Started Tom and Jerry
Tom and Jerry is an American animated series of short films created in 1940, by William Hanna and Joseph Barbera. It centers on a rivalry between its two title characters, Tom and Jerry, and many recurring characters, based around slapstick comedy.
In its original run, Hanna and Barbera produced 114 Tom and Jerry shorts for Metro-Goldwyn-Mayer from 1940 to 1958. During this time, they won seven Academy Awards for Animated Short Film, tying for first place with Walt Disney's Silly Symphonies with the most awards in the category. After the MGM cartoon studio closed in 1958, MGM revived the series with Gene Deitch directing an additional 13 Tom and Jerry shorts for Rembrandt Films from 1961 to 1962. Tom and Jerry then became the highest-grossing animated short film series of that time, overtaking Looney Tunes. Chuck Jones then produced another 34 shorts with Sib-Tower 12 Productions between 1963 and 1967. Three more shorts were produced, The Mansion Cat in 2001, The Karate Guard in 2005, and "A Fundraising Adventure" in 2014, making a total of 164 shorts. Various shorts have been released for home media since the 1990s.
A number of spin-offs have been made, including the television series The Tom and Jerry Show (1975), The Tom and Jerry Comedy Show (1980–82), Tom and Jerry Kids (1990–93), Tom and Jerry Tales (2006–08), and The Tom and Jerry Show (2014–present). The first feature-length film based on the series, Tom and Jerry: The Movie, was released in 1992, and 12 direct-to-video films have been produced since 2002.
Numerous Tom and Jerry shorts have been subject to controversy, mainly over racial stereotypes that involves the portrayal of the recurring black character Mammy Two Shoes and characters appearing in blackface. Other controversial themes include cannibalism and the glamorization of smoking.
The series features comic fights between an iconic set of adversaries, a house cat (Tom) and a mouse (Jerry). The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that follows. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. However, there are also several instances within the cartoons where they display genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escaped the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger.
The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation such as Tom using everything from axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent due to their frequent success, including slicing Tom in half, decapitating him, shutting his head or fingers in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, causing trees or electric poles to drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on. Because of this, Tom and Jerry has often been criticized as excessively violent. Despite the frequent violence, there is no blood or gore in any scene.
Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me in St. Louis, which both starred Judy Garland in a leading role. Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams.
Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives in Technicolor; the 1960s entries were done in Metrocolor. The 1960s entries also returned to the standard Academy ratio and format, too. The 2005 short The Karate Guard was also filmed in the standard Academy ratio and format.
CharactersTom Cat and Jerry Mouse
Tom (named "Jasper" in his debut appearance) is a grey and white domestic shorthair cat. ("Tom" is a generic name for a male cat.) He is usually but not always, portrayed as living a comfortable, or even pampered life, while Jerry (named "Jinx" in his debut appearance) is a small, brown, house mouse who always lives in close proximity to Tom. Despite being very energetic, determined and much larger, Tom is no match for Jerry's wits. Jerry also possesses surprising strength for his size, approximately the equivalent of Tom's, lifting items such as anvils with relative ease and withstanding considerable impacts. Although cats typically chase mice to consume them, it is quite rare for Tom to actually try to consume Jerry. Most of his attempts are just to torment or humiliate Jerry, sometimes in revenge, and sometimes to obtain a reward from a human for catching Jerry. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser.
However, other results may be reached. On rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or when he pushes Tom a little too far. In The Million Dollar Cat Jerry learns that Tom will lose his newly acquired wealth if he harms any animal, "including a mouse;" he then torments Tom a little too much until he retaliates. In Timid Tabby Tom's look-alike cousin pushes Jerry over the edge. Occasionally and usually ironically, they both lose, usually when Jerry's final trap or attack on Tom backfires or Jerry overlooks something. In Chuck Jones' Filet Meow, Jerry orders a shark from the pet store to scare Tom away from eating a goldfish, but finds himself entirely intimidated as well. Finally, they occasionally end up being friends, although within this set of stories, there is often a last minute event that ruins the truce. One story that has friendly ending is Snowbody Loves Me.
Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other, although it is often in response to a triggering event. However, when one character appears to truly be in mortal danger from an unplanned situation or due to actions by a third party, the other will develop a conscience and save him. Occasionally, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens, or when one character feels that the other is no longer necessary. This is the case in Posse Cat, when they agree that Jerry will allow himself to be caught if Tom agrees to share his reward dinner, but Tom then reneges. Other times however, Tom does keep his promise to Jerry and the partnerships are not quickly dissolved after the problem is solved.
Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons.
Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven), Yankee Doodle Mouse and in Safety Second, while in The Two Mouseketeers he is guillotined offscreen.Tom and Jerry speaking
Although many supporting and minor characters speak, Tom and Jerry rarely do so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is or Is You Ain't My Baby" in the 1946 short Solid Serenade. In that one as well as Zoot Cat, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says, "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In Tom and Jerry: The Magic Ring, Jerry says, "No, no, no, no, no," when choosing the shop to remove his ring. In The Mouse Comes to Dinner Tom speaks to his girlfriend Toots while inadvertently sitting on a stove: "Say, what's cookin'?", to which Toots replies "You are, stupid." Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp.
The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans – at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to the then-popular 1940s radio show Don't You Believe It. In Mouse Trouble, Tom says "Don't you believe it!" after being beaten up by Jerry (this also happens in The Missing Mouse). In the 1946 short Trap Happy, Tom hires a cat disguised as a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse, while Jerry was voiced by Sara Berner during his appearance in the 1945 MGM musical Anchors Aweigh. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak. In that movie, Tom was voiced by Richard Kind, and Jerry was voiced by Dana Hill.Spike and Tyke
In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but extremely unintelligent bulldog who tries to attack Tom for bothering him or his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between grey and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke).
Most cartoons with Spike in it have a system; usually Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him from doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterwards Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaving Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually due to the fact that Tom is usually framed by Jerry and that Spike just doesn't like Tom). Off-screen, Spike does something to Tom and finally Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. Tom sometimes can get irritated with Spike on some occasions (example is in That's My Pup!, when Spike forced Tom to run up a tree every time his son barked, causing Tom to hang Tyke on a flag pole). At least once however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussycat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son.
Tyke is described as a cute, sweet looking, happy and a lovable puppy. He is Spike's son, but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Tyke's father Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from grey (with white paws) to creamy tan. When Tom and Jerry Kids first aired, this was the first time that viewers were able to hear Tyke speak.Butch and Toodles Galore
Butch is a black cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he is usually seen rivaling Tom over Toodles. Butch was also Tom's pal or chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most episodes.
Both characters were originally introduced in Hugh Harman's 1941 short The Alley Cat, but were integrated into Tom and Jerry rather than continuing in their own series.Nibbles
Nibbles is a small grey mouse who often appears in episodes as Jerry's nephew. He is a carefree individual who very rarely understands the danger of the situation, simply following instructions the best he can both to Jerry's command and his own innocent understanding of the situation. This can lead to such results as "getting the cheese" by simply asking Tom to pick it up for him, rather than following Jerry's example of outmaneuvering and sneaking around Tom. Many times Nibbles is an ally of Jerry in fights against Tom, including being the second Mouseketeer. He is given speaking roles in all his appearances as a Mouseketeer, often with a high-pitched French tone. However, during an episode to rescue Robin Hood, his voice was instead more masculine, gruff, and cockney accented.Mammy Two Shoes
Mammy Two Shoes is a heavy-set middle-aged mammy who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was only shown once, very briefly, in Saturday Evening Puss. Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype now often regarded as racist. She was mostly restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg explaining the importance of African-American representation in the cartoon series, however stereotyped.
