Sign in or register
for additional privileges

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

Nicholas Sammond, Author

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
 

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

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