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