History and evolution
"Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom (1823) by Pierce Egan. However Brewer notes no more than an "unconscious" echo of the Regency era original in the naming of the cartoon.Hanna-Barbera era (1940–58)
William Hanna and Joseph Barbera were both part of the Rudolf Ising unit at the MGM cartoon studio in the late 1930s. After the financial disaster of a series of MGM cartoons based upon the Captain and the Kids comic strip characters, Barbera, a storyman and character designer, was paired (out of desperation) with Hanna, an experienced director, to start directing films for the Ising unit. In their first discussion for a cartoon, Barbera suggested a cat-and-mouse cartoon titled Puss Gets the Boot. "We knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought," as he recalled in an interview. Hanna and other employees complained that the idea wasn't very original; nevertheless, the short was completed in late 1939, and released to theaters on February 10, 1940. Puss Gets The Boot centers on Jasper, a gray tabby cat trying to catch a mouse named Jinx (whose name is not mentioned within the cartoon itself), but after accidentally breaking a houseplant and its stand, the African American housemaid Mammy has threatened to throw Jasper out if he breaks one more thing in the house. Naturally, Jinx uses this to his advantage, and begins tossing any and everything fragile, so that Jasper will be thrown outside. Puss Gets The Boot was previewed and released without fanfare, and Hanna and Barbera went on to direct other non-cat-and-mouse related shorts such as Gallopin' Gals (1940) and Officer Pooch (1941). "After all," remarked many of the MGM staffers, "haven't there been enough cat-and-mouse cartoons already?"
The pessimistic attitude towards the cat and mouse duo changed when the cartoon became a favorite with theater owners and with the Academy of Motion Picture Arts and Sciences, which nominated the film for the Academy Award for Best Short Subject: Cartoons of 1941. It lost to another MGM cartoon, Rudolph Ising's The Milky Way.
Producer Fred Quimby, who ran the MGM animation studio, quickly pulled Hanna and Barbera off the other one-shot cartoons they were working on, and commissioned a series featuring the cat and mouse. Hanna and Barbera held an intra-studio contest to give the pair a new name by drawing suggested names out of a hat; animator John Carr won $50 with his suggestion of Tom and Jerry, at the time best known as the name of a Christmastime mixed drink. The Tom and Jerry series went into production with The Midnight Snack in 1941, and Hanna and Barbera rarely directed anything but the cat-and-mouse cartoons for the rest of their tenure at MGM. Barbera would create the story for each short while Hanna would supervise production.
Tom's physical appearance evolved significantly over the years. During the early 1940s, Tom had an excess of detail—shaggy fur, numerous facial wrinkles, and multiple eyebrow markings, all of which were streamlined into a more workable form by the end of the 1940s. In addition, he also looked like a more realistic cat early on; evolving from his quadrupedal beginnings Tom to become increasingly and almost exclusively bipedal. By contrast, Jerry's design remained essentially the same for the duration of the series. By the mid-1940s, the series had developed a quicker, more energetic and violent tone, due to the inspiration from the work of their colleague in the MGM cartoon studio, Tex Avery, who joined the studio in 1942.
Even though the theme of each short is virtually the same – cat chases mouse – Hanna and Barbera found endless variations on that theme. Barbera's storyboards and rough layouts and designs, combined with Hanna's timing, resulted in MGM's most popular and successful cartoon series. Thirteen entries in the Tom and Jerry series (including Puss Gets The Boot) were nominated for the Academy Award for Best Short Subject: Cartoons; seven of them went on to win the Academy Award, breaking the Disney studio's winning streak in that category. Tom and Jerry won more Academy Awards than any other character-based theatrical animated series.
Tom and Jerry remained popular throughout their original theatrical run, even when the budgets began to tighten in the 1950s and the pace of the shorts slowed slightly. However, after television became popular in the 1950s, box office revenues decreased for theatrical films, and short subjects. At first, MGM combated this by going to all-CinemaScope production on the series. After MGM realized that their re-releases of the older cartoons brought in just as much money as the new cartoons did, the studio executives decided, much to the surprise of the staff, to close the animation studio. The MGM cartoon studio was shut down in 1958, and the last of the 114 Hanna-Barbera Tom and Jerry shorts, Tot Watchers, was released on August 1, 1958. Hanna and Barbera established their own television animation studio, Hanna-Barbera Productions, in 1957, which went on to produce hit TV shows, such as The Flintstones, Yogi Bear, and Scooby-Doo .Gene Deitch era (1961–62)
In 1961, MGM revived the Tom and Jerry franchise, and contracted European animation studio Rembrandt Films to produce thirteen Tom and Jerry shorts in Prague, Czechoslovakia. All thirteen shorts were directed by Gene Deitch and produced by William L. Snyder. Deitch himself wrote most of the cartoons, with occasional assistance from Larz Bourne and Eli Bauer. Stěpan Koniček provided the musical score for the Deitch shorts. Sound effects were produced by Tod Dockstader. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift.
