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