Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Labor, page 10 of 21
Previous page on path     Next page on path

 

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 112

The background of the Sullivan short Felix Dopes It Out (1924) demonstrates the schematic simplicity by which a few lines can represent an outdoor scene. An economy of line allowed animators to work quickly and efficiently, and the fewer lines a background contained, the easier it was to mass reproduce and even reuse. 

Similarly, Felix Out of Luck (1924) shows how few lines are required to create an indoor scene, efficiently reprising the basic iconography of the vaudeville backdrop. Technical and material constraints forced animators to develop a set of representational conventions which coalesced across different studios and product lines over time in the early American animation industry. 


Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Labor, Page 112"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Labor, page 10 of 21 Next page on path
Cartoons    Moving Image    Silent    Sound    Black and White    Pat Sullivan    Felix the Cat    1920s

Related:  Introduction, Page 29,  Space, Page 189,  Space, Page 193,  Performance, Page 45,  Labor, Page 123,  Labor, Page 101,  Race, Page 239,  Conclusion, Page 302,  Race, Page 235,  Race, Page 206,  Race, Page 247,  Space, Page 190,  Performance, Page 70,  Conclusion, Page 275,  Space, Page 169,  Labor, Page 132,  Space, Page 188,  Performance, Page 50,  Space, Page 155,  Performance, Page 82,  Race, Page 221,  Performance, Page 42,  Labor, Page 109,  Conclusion, Page 298,  Performance, Page 46,  Space, Page 141,  Space, Page 184,  Performance, Page 84,  Labor, Page 122,  Race, Page 231,  Space, Page 150,  Performance, Page 35,  Race, Page 225,  Conclusion, Page 291,  Labor, Page 128,  Space, Page 178,  Space, Page 143,  Race, Page 261,  Performance, Page 34,  Space, Page 177,  Performance, Page 76,  Space, Page 165,  Conclusion, Page 286,  Conclusion, Page 304,  Labor, Page 133,  Performance, Page 41,  Space, Page 159,  Introduction, Page 14,  Race, Page 254,  Space, Page 148,  Space, Page 146,  Conclusion, Page 289,  Space, Page 172,  Space, Page 187,  Race, Page 229,  Space, Page 182,  Conclusion, Page 296,  Performance, Page 72,  Race, Page 204,  Labor, Page 93,  Race, Page 252,  Space, Page 194,  Space, Page 191,  Labor, Page 129,  Race, Page 242,  Race, Page 253,  Labor, Page 88,  Race, Page 230,  Performance, Page 77,  Race, Page 232,  Conclusion, Page 303,  Space, Page 175,  Space, Page 197,  Performance, Page 74,  Conclusion, Page 292,  Space, Page 156,  Race, Page 220,  Performance, Page 54,  Conclusion, Page 278,  Introduction, Page 6,  Space, Page 162,  Performance, Page 43,  Race, Page 224,  Race, Page 251,  Race, Page 258,  Labor, Page 113,  Space, Page 152,  Space, Page 181,  Labor, Page 98,  Labor, Page 115,  Conclusion, Page 300,  Performance, Page 60,  Space, Page 138,  Space, Page 170,  Space, Page 166,  Labor, Page 102,  Labor, Page 110,  Performance, Page 52,  Conclusion, Page 290,  Conclusion, Page 268,  Introduction, Page 1,  Performance, Page 44,  Space, Page 195,  Space, Page 183,  Race, Page 248,  Conclusion, Page 284,  Conclusion, Page 273,  Introduction, Page 2,  Race, Page 213,  Performance, Page 47,  Introduction, Page 4,  Introduction, Page 30,  Introduction, Page 21,  Labor, Page 119,  Performance, Page 80,  Space, Page 163,  Introduction, Page 23