Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Conclusion, page 15 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 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
  • Local Discussion
    •
  • Popout
    •
 

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    Moving Image    Sound    Color    Fred Quimby    1950s    Cartoons

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