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