Censorship in American animation dates back to the Motion Picture Production Code of 1934, during an effort that preceded the Motion Picture Association of America’s film ratings system. The code was defined as the set of moral guidelines to be followed within the film industry; it ultimately became the only institution governing the production and censorship of most motion pictures produced or distributed within the United States before the film ratings system was implemented. While all motion pictures were subject to censorship under the Motion Picture Production Code, animated shorts and features were carefully inspected due to their impact on children as well as the ability of animators to draw characters in any way or engaging in any act. Perhaps the most famous example of censorship in American animation comes with the “Censored Eleven,” a group of Looney Tunes and Merrie Melodies cartoons that were banned from syndication in the United States in 1968. The United Artists studio, which owned the distribution rights at the time, decided to stop the future broadcast of these eleven specific animated shorts due to their political incorrectness. Because these cartoons were banned for being too offensive for contemporary audiences, they have not been officially broadcast on television since their banning in 1968. This fact alone provides us with understanding the power of censorship. In the instance of the “Censored Eleven,” racial themes are so essential to these cartoons that no amount of selective editing would make the collection acceptable for syndication, distribution, or broadcast. With this example, we understand that censorship in animation is different than other media due to how selective it is in nature. Censorship in war eras (specifically after or around World War II) was less rampant than in other time periods. Superman could easily get away with fighting the Japanese in 1942 because Fleischer and Famous Stud