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