Deitch states that, being a "UPA man", he was not a fan of the Tom and Jerry cartoons, thinking they were "needlessly violent". However, after being assigned to work on the series, he quickly realized that "nobody took [the violence] seriously", and it was merely "a parody of exaggerated human emotions". He also came to see what he perceived as the "biblical roots" in Tom and Jerry's conflict, similar to David and Goliath, stating "That's where we feel a connection to these cartoons: the little guy can win (or at least survive) to fight another day."
Since the Deitch/Snyder team had seen only a handful of the original Tom and Jerry shorts, and since the team produced their cartoons on a tighter budget of $10,000, the resulting films were considered surrealist in nature, though this was not Deitch's intention. The animation was limited and jerky in movement, compared to the more fluid Hanna-Barbera shorts. Background art was done in a more simplistic, angular, Art Deco-esque style. The soundtracks featured sparse and echoic electronic music, futuristic sound effects, heavy reverb, and dialogue that was mumbled rather than spoken. According to Jen Nessel of The New York Times, "The Czech style had nothing in common with these gag-driven cartoons."
Whereas Hanna-Barbera's shorts generally took place in and outside of a house, Deitch's shorts opted for more exotic locations, such as a 19th-century whaling ship, the jungles of Nairobi, an Ancient Greek acropolis, or the Wild West. In addition, Mammy Two-Shoes was replaced as Tom's owner by Clint Clobber, a bald, overweight, short-tempered, middle-aged white man who was also much more brutal and violent in punishing Tom's actions as compared to previous owners, by beating and thrashing Tom repeatedly, stomping on his hand, searing his head with a grill, forcing him to drink an entire carbonated beverage, slamming his fingers with a lunchbox lid and even wrapping a shotgun over his head and firing it.
To avoid being linked to Communism, Deitch romanized the Czech names of his crew in the opening credits of the shorts (e.g. Stêpan Koniček became "Steven Konichek" and Vaclav Lidl became "Victor Little"). In addition, these shorts are among the few Tom and Jerry cartoons not to carry the "Made In Hollywood, U.S.A." phrase on the end title card; due to Deitch's studio being behind the Iron Curtain, the production studio's location is omitted entirely on it. After the thirteen shorts were completed, Joe Vogel, the head of production, was fired from MGM. Vogel had approved of Deitch and his team's work, but MGM decided not to renew their contract after Vogel's departure. The final of the thirteen shorts, Carmen Get It!, was released on December 21, 1962.
Deitch's shorts were commercial successes. In 1961, the Tom and Jerry series became the highest-grossing animated short film series of that time, dethroning Looney Tunes, which had held the position for sixteen years; this success was repeated once more in 1962. However, unlike the Hanna-Barbera shorts, none of Deitch's films were nominated for nor did they win an Academy Award. In retrospect, these shorts are often considered the worst of the Tom and Jerry theatrical output.Deitch stated that due to his team's inexperience as well as their low budget, he "hardly had a chance to succeed", and "well understand[s] the negative reactions" to his shorts. He believes "They could all have been better animated – truer to the characters – but our T&Js were produced in the early 1960s, near the beginning of my presence here, over a half-century ago as I write this!" Despite the criticism, some fans wrote positive letters to Deitch, stating that his Tom and Jerry shorts were their personal favorites due to their quirky and surreal nature.Chuck Jones era (1963–67)
After the last of the Deitch cartoons were released, Chuck Jones, who had been fired from his thirty-plus year tenure at Warner Bros. Cartoons, started his own animation studio, Sib Tower 12 Productions (later renamed MGM Animation/Visual Arts), with partner Les Goldman. Beginning in 1963, Jones and Goldman went on to produce 34 more Tom and Jerry shorts, all of which carried Jones' distinctive style (and a slight psychedelic influence).
