Sign in or register
for additional privileges

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

Nicholas Sammond, Author

This page was created by Patricia Hill.  The last update was by Nicholas Sammond.

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.

Introduction, Page 2

Mickey’s Mellerdrammer (1935) is one of many cartoon adaptations of the classic abolitionist tale Uncle Tom's Cabin.

In this cartoon interpretation of the Stowe tale, set in a converted barn, Mickey uses a firecracker to blow himself up into blackness. Offstage, Goofy operates stage machinery that moves minstrelesque cutouts who stand in for plantation slaves, singing as they pick cotton.

Like other adaptations of the Stowe melodrama, this one confuses a sincere depiction of the horrors of slavery with blackface minstrelsy, and the categories just keep on slipping, as the cartoon drifts toward vaudeville: the short ends with Horace Horsecollar as Simon Legree being buried in the vegetables thrown by audience members.

Dan Emmett's "Dixie" is perhaps the best-known song to emerge from blackface minstrelsy. Shorthand for the antebellum South, Dixie plays in the background of Mickey's Mellerdrammer discreetly signifying plantations, slavery and the minstrel shows that were popular well into the early twentieth century.
Comment on this page
 

Discussion of "Introduction, Page 2"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Introduction, page 2 of 17 Next page on path

Related:  Race, Page 229Space, Page 181Introduction, Page 30Space, Page 190Labor, Page 122Space, Page 178Space, Page 162Race, Page 220Space, Page 197Labor, Page 101Performance, Page 77Race, Page 239Labor, Page 102Performance, Page 70Performance, Page 45Conclusion, Page 292Performance, Page 43Labor, Page 113Space, Page 188Race, Page 206Race, Page 252Performance, Page 54Space, Page 193Performance, Page 84Race, Page 221Introduction, Page 29Conclusion, Page 296Race, Page 225Race, Page 231Introduction, Page 1Race, Page 258Race, Page 253Introduction, Page 21Space, Page 155Race, Page 224Race, Page 230Race, Page 247Labor, Page 112Space, Page 189Introduction, Page 4Race, Page 235Introduction, Page 6Space, Page 137Labor, Page 109Space, Page 170Race, Page 213Performance, Page 82Space, Page 165Labor, Page 123Performance, Page 46Conclusion, Page 286Space, Page 143Conclusion, Page 284Race, Page 254Labor, Page 110Space, Page 150Conclusion, Page 302Space, Page 175Introduction, Page 14Race, Page 204Space, Page 187Space, Page 194Space, Page 152Performance, Page 47Space, Page 148Performance, Page 72Performance, Page 35Labor, Page 128Space, Page 141Race, Page 248Performance, Page 52Labor, Page 119Space, Page 172Race, Page 232Labor, Page 98Race, Page 261Introduction, Page 16Labor, Page 88Space, Page 183Conclusion, Page 291Race, Page 251Space, Page 184Conclusion, Page 290Labor, Page 132Conclusion, Page 304Space, Page 182Performance, Page 50Labor, Page 133Conclusion, Page 300Labor, Page 131Performance, Page 60Performance, Page 74Space, Page 195Space, Page 191Conclusion, Page 289Conclusion, Page 275Space, Page 138Performance, Page 44Conclusion, Page 303Space, Page 171Conclusion, Page 298Space, Page 146Space, Page 163Space, Page 177Performance, Page 34Race, Page 219Performance, Page 42Performance, Page 41Conclusion, Page 273Labor, Page 129Introduction, Page 23Space, Page 196Conclusion, Page 278