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 296

One of the torments that Tex Avery devised for his protagonist in Magical Maestro (1952) was an imaginary hair in the gate of the projector, which flickers distractingly in front of an opera singer until he finally pulls it out. Another instance of the linking of race, to humor, to abasement, this cartoon features not only play with the boundary between the real and ideal (the hair in the projector gate), but also deploys a range of racist stereotypes in the service of humiliating the main character.
Comment on this page

Discussion of "Conclusion, Page 296"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Conclusion, page 15 of 19 Next page on path
MGM    Color    Fred Quimby    1950s    Cartoons    Moving Image    Sound

Related:  Conclusion, Page 303Introduction, Page 4Space, Page 188Conclusion, Page 290Space, Page 150Performance, Page 82Introduction, Page 29Race, Page 239Labor, Page 119Labor, Page 129Space, Page 190Race, Page 230Race, Page 252Labor, Page 128Conclusion, Page 304Labor, Page 133Space, Page 148Race, Page 229Race, Page 261Performance, Page 74Performance, Page 43Conclusion, Page 284Space, Page 194Labor, Page 122Labor, Page 101Race, Page 251Labor, Page 109Conclusion, Page 289Space, Page 178Space, Page 177Conclusion, Page 300ProducersSpace, Page 181Conclusion, Page 292Conclusion, Page 302Space, Page 193Race, Page 224Performance, Page 45Space, Page 189Race, Page 253Labor, Page 113Conclusion, Page 298Race, Page 248Labor, Page 88Space, Page 175Performance, Page 54Introduction, Page 2Space, Page 152Race, Page 220Space, Page 163Race, Page 204Performance, Page 50Race, Page 225Conclusion, Page 286Performance, Page 84Introduction, Page 21Race, Page 231Performance, Page 52Labor, Page 123Labor, Page 112Space, Page 184Introduction, Page 14Performance, Page 47Race, Page 258Space, Page 182Space, Page 141Race, Page 247Introduction, Page 6Race, Page 221Space, Page 165Race, Page 232Space, Page 162Labor, Page 98Space, Page 138Performance, Page 41Race, Page 235Performance, Page 46Space, Page 146Space, Page 172Performance, Page 72Labor, Page 110Performance, Page 34Performance, Page 70Race, Page 254Space, Page 170Space, Page 191Space, Page 197Space, Page 155Conclusion, Page 291Space, Page 143Performance, Page 60Space, Page 187Space, Page 183Performance, Page 42Introduction, Page 23Race, Page 206Introduction, Page 30Conclusion, Page 273Race, Page 213Conclusion, Page 275Labor, Page 132Performance, Page 77Introduction, Page 1Conclusion, Page 278Performance, Page 35