Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Race, page 11 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 231

Like the ghoulish figures in many contemporary Fleischer jazz cartoons, the capering natives in Trader Mickey (1932) link jazz to animality, death, and sexuality. Wearing shackle-like bracelets on their wrists and ankles, the natives in Trader Mickey evoke bondage as they dance the dirty blues.

In Minnie the Moocher (1932), a rotoscoped Cab Calloway dances as a ghostly, animated walrus, alternately terrifying and entertaining Betty Boop and Bimbo. The Fleischers often depicted jazz music through a terrifying yet desirable underworld populated by rhythmic "spooks."


Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Race, Page 231"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Race, page 11 of 25 Next page on path
Max Fleischer    Dave Fleischer    With Live Characters (Animators)    Pluto    Walt Disney    1930s    Cartoons    Mickey Mouse    Moving Image    Bimbo    Sound    Ko-Ko the Clown    Black and White    Betty Boop

Related:  Race, Page 258,  Labor, Page 101,  Race, Page 224,  Introduction, Page 30,  Labor, Page 119,  Conclusion, Page 298,  Space, Page 148,  Performance, Page 34,  Race, Page 261,  Race, Page 206,  Race, Page 220,  Space, Page 143,  Race, Page 225,  Space, Page 155,  Space, Page 172,  Race, Page 230,  Labor, Page 123,  Space, Page 165,  Race, Page 252,  Conclusion, Page 300,  Space, Page 150,  Conclusion, Page 292,  Space, Page 146,  Space, Page 181,  Space, Page 182,  Labor, Page 133,  Conclusion, Page 290,  Performance, Page 52,  Space, Page 152,  Labor, Page 113,  Space, Page 190,  Conclusion, Page 303,  Race, Page 204,  Race, Page 221,  Performance, Page 72,  Space, Page 175,  Race, Page 254,  Conclusion, Page 289,  Space, Page 187,  Race, Page 247,  Introduction, Page 14,  Conclusion, Page 291,  Space, Page 189,  Space, Page 193,  Race, Page 253,  Labor, Page 131,  Labor, Page 88,  Race, Page 232,  Performance, Page 82,  Space, Page 188,  Introduction, Page 21,  Introduction, Page 6,  Performance, Page 50,  Space, Page 141,  Space, Page 194,  Introduction, Page 2,  Space, Page 197,  Labor, Page 102,  Space, Page 184,  Space, Page 178,  Labor, Page 109,  Conclusion, Page 286,  Labor, Page 129,  Race, Page 239,  Labor, Page 122,  Race, Page 248,  Performance, Page 46,  Space, Page 162,  Introduction, Page 29,  Performance, Page 77,  Labor, Page 96,  Performance, Page 45,  Space, Page 191,  Labor, Page 128,  Performance, Page 35,  Space, Page 170,  Space, Page 177,  Space, Page 138,  Race, Page 229,  Labor, Page 110,  Labor, Page 98,  Performance, Page 84,  Performance, Page 47,  Conclusion, Page 296,  Space, Page 195,  Introduction, Page 4,  Race, Page 235,  Performance, Page 70,  Performance, Page 54,  Performance, Page 74,  Space, Page 171,  Conclusion, Page 275,  Labor, Page 97,  Conclusion, Page 302,  Labor, Page 132,  Performance, Page 42,  Introduction, Page 1,  Labor, Page 112,  Conclusion, Page 273,  Race, Page 219,  Performance, Page 60,  Race, Page 213,  Performance, Page 41,  Space, Page 183,  Race, Page 251,  Conclusion, Page 304,  Performance, Page 44,  Introduction, Page 23,  Space, Page 137,  Space, Page 163,  Conclusion, Page 284,  Space, Page 156,  Conclusion, Page 278,  Performance, Page 43