Jones had trouble adapting his style to Tom and Jerry's brand of humor, and a number of the cartoons favored full animation, personality and style over storyline. The characters underwent a slight change of appearance: Tom was given thicker eyebrows (resembling Jones' Grinch, Count Blood Count or Wile E Coyote), a less complex look (including the color of his fur becoming gray), sharper ears, longer tail and furrier cheeks (resembling Jones' Claude Cat or Sylvester), while Jerry was given larger eyes and ears, a lighter brown color, and a sweeter, Porky Pig-like expression.
Some of Jones' Tom and Jerry cartoons are reminiscent of his work with Wile E. Coyote and The Road Runner, included the uses of blackout gags and gags involving characters falling from high places. Jones co-directed the majority of the shorts with layout artist Maurice Noble. The remaining shorts were directed by Abe Levitow and Ben Washam, with Tom Ray directing two shorts built around footage from earlier Tom and Jerry cartoons directed by Hanna and Barbera, and Jim Pabian directed a short with Maurice Noble. Various vocal characteristics were made by Mel Blanc and June Foray. These shorts contain a memorable opening theme, in which Tom first replaces the MGM lion, then is trapped inside the "O" of his name.
Though Jones's shorts were generally considered an improvement over Deitch's, they nevertheless had varying degrees of critical success. MGM ceased production of Tom and Jerry shorts in 1967, by which time Jones had moved on to television specials and the feature film The Phantom Tollbooth.
FilmographyTheatrical shorts For a list of all theatrical Tom and Jerry cartoon shorts, see Tom and Jerry filmography.
The following cartoons won the Academy Award for Best Short Subject: Cartoons:
- 1943: The Yankee Doodle Mouse
- 1944: Mouse Trouble
- 1945: Quiet Please!
- 1946: The Cat Concerto
- 1948: The Little Orphan
- 1952: The Two Mouseketeers
- 1953: Johann Mouse
These cartoons were nominated for the Academy Award for Best Short Subject: Cartoons, but did not win:
- 1940: Puss Gets the Boot
- 1941: The Night Before Christmas
- 1947: Dr. Jekyll and Mr. Mouse
- 1949: Hatch Up Your Troubles
- 1950: Jerry's Cousin
- 1954: Touché, Pussy Cat!
- The Tom and Jerry Show (ABC, 1975)
- The Tom and Jerry Comedy Show (CBS, 1980–1982)
- Tom & Jerry Kids (FOX, 1990–1994)
- Tom and Jerry Tales (The CW, Cartoon Network, 2006–2008)
- The Tom and Jerry Show (Teletoon, Cartoon Network, 2014–present)
- Tom and Jerry (1960s packaged show) (CBS, 1965–1972)
- Tom and Jerry on BBC One (BBC, 1967–2000)
- Tom and Jerry's Funhouse on TBS (TBS, 1986–1989)
- Cartoon Network's Tom and Jerry Show (Cartoon Network, 1992–present)
- Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration (TNT, 1989)
- Tom and Jerry: The Mansion Cat (Boomerang, 2001)
- Tom and Jerry: Santa's Little Helpers (Warner Home Video, 2014)
- Tom and Jerry: The Movie (Turner Pictures/Film Roman/WMG, 1992)
- Tom and Jerry: The Magic Ring (Warner Home Video, 2002)
- Tom and Jerry: Blast Off to Mars (Warner Home Video, 2005)
- Tom and Jerry: The Fast and the Furry (Warner Home Video, 2005)
- Tom and Jerry: Shiver Me Whiskers (Warner Home Video, 2006)
- Tom and Jerry: A Nutcracker Tale (Warner Home Video, 2007)
- Tom and Jerry Meet Sherlock Holmes (Warner Home Video, 2010)
- Tom and Jerry & The Wizard of Oz (Warner Home Video, 2011)
- Tom and Jerry: Robin Hood and His Merry Mouse (Warner Home Video, 2012)
- Tom and Jerry's Giant Adventure (Warner Home Video, 2013)
- Tom and Jerry: The Lost Dragon (Warner Home Video, 2014)
- Tom and Jerry: Spy Quest (Warner Home Video, 2015)
- Tom and Jerry: Back to Oz (Warner Home Video, 2016)
- Tom and Jerry: Charlie and the Chocolate Factory (Warner Home Video, coming 2017)
Sources: vesti.ru, timenote.info, wikipedia.org
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