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

Nicholas Sammond, Author
Conclusion, page 15 of 19
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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.
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MGM    1950s    Cartoons    Moving Image    Sound    Color    Fred Quimby

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