Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Labor, page 14 of 21


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.

Labor, Page 122

With the arrival of sound to film, the spaces that cartoons depicted referred more often to Hollywood:

Toyland Premier (1934) features a wide range of celebrity caricatures, from Tarzan to Shirley Temple, to Al Jolson, to Bing Crosby, and the hit comedy duo Laurel and Hardy, all helping Santa out. 

Hollywood Capers (1935) depicts Beans the Cat sneaking into a Hollywood studio by pretending to be Oliver Hardy.

You Ought To Be In Pictures (1940) combines animation and live action, introducing the animated segment by viewing an animator's workspace. This recalls early cartoons which highlighted the animator's hand. The animation otherwise revolves around the importance of the Hollywood studios, and their contrast to the cartoon industry.

Swooner Crooner (1944) features Raymond Scott’s anthem to industrialism, “Powerhouse." With caricatures of teen idols Frank Sinatra and Bing Crosby as the central characters, it parodies the shift of women workers into wartime manufacturing jobs.

Mother Goose Goes Hollywood (1938) was long censored due to its racist stereotypes. In the cartoon, a pie hits Katherine Hepburn in the face, mimicking blackface, and her voice changes to a minstrel dialect. Moreover, the three black stars shown, Cab Calloway, Fats Waller and Stepin Fetchit, all emerge from a pie (like "blackbirds") and are joined by a chorus of minstrels. (Compare this with Pie Pie Blackbird [1932].)
Comment on this page

Discussion of "Labor, Page 122"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Labor, page 14 of 21 Next page on path

Related:  Conclusion, Page 296Labor, Page 119Space, Page 197Labor, Page 101Space, Page 141Race, Page 204Race, Page 230Race, Page 248Performance, Page 84Space, Page 187Labor, Page 129Performance, Page 70Introduction, Page 2Space, Page 190Race, Page 221Race, Page 229Race, Page 258Labor, Page 133Labor, Page 123Space, Page 193Race, Page 220Performance, Page 52Race, Page 235Conclusion, Page 303Conclusion, Page 286Introduction, Page 14Race, Page 251Race, Page 225Introduction, Page 21Space, Page 182Space, Page 165Introduction, Page 30Conclusion, Page 300Space, Page 181Space, Page 148Performance, Page 45Conclusion, Page 304Race, Page 247Space, Page 152Space, Page 184Space, Page 172Performance, Page 77Performance, Page 74Performance, Page 72Space, Page 194Space, Page 138Labor, Page 128Performance, Page 35Labor, Page 113Performance, Page 47Conclusion, Page 298Space, Page 155Conclusion, Page 292Introduction, Page 6Space, Page 150Introduction, Page 1Space, Page 146Space, Page 183Race, Page 232Race, Page 206Space, Page 189Labor, Page 112Race, Page 252Labor, Page 132Labor, Page 109Labor, Page 88Performance, Page 50Labor, Page 98Performance, Page 42Race, Page 224Race, Page 254Space, Page 188Performance, Page 34Conclusion, Page 290Introduction, Page 29Race, Page 239Performance, Page 60Space, Page 175Conclusion, Page 284Labor, Page 110Labor, Page 102Space, Page 163Conclusion, Page 302Conclusion, Page 278Performance, Page 82Space, Page 177Conclusion, Page 291Space, Page 143Race, Page 261Space, Page 178Performance, Page 46Space, Page 137Space, Page 171Space, Page 162Race, Page 231Performance, Page 54Conclusion, Page 289Introduction, Page 4Race, Page 213Race, Page 253Labor, Page 131Introduction, Page 23Space, Page 170Performance, Page 44Performance, Page 41Space, Page 195Performance, Page 40Space, Page 191Performance, Page 43Conclusion, Page 275Race, Page 219Conclusion, Page 273