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 74

Stereotypical and fantastic images of Africans and African Americans were the common currency for wildness in the early twentieth century white fantasy. For example, Winsor McCay draws the stereotypical African native Impy in Little Nemo (1911). In this film, McCay converts the lightning-sketch act through which he presented Nemo on the vaudeville stage into Little Nemo (1911), weaving the act of animating into the animation itself. Having done the intense labor of animation offscreen, he now performs it for the camera. Note the vaudevillian staging conventions.

The Fleischers also wove vaudevillian themes in many of their shorts. In Ko-Ko Trains 'Em (1925), Max Fleischer argues with Ko-Ko when Ko-Ko becomes jealous of Max's attention to his young ward and her dog and tries to create a circus by training animals, then fleas. The fleas escape the animated world, infecting the "real" people watching him—offering an example of the Fleischers' vaudevillian play with the boundary between the real and the animate.

Walt Disney only drew cartoons until 1928, but always performed the animator, as when he seems to struggle over a drawing in his Newman Laugh-O-Grams (1921).
Comment on this page
 

Discussion of "Performance, Page 74"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Performance, page 19 of 25 Next page on path

Related:  Performance, Page 34Introduction, Page 21Introduction, Page 6Labor, Page 110Race, Page 220Space, Page 166Race, Page 235Performance, Page 35Space, Page 190Race, Page 258Introduction, Page 14Labor, Page 88Labor, Page 98Race, Page 231Conclusion, Page 291Performance, Page 77Labor, Page 109Introduction, Page 9Race, Page 213Performance, Page 45Space, Page 141Performance, Page 46Introduction, Page 18Race, Page 254Space, Page 159Space, Page 175Race, Page 248Space, Page 152Performance, Page 42Space, Page 150Conclusion, Page 290Performance, Page 84Conclusion, Page 302Space, Page 187Conclusion, Page 304Introduction, Page 30Space, Page 162Space, Page 148Performance, Page 50Labor, Page 96Performance, Page 44Labor, Page 119Conclusion, Page 303Space, Page 181Performance, Page 67Conclusion, Page 284Performance, Page 82Introduction, Page 2Conclusion, Page 289Race, Page 257Race, Page 251Space, Page 172Race, Page 247Performance, Page 47Conclusion, Page 300Space, Page 137Introduction, Page 26Performance, Page 70Race, Page 224Labor, Page 133Conclusion, Page 274Conclusion, Page 275Labor, Page 132Space, Page 192Space, Page 188Space, Page 178Conclusion, Page 298Labor, Page 122Space, Page 165Space, Page 155Space, Page 177Performance, Page 80Performance, Page 43Space, Page 156Space, Page 143Conclusion, Page 278Race, Page 232Space, Page 146Labor, Page 112Labor, Page 102Race, Page 204Conclusion, Page 272Race, Page 230Race, Page 225Performance, Page 54Labor, Page 123Space, Page 163Race, Page 253Space, Page 169Introduction, Page 4Space, Page 193Performance, Page 41Space, Page 197introduction-page-22Space, Page 171Space, Page 182Labor, Page 113Introduction, Page 23Space, Page 138Space, Page 194Performance, Page 52Race, Page 229Introduction, Page 12Space, Page 170Race, Page 239Race, Page 206Race, Page 221Conclusion, Page 286Introduction, Page 29Performance, Page 40Conclusion, Page 268Performance, Page 78Performance, Page 56Race, Page 219Space, Page 183Performance, Page 62Conclusion, Page 292Space, Page 189Conclusion, Page 273Performance, Page 72Labor, Page 128Introduction, Page 20Conclusion, Page 296Labor, Page 93Race, Page 252Introduction, Page 1Performance, Page 76Labor, Page 97Race, Page 261Labor, Page 131Space, Page 191Space, Page 184Labor, Page 126Space, Page 195Race, Page 242Race, Page 245Performance, Page 60Labor, Page 129