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

Nicholas Sammond, Author

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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).
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