Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Conclusion, page 10 of 19
Previous page on path     Next page on path

 

You appear to be using an older verion of Internet Explorer. For the best experience please upgrade your IE version or switch to a another web browser.

Conclusion, Page 289

As in Emile Cohl's violent transfigurations of Pierrot in Fantasmagorie (1908), the malleability and
transformative power of animation have been a convention since the beginnings of the form.

Similarly, Max Fleischer eletrocuted Ko-Ko in hopes of getting him to obey in The Cartoon Factory (1924), Rudy Ising put Bosko back into the inkwell in Bosko the Talk-Ink Kid (1929), and Winsor McCay's first screen performance famously contorting and stretching Flip and Impy in Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics (1911).
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Conclusion, Page 289"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Conclusion, page 10 of 19 Next page on path
Winsor McCay    Max Fleischer    Dave Fleischer    Moving Image    Ko-Ko the Clown    Silent    1920s    Sound    With Live Characters (Animators)    1900s    1910s    1930s    Out of the Inkwell    Cartoons    Little Nemo

Related:  Performance, Page 47,  Labor, Page 122,  Introduction, Page 23,  Race, Page 253,  Race, Page 220,  Space, Page 184,  Performance, Page 46,  Labor, Page 128,  Performance, Page 41,  Space, Page 194,  Race, Page 251,  Conclusion, Page 273,  Space, Page 178,  Performance, Page 60,  Space, Page 175,  Conclusion, Page 296,  Race, Page 235,  Performance, Page 35,  Space, Page 197,  Race, Page 231,  Race, Page 254,  Labor, Page 98,  Performance, Page 45,  Space, Page 183,  Space, Page 148,  Conclusion, Page 286,  Space, Page 172,  Labor, Page 96,  Space, Page 143,  Introduction, Page 6,  Conclusion, Page 290,  Space, Page 193,  Race, Page 258,  Conclusion, Page 291,  Race, Page 224,  Space, Page 150,  Performance, Page 77,  Labor, Page 115,  Introduction, Page 1,  Space, Page 189,  Labor, Page 132,  Introduction, Page 21,  Labor, Page 88,  Labor, Page 129,  Introduction, Page 2,  Space, Page 177,  Performance, Page 44,  Space, Page 195,  Race, Page 230,  Performance, Page 52,  Space, Page 171,  Performance, Page 42,  Performance, Page 34,  Performance, Page 74,  Performance, Page 70,  Space, Page 159,  Space, Page 163,  Labor, Page 123,  Race, Page 247,  Race, Page 252,  Performance, Page 82,  Space, Page 190,  Labor, Page 110,  Labor, Page 112,  Conclusion, Page 292,  Space, Page 152,  Introduction, Page 29,  Space, Page 170,  Space, Page 146,  Conclusion, Page 304,  Labor, Page 109,  Space, Page 138,  Labor, Page 119,  Race, Page 206,  Race, Page 261,  Space, Page 162,  Introduction, Page 14,  Conclusion, Page 300,  Performance, Page 50,  Space, Page 155,  Space, Page 182,  Race, Page 239,  Space, Page 166,  Space, Page 141,  Race, Page 221,  Race, Page 225,  Conclusion, Page 298,  Race, Page 213,  Performance, Page 84,  Race, Page 204,  Labor, Page 113,  Performance, Page 56,  Space, Page 181,  Performance, Page 72,  Performance, Page 43,  Race, Page 229,  Labor, Page 131,  Labor, Page 133,  Race, Page 219,  Race, Page 248,  Space, Page 188,  Conclusion, Page 268,  Conclusion, Page 275,  Space, Page 187,  Labor, Page 97,  Labor, Page 101,  Space, Page 156,  Space, Page 191,  Race, Page 232,  Space, Page 165,  Performance, Page 54,  Conclusion, Page 284,  Space, Page 169,  Space, Page 192,  Conclusion, Page 303,  Conclusion, Page 278,  Performance, Page 62,  Introduction, Page 4,  Performance, Page 76,  Introduction, Page 30,  Introduction, Page 9,  Performance, Page 78,  Labor, Page 102,  Space, Page 137,  Conclusion, Page 302,  Race, Page 242,  Labor, Page 93,  Introduction, Page 20