Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Labor, page 21 of 21
Previous page on path       Path end, continue

 

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 133

The Silly Symphonies Skeleton Dance (1929) and Egyptian Melodies (1931) offer a capsule view of Disney's move away from the vaudevillian style of the 1920s and towards an animated version of cinematic realism/naturalism in the 1930s. 

Skeleton Dance features Iwerks's signature move of a left-to-right dance alternating with a zooming motion toward the "camera." Made only a few years later, Egyptian Melodies plays extensively with the relationship between the two-dimensional space of cartooning and the imagined three-dimensional space of sound cinema. It does this by linking the exotic locale of the Egyptian pyramid with the exotic sounds of jazz orchestration, thus heightening the sense of the familiar made strange.

Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Labor, Page 133"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Labor, page 21 of 21 Path end, continue
Cartoons    Moving Image    Sound    Black and White    Ub Iwerks    Walt Disney

Related:  Race, Page 239,  Labor, Page 109,  Race, Page 247,  Space, Page 189,  Race, Page 253,  Space, Page 165,  Race, Page 220,  Race, Page 213,  Race, Page 229,  Space, Page 148,  Introduction, Page 2,  Race, Page 252,  Performance, Page 34,  Conclusion, Page 292,  Conclusion, Page 291,  Race, Page 204,  Space, Page 194,  Race, Page 230,  Introduction, Page 6,  Conclusion, Page 298,  Space, Page 178,  Performance, Page 50,  Conclusion, Page 290,  Space, Page 155,  Performance, Page 47,  Conclusion, Page 286,  Conclusion, Page 284,  Race, Page 251,  Introduction, Page 29,  Race, Page 248,  Performance, Page 72,  Labor, Page 128,  Space, Page 138,  Space, Page 175,  Conclusion, Page 296,  Performance, Page 82,  Race, Page 224,  Labor, Page 110,  Space, Page 182,  Labor, Page 123,  Labor, Page 101,  Conclusion, Page 304,  Performance, Page 35,  Introduction, Page 14,  Labor, Page 113,  Space, Page 143,  Labor, Page 132,  Space, Page 177,  Space, Page 193,  Conclusion, Page 278,  Race, Page 225,  Race, Page 231,  Race, Page 261,  Introduction, Page 30,  Labor, Page 122,  Performance, Page 74,  Labor, Page 112,  Space, Page 188,  Race, Page 254,  Space, Page 152,  Space, Page 146,  Performance, Page 60,  Race, Page 235,  Space, Page 181,  Performance, Page 84,  Space, Page 141,  Performance, Page 70,  Labor, Page 129,  Conclusion, Page 289,  Performance, Page 42,  Labor, Page 98,  Space, Page 170,  Performance, Page 54,  Race, Page 221,  Labor, Page 88,  Conclusion, Page 300,  Race, Page 232,  Conclusion, Page 303,  Performance, Page 45,  Space, Page 187,  Performance, Page 46,  Performance, Page 41,  Performance, Page 52,  Space, Page 150,  Conclusion, Page 275,  Introduction, Page 1,  Space, Page 183,  Performance, Page 77,  Race, Page 258,  Introduction, Page 21,  Performance, Page 43,  Space, Page 197,  Space, Page 162,  Space, Page 172,  Performance, Page 44,  Introduction, Page 23,  Race, Page 206,  Labor, Page 102,  Space, Page 190,  Labor, Page 119,  Conclusion, Page 302,  Space, Page 163,  Space, Page 191,  Space, Page 184,  Introduction, Page 4,  Conclusion, Page 273