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