Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Performance, page 21 of 25
Previous page on path     Next page on path

 

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 77

Made of magical and mutable ink, Ko-Ko the Clown multiplies and revolts against Max Fleischer in Jumping Beans (1922). This Out of the Inkwell short features the Fleischers' signature move of piercing the boundary between the real and the drawn worlds. It also ends with Ko-Ko laying siege to Fleischer. Although Max was a producer rather than animator, this film is an example of how the Fleischers collapsed the two positions and replayed the drama of the cartoon character trying to flee its creator that was so important to early animation.

Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Performance, Page 77"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Performance, page 21 of 25 Next page on path
Fleischer Studios    Max Fleischer    With Live Characters (Animators)    Out of the Inkwell    Ko-Ko the Clown    Moving Image    Black and White

Related:  Performance, Page 42,  Race, Page 206,  Space, Page 152,  Performance, Page 47,  Labor, Page 110,  Introduction, Page 21,  Labor, Page 98,  Performance, Page 35,  Space, Page 190,  Space, Page 141,  Race, Page 232,  Space, Page 193,  Labor, Page 122,  Space, Page 146,  Space, Page 155,  Labor, Page 96,  Race, Page 220,  Conclusion, Page 298,  Race, Page 221,  Labor, Page 109,  Race, Page 225,  Race, Page 239,  Space, Page 162,  Performance, Page 43,  Introduction, Page 2,  Race, Page 254,  Performance, Page 82,  Labor, Page 123,  Space, Page 148,  Conclusion, Page 296,  Race, Page 230,  Introduction, Page 6,  Race, Page 231,  Race, Page 247,  Space, Page 172,  Conclusion, Page 292,  Performance, Page 52,  Space, Page 143,  Performance, Page 46,  Performance, Page 74,  Space, Page 177,  Space, Page 170,  Labor, Page 119,  Space, Page 150,  Race, Page 251,  Performance, Page 44,  Space, Page 181,  Space, Page 156,  Introduction, Page 30,  Conclusion, Page 291,  Labor, Page 112,  Performance, Page 45,  Race, Page 253,  Performance, Page 50,  Conclusion, Page 290,  Introduction, Page 14,  Conclusion, Page 278,  Race, Page 258,  Conclusion, Page 275,  Space, Page 178,  Labor, Page 128,  Performance, Page 41,  Space, Page 187,  Conclusion, Page 289,  Race, Page 213,  Labor, Page 133,  Space, Page 165,  Space, Page 138,  Performance, Page 84,  Conclusion, Page 300,  Introduction, Page 1,  Labor, Page 97,  Performance, Page 54,  Space, Page 183,  Race, Page 224,  Conclusion, Page 273,  Labor, Page 88,  Race, Page 261,  Space, Page 188,  Space, Page 175,  Conclusion, Page 302,  Space, Page 182,  Conclusion, Page 304,  Labor, Page 132,  Performance, Page 72,  Race, Page 252,  Labor, Page 113,  Race, Page 235,  Race, Page 248,  Introduction, Page 23,  Conclusion, Page 303,  Labor, Page 129,  Performance, Page 70,  Introduction, Page 29,  Race, Page 229,  Race, Page 204,  Introduction, Page 4,  Space, Page 189,  Space, Page 191,  Conclusion, Page 286,  Performance, Page 60,  Space, Page 197,  Space, Page 163,  Conclusion, Page 284,  Performance, Page 34,  Space, Page 194