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.

Labor, Page 110

This Out of the Inkwell cartoon from 1927 features the continuing Fleischer character Ko-Ko the Clown, who appears to draw himself and then battle with his drawn environment—a self-referential trope in early animation in which creations were made to rebel against their makers. 

Ko-Ko travels through time to 1999, when everything is automated. Eventually, a machine creates a wife and children for  Ko-Ko, who is unwilling to settle down; his enraged wife rips the clown to shreds and tosses the fragments into Max's "real" cinematic space. Max takes the paper shreds and creates two real women, ready to clean up the day's mess by putting it all back into the inkwell. 

Early animated characters often performed a fantasy of seeming autonomy, drawn by the animators only to be punished and constrained by their "masters" for their misdeeds. This sort of rebellion was a key characteristic of the blackface minstrel. 
Comment on this page

Discussion of "Labor, Page 110"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Labor, page 9 of 21 Next page on path

Related:  Race, Page 224Conclusion, Page 302Introduction, Page 2Space, Page 181Race, Page 253Race, Page 232Performance, Page 72Race, Page 254Race, Page 247Space, Page 193Race, Page 220Space, Page 148Labor, Page 128Race, Page 235Introduction, Page 6Race, Page 230Race, Page 229Race, Page 258Space, Page 150Race, Page 239Space, Page 190Race, Page 231Performance, Page 47Space, Page 194Race, Page 261Labor, Page 98Labor, Page 119Introduction, Page 1Space, Page 156Labor, Page 88Race, Page 206Performance, Page 54Performance, Page 60Labor, Page 97Space, Page 170Space, Page 187Labor, Page 123Introduction, Page 29Conclusion, Page 291Performance, Page 50Space, Page 155Space, Page 175Introduction, Page 14Labor, Page 122Labor, Page 133Conclusion, Page 290Conclusion, Page 289Race, Page 252Conclusion, Page 278Conclusion, Page 273Space, Page 152Space, Page 197Space, Page 177Labor, Page 113Race, Page 221Labor, Page 132Conclusion, Page 296Performance, Page 84Performance, Page 43Labor, Page 109Space, Page 146Space, Page 165Conclusion, Page 303Space, Page 172Space, Page 143Race, Page 251Conclusion, Page 286Race, Page 225Labor, Page 112Performance, Page 45Space, Page 162Space, Page 141Space, Page 178Space, Page 189Introduction, Page 21Race, Page 213Performance, Page 46Conclusion, Page 292Space, Page 191Race, Page 248Space, Page 184Labor, Page 129Conclusion, Page 298Space, Page 188Introduction, Page 23Performance, Page 77Performance, Page 42Labor, Page 96Performance, Page 82Introduction, Page 30Space, Page 138Race, Page 204Labor, Page 101Performance, Page 74Space, Page 182Performance, Page 70Conclusion, Page 275Conclusion, Page 300Performance, Page 34Performance, Page 35Space, Page 163Conclusion, Page 304Performance, Page 41Introduction, Page 4Performance, Page 44Performance, Page 52Space, Page 183Conclusion, Page 284