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


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

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

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