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 43

The performing animator opened up other planes of metaphysical existence through the act of drawing, and although he did not appear on stage, Emile Cohl was famous for inserting his hands into his own creations and toying with them, especially in films such as Fantasmagorie (1908) and The Hasher's Delirium (1910). (The fame of his early efforts led to Cohl moving to the United States to adapt George McManus' The Newlyweds into an animated series in 1913.

In Fantasmagorie, one of the earliest examples of fully drawn film animation, Cohl eschewed the broad performativity of his peers, but his hand does creep into the frame, manipulating and controlling his Pierrot—contributing to the emerging tradition of the hand of the animator sparring with its creations. This film, in which characters morph into various shapes, is more of stream-of-consciousness than a linear narrative.

In the 1910 short The Hasher's Delirium, a man goes to a cafe and is overwhelmed by hallucinations, perhaps brought on by drinking. The cartoon features Cohl's cutout technique, and a wide range of metamorphoses that reveal what Eisenstein called animation's "plasmaticness." The boundaries between language and image, and between one object/person and the next are all up for grabs, as animation calls the "real" into question.

The Newlyweds images courtesy of Virginia Commonwealth University Digital Collection 

Comment on this page

Discussion of "Performance, Page 43"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Performance, page 5 of 25 Next page on path

Related:  Space, Page 162Introduction, Page 21Race, Page 221Labor, Page 132Conclusion, Page 303Introduction, Page 20Introduction, Page 9Performance, Page 56Performance, Page 41Space, Page 175Race, Page 258Race, Page 248Conclusion, Page 268Performance, Page 82Labor, Page 109Space, Page 178Introduction, Page 1Performance, Page 84Introduction, Page 2Introduction, Page 29Performance, Page 47Race, Page 247Space, Page 155Space, Page 177Space, Page 190Race, Page 251Performance, Page 35Space, Page 172Conclusion, Page 292Conclusion, Page 291Race, Page 261Labor, Page 97Labor, Page 133Conclusion, Page 290Space, Page 165Race, Page 229Conclusion, Page 298Race, Page 254Conclusion, Page 286Labor, Page 96Race, Page 204Labor, Page 93Space, Page 146Race, Page 230Performance, Page 50Race, Page 257Performance, Page 46Labor, Page 126Race, Page 239Performance, Page 52Conclusion, Page 289Labor, Page 88Conclusion, Page 284Introduction, Page 12Introduction, Page 26Performance, Page 74Space, Page 150Performance, Page 72Space, Page 182Race, Page 245Introduction, Page 14Performance, Page 42Space, Page 159Race, Page 231Space, Page 169Introduction, Page 6Conclusion, Page 273Space, Page 187Race, Page 253Performance, Page 44Labor, Page 113Performance, Page 67Conclusion, Page 300Space, Page 192Performance, Page 62Space, Page 183Conclusion, Page 278Space, Page 141Labor, Page 123Conclusion, Page 302Space, Page 138Race, Page 206Space, Page 189Space, Page 163introduction-page-22Performance, Page 45Conclusion, Page 272Space, Page 188Labor, Page 98Performance, Page 54Space, Page 170Race, Page 252Space, Page 143Performance, Page 78Race, Page 224Space, Page 148Introduction, Page 18Race, Page 213Conclusion, Page 274Space, Page 194Race, Page 225Space, Page 191Labor, Page 112Performance, Page 40Performance, Page 80Space, Page 171Labor, Page 122Space, Page 193Space, Page 197Introduction, Page 4Performance, Page 34Labor, Page 110Conclusion, Page 296Introduction, Page 23Space, Page 137Labor, Page 102Labor, Page 115Space, Page 156Labor, Page 131Conclusion, Page 275Race, Page 235Labor, Page 128Race, Page 220Space, Page 181Performance, Page 60Performance, Page 77Conclusion, Page 304Race, Page 219Introduction, Page 30Race, Page 232