Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Race, page 2 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.

Race, Page 206

In I'll Be Glad When You're Dead You Rascal You (1932), Louis Armstrong's joyous singing in the style of the dirty blues is transformed into the ravenous slavering of a cannibal. 

This short converts Armstrong's pleasure in singing into the voraciousness of a cannibal looking to eat the Fleischer minstrels Ko-Ko and Bimbo, thus bringing minstrelsy and racist caricature into conflict in a cartoon that expresses white ambivalence toward African American music and culture in the 1930s. An example of fantastic racialized violence, this cartoon casts Armstrong as an object of both fear and desire, which works to obscure Ko-Ko and Bimbo's status as vestigial blackface minstrels. 
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Race, Page 206"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Race, page 2 of 25 Next page on path
Max Fleischer    Dave Fleischer    1930s    Bimbo    Cartoons    Ko-Ko the Clown    Moving Image    Betty Boop    Sound    Black and White    With Live Characters (Animators)

Related:  Space, Page 146,  Introduction, Page 14,  Labor, Page 123,  Space, Page 183,  Performance, Page 44,  Space, Page 138,  Space, Page 197,  Race, Page 204,  Space, Page 172,  Space, Page 178,  Performance, Page 84,  Labor, Page 96,  Race, Page 239,  Space, Page 137,  Labor, Page 98,  Performance, Page 72,  Introduction, Page 2,  Labor, Page 109,  Performance, Page 47,  Race, Page 253,  Race, Page 261,  Space, Page 190,  Race, Page 230,  Space, Page 184,  Performance, Page 34,  Introduction, Page 29,  Performance, Page 45,  Space, Page 165,  Performance, Page 82,  Labor, Page 101,  Performance, Page 70,  Space, Page 181,  Introduction, Page 21,  Conclusion, Page 289,  Labor, Page 113,  Conclusion, Page 291,  Space, Page 143,  Labor, Page 133,  Performance, Page 54,  Labor, Page 97,  Performance, Page 77,  Space, Page 156,  Space, Page 194,  Race, Page 232,  Labor, Page 119,  Space, Page 155,  Space, Page 189,  Race, Page 258,  Space, Page 152,  Performance, Page 42,  Conclusion, Page 290,  Conclusion, Page 292,  Labor, Page 131,  Labor, Page 88,  Space, Page 141,  Space, Page 175,  Introduction, Page 4,  Space, Page 148,  Performance, Page 74,  Race, Page 251,  Space, Page 177,  Space, Page 182,  Labor, Page 110,  Race, Page 220,  Race, Page 221,  Conclusion, Page 298,  Space, Page 150,  Race, Page 224,  Space, Page 171,  Race, Page 229,  Race, Page 231,  Performance, Page 50,  Performance, Page 41,  Space, Page 187,  Space, Page 170,  Introduction, Page 6,  Conclusion, Page 273,  Race, Page 254,  Space, Page 193,  Race, Page 252,  Conclusion, Page 286,  Race, Page 225,  Conclusion, Page 284,  Labor, Page 132,  Space, Page 191,  Labor, Page 129,  Conclusion, Page 300,  Labor, Page 122,  Performance, Page 60,  Race, Page 247,  Introduction, Page 30,  Space, Page 188,  Conclusion, Page 302,  Labor, Page 128,  Conclusion, Page 296,  Race, Page 248,  Race, Page 235,  Performance, Page 46,  Race, Page 219,  Conclusion, Page 304,  Labor, Page 112,  Space, Page 195,  Race, Page 213,  Performance, Page 35,  Introduction, Page 1,  Space, Page 162,  Introduction, Page 23,  Conclusion, Page 275,  Space, Page 163,  Conclusion, Page 303,  Performance, Page 43,  Conclusion, Page 278,  Performance, Page 52