Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Labor, page 13 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 119

The coming of sound to film did not technically preclude the animator's presence in the frame. In Harmon and Ising's  Bosko the Talk-Ink Kid (1930) Rudy Ising enages with his creation; in the Fleischers' Betty Boop's Rise to Fame (1934), Betty rides "Uncle Max's" pen into her next scene with him and chats with him and with a reporter writing a profile on her. The back and forth between "Uncle Max" and Betty, or between Rudy and Bosko, has its roots in the banter between the Interlocutor and the minstrel side men, Tambo and Bones. Betty's review performance also re-enacts vaudeville in a nostalgic tone, treating it as a relic of the past, even in 1934.



Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Labor, Page 119"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Labor, page 13 of 21 Next page on path
Harman and Eising    Dave Fleischer    Bones    Tambo    Max Fleischer    Fleischer Studios    Betty Boop    1930s    Bosko the Talk-Ink Kid    Sound    Black and White    With Live Characters (Animators)

Related:  Space, Page 165,  Conclusion, Page 289,  Performance, Page 84,  Space, Page 183,  Labor, Page 109,  Introduction, Page 21,  Performance, Page 47,  Space, Page 188,  Labor, Page 88,  Race, Page 229,  Performance, Page 70,  Space, Page 150,  Space, Page 155,  Labor, Page 129,  Race, Page 231,  Labor, Page 110,  Space, Page 175,  Race, Page 206,  Conclusion, Page 298,  Conclusion, Page 290,  Performance, Page 42,  Space, Page 162,  Introduction, Page 14,  Labor, Page 101,  Conclusion, Page 292,  Race, Page 224,  Race, Page 247,  Space, Page 163,  Introduction, Page 29,  Space, Page 187,  Space, Page 148,  Performance, Page 46,  Conclusion, Page 300,  Performance, Page 35,  Labor, Page 96,  Race, Page 221,  Space, Page 172,  Performance, Page 45,  Space, Page 184,  Labor, Page 113,  Race, Page 239,  Space, Page 178,  Race, Page 252,  Space, Page 171,  Labor, Page 112,  Performance, Page 50,  Space, Page 182,  Labor, Page 122,  Race, Page 253,  Race, Page 254,  Space, Page 138,  Performance, Page 74,  Labor, Page 123,  Space, Page 152,  Race, Page 220,  Performance, Page 60,  Space, Page 190,  Conclusion, Page 296,  Performance, Page 77,  Introduction, Page 2,  Space, Page 146,  Race, Page 232,  Race, Page 225,  Introduction, Page 6,  Labor, Page 98,  Introduction, Page 30,  Race, Page 251,  Space, Page 141,  Conclusion, Page 286,  Space, Page 181,  Labor, Page 97,  Space, Page 193,  Space, Page 170,  Performance, Page 54,  Race, Page 248,  Labor, Page 131,  Space, Page 194,  Labor, Page 132,  Race, Page 219,  Labor, Page 128,  Race, Page 213,  Performance, Page 44,  Race, Page 230,  Performance, Page 82,  Race, Page 261,  Labor, Page 133,  Space, Page 191,  Race, Page 258,  Race, Page 235,  Space, Page 177,  Space, Page 143,  Space, Page 197,  Performance, Page 72,  Race, Page 204,  Conclusion, Page 291,  Performance, Page 34,  Space, Page 195,  Introduction, Page 23,  Conclusion, Page 304,  Performance, Page 52,  Space, Page 189,  Conclusion, Page 302,  Space, Page 137