Sign in or register
for additional privileges

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

Nicholas Sammond, Author

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.

Performance, Page 50

When he designed both Little Nemo (1911), Winsor McCay chose to retain the conceit of the lightning-sketch as the motivating force from which his animation sprang. McCay played himself as animator, a character somewhere between a circus ringmaster and an interlocutor in a blackface minstrel show.

The setup for his early shorts was simple: McCay would make a bet with friends and fellow artists such as George McManus and Tom Powers, or comic film star John Bunny, about his ability to make still drawings come to life. A series of scenes then laid out the intense labor of cartooning, with McCay as the sole craftsman toiling over thousands of drawings, aided only by bumbling assistants. These performance films offered the spectacle of melding two distinct modes of presenting the act of animation, the lightning sketch and the cartoon proper.


Comment on this page
 

Discussion of "Performance, Page 50"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Performance, page 10 of 25 Next page on path

Related:  Performance, Page 52Space, Page 177Space, Page 178Conclusion, Page 304Performance, Page 35Race, Page 204Conclusion, Page 296Space, Page 162Introduction, Page 14Race, Page 206Race, Page 229Space, Page 197Performance, Page 54Race, Page 220Labor, Page 113Race, Page 213Space, Page 150Space, Page 148Conclusion, Page 286Performance, Page 74Performance, Page 70Race, Page 254Race, Page 248Performance, Page 46Performance, Page 45Labor, Page 122Labor, Page 97Race, Page 232Space, Page 190Conclusion, Page 291Conclusion, Page 302Conclusion, Page 292Space, Page 175Introduction, Page 21Performance, Page 82Race, Page 231Space, Page 143Conclusion, Page 275Introduction, Page 1Performance, Page 41Performance, Page 72Labor, Page 112Labor, Page 115Labor, Page 109Space, Page 155Space, Page 146Space, Page 141Race, Page 247Labor, Page 123Space, Page 165Conclusion, Page 290Labor, Page 88Labor, Page 110Race, Page 239Conclusion, Page 289Labor, Page 129Race, Page 235Performance, Page 34Introduction, Page 6Space, Page 152Space, Page 188Space, Page 172Race, Page 251Performance, Page 43Space, Page 193Race, Page 224Labor, Page 133Performance, Page 84Race, Page 225Space, Page 194Performance, Page 44Space, Page 191Space, Page 138Performance, Page 77Conclusion, Page 298Labor, Page 132Labor, Page 128Space, Page 183Performance, Page 60Race, Page 253Performance, Page 42Labor, Page 101Race, Page 261Conclusion, Page 284Conclusion, Page 273Space, Page 187Space, Page 189Introduction, Page 2Performance, Page 47Labor, Page 98Performance, Page 78Conclusion, Page 300Space, Page 163Race, Page 258Introduction, Page 30Conclusion, Page 278Race, Page 230Introduction, Page 4Labor, Page 119Introduction, Page 9Race, Page 221Space, Page 182Introduction, Page 29Introduction, Page 23Space, Page 181Space, Page 170Performance, Page 56Race, Page 252Conclusion, Page 303Labor, Page 96