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