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