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 35

Winsor McCay started his career as a newspaper sketch artist, eventually creating wildly successful Sunday cartoon series such as Little Sammy Sneeze (1904-1906), Dream of the Rarebit Fiend (1904-1911, 1913), Little Nemo in Slumberland (1905-1914). Dreams of a Rarebit Fiend was so popular that Edwin S. Porter directed a film version of it, Dream of a Rarebit Fiend, in 1906.

A master of perspective and of Art Nouveau detailing, McCay's success as an artist led him to experiment with animation, and he began a wildly successful vaudeville career as a lightning sketch artist in 1906. The influence of his performance as a lightening-sketch artist is evident in McCay's animated films, including Little Nemo (1911), How a Mosquito Operates (1912), and Gertie (1914). 

McCay's Bug Vaudeville (1921), made years after he had stopped performing, sings a swan song to the performing animator himself, as animation developed into a highly rationalized industry in the late 'teens and early twenties.
Comment on this page
 

Discussion of "Performance, Page 35"

Add your voice to this discussion.

Checking your signed in status ...


Related:  Labor, Page 98Labor, Page 133Conclusion, Page 291Space, Page 195Performance, Page 54Race, Page 239Labor, Page 126Performance, Page 72Race, Page 221Labor, Page 88Performance, Page 78Labor, Page 112Space, Page 197Space, Page 143Performance, Page 40Performance, Page 42Performance, Page 77Conclusion, Page 284Conclusion, Page 268Race, Page 253Space, Page 191Performance, Page 67Performance, Page 45Performance, Page 43Introduction, Page 21Space, Page 141Conclusion, Page 290Race, Page 231Space, Page 155Conclusion, Page 289Conclusion, Page 298Race, Page 225Labor, Page 123Race, Page 254Space, Page 172Conclusion, Page 275Race, Page 230Space, Page 175Performance, Page 50Space, Page 148Performance, Page 74Race, Page 213Race, Page 247Labor, Page 132Space, Page 188Race, Page 224Performance, Page 44Space, Page 189Performance, Page 56Race, Page 206Race, Page 232Introduction, Page 14Space, Page 150Performance, Page 34Space, Page 182Space, Page 146Conclusion, Page 278Race, Page 251Race, Page 248Labor, Page 109Introduction, Page 26Performance, Page 52Space, Page 178Race, Page 252Race, Page 261Performance, Page 47Introduction, Page 6Race, Page 229Space, Page 162Performance, Page 82Space, Page 159Conclusion, Page 300Race, Page 245Race, Page 220Performance, Page 46Space, Page 187Space, Page 193Space, Page 181Space, Page 166Performance, Page 70Conclusion, Page 272Labor, Page 119Space, Page 138Introduction, Page 1Conclusion, Page 273Race, Page 242Space, Page 194Labor, Page 102Introduction, Page 2Performance, Page 62Space, Page 156Introduction, Page 30Space, Page 171Labor, Page 113Conclusion, Page 274Introduction, Page 23Space, Page 190Labor, Page 110Space, Page 137Introduction, Page 9Labor, Page 122Space, Page 169Space, Page 170Labor, Page 115Labor, Page 128Conclusion, Page 302Introduction, Page 18introduction-page-22Conclusion, Page 286Introduction, Page 29Performance, Page 84Race, Page 204Performance, Page 76Space, Page 163Space, Page 192Introduction, Page 12Space, Page 177Race, Page 258Conclusion, Page 296Space, Page 165Introduction, Page 4Conclusion, Page 304Space, Page 152Labor, Page 93Space, Page 183Conclusion, Page 292Conclusion, Page 303Performance, Page 80Performance, Page 60Race, Page 219Race, Page 235Labor, Page 131Labor, Page 96Labor, Page 97Race, Page 257Performance, Page 41Labor, Page 129Introduction, Page 20