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