marilyn, Lunch Box Heros
Do you have a favorite lunchbox? I spotted these two in a antique store in Julian, California. My boxes usually had some superheor or Disney fairytale or cartoon figure like Goofy or Davey Crockett. I would have wanted either of these two when i was a kid but it kind of fun to think of them being carried to school with peanut butter and jelly sandwiches, grapes, and a cartoon of milk or juice. Or in my case a bologne sandwhich with a Hostess cupcake or Twinkee. I was never a Elvis fan though I did always like Houndog and Blue Swuede Shoes and who can resist Marilyn. What do you collect?

Sue's Fantasy Club

Sue's Fantasy Club
Even if yours involves cartoon Disney fairies.

Elko, Nevada

disney cartoon sex

Multiculturalism and the Mouse: Race and Sex in Disney Entertainment
In his latest iconoclastic work, Douglas Brode—the only academic author/scholar who dares to defend Disney entertainment—argues that “Uncle Walt’s” output of films, television shows, theme parks, and spin-off items promoted diversity decades before such a concept gained popular currency in the 1990s. Fully understood, It’s a Small World—one of the most popular attractions at the Disney theme parks—encapsulates Disney’s prophetic vision of an appealingly varied world, each race respecting the uniqueness of all the others while simultaneously celebrating a common human core. In this pioneering volume, Brode makes a compelling case that Disney’s consistently positive presentation of “difference”—whether it be race, gender, sexual orientation, ideology, or spirituality—provided the key paradigm for an eventual emergence of multiculturalism in our society.
Using examples from dozens of films and TV programs, Brode demonstrates that Disney entertainment has consistently portrayed Native Americans, African Americans, women, gays, individual acceptance of one’s sexual orientation, and alternatives to Judeo-Christian religious values in a highly positive light. Assuming a contrarian stance, Brode refutes the overwhelming body of “serious” criticism that dismisses Disney entertainment as racist and sexist. Instead, he reveals through close textual analysis how Disney introduced audiences to such politically correct principles as mainstream feminism. In so doing, Brode challenges the popular perception of Disney fare as a bland diet of programming that people around the world either uncritically deem acceptable for their children or angrily revile as reactionary pabulum for the masses.
Providing a long overdue and thoroughly detailed alternative, Brode makes a highly convincing argument that with an unwavering commitment to racial diversity and sexual difference, coupled with a vast global popularity, Disney entertainment enabled those successive generations of impressionable youth who experienced it to create today’s aura of multiculturalism and our politically correct value system.