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.

Introduction, Page 30

The racist representation of African-Americans is marked by continuity and discontinuity. The minstrel did not necessarily disappear with the decline of blackface minstrelsy in the late 19th and early twentieth centuries. It faded from prominence, but was joined by more virulent and intense caricatures in the swing era. 

George Pal's Puppetoons (1932-47) used hand-carved dolls in stop-motion cartoons. This short, Jasper and the Haunted House, features several stereotypical representations of black people, particularly the main character Jasper, a "pickaninny" about to deliver a gooseberry pie who encounters the trickster characters of Professor Scarecrow and Blackbird. 

In Disney's live action/animation film Song of the South (1946), James Baskett appears as Uncle Remus performing "Zip-a-Dee-Doo-Dah". This song is part of the film's retelling of Joel Chandler Harris's "Uncle Remus" tales (1881). These popular stories by a white author were represented as African American folktales, given voice through the character of Uncle Remus, a kindly old former slave. "Zip-a-Dee-Doo-Dah" is also based on the from the pre-Civil War folk song "Zip Coon," which was popularized by George Dixon in 1834.
Comment on this page
 

Discussion of "Introduction, Page 30"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Introduction, page 17 of 17 Path end, continue

Related:  Space, Page 175Space, Page 181Conclusion, Page 303Introduction, Page 14Labor, Page 98Conclusion, Page 304Labor, Page 112Labor, Page 113Race, Page 232Introduction, Page 21Race, Page 206Space, Page 188Conclusion, Page 290Space, Page 182Introduction, Page 6Conclusion, Page 289Space, Page 195Performance, Page 77Space, Page 170Space, Page 191Labor, Page 133Introduction, Page 1Race, Page 239Space, Page 183Performance, Page 52Conclusion, Page 292Space, Page 155Labor, Page 123Performance, Page 60Conclusion, Page 278Race, Page 224Introduction, Page 29Performance, Page 84Race, Page 225Space, Page 137Race, Page 261Introduction, Page 23Race, Page 221Labor, Page 132Conclusion, Page 273Space, Page 163Space, Page 184Race, Page 253Conclusion, Page 284Conclusion, Page 286Labor, Page 131Performance, Page 70Space, Page 193Space, Page 197Conclusion, Page 275Space, Page 143Labor, Page 128Space, Page 141Space, Page 162Performance, Page 34Space, Page 148Performance, Page 82Labor, Page 102Performance, Page 41Labor, Page 119Labor, Page 122Space, Page 165Performance, Page 46Performance, Page 45Introduction, Page 2Labor, Page 110Performance, Page 47Space, Page 171Performance, Page 54Conclusion, Page 302Labor, Page 109Space, Page 150Labor, Page 88Space, Page 187Race, Page 252Space, Page 138Space, Page 172Space, Page 178Conclusion, Page 298Space, Page 177Race, Page 220Space, Page 194Race, Page 204Race, Page 258Space, Page 190Race, Page 231Race, Page 229Space, Page 152Race, Page 213Space, Page 189Performance, Page 74Introduction, Page 26Race, Page 245Conclusion, Page 291Performance, Page 43Race, Page 248Conclusion, Page 296Performance, Page 40Race, Page 251Performance, Page 50Labor, Page 129Performance, Page 72Performance, Page 42Conclusion, Page 300Introduction, Page 16Race, Page 230Introduction, Page 4Race, Page 247Performance, Page 44Race, Page 254Performance, Page 35Race, Page 219Race, Page 235Introduction, Page 15Space, Page 146