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

 

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
 

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

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