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