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