Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Race, page 19 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 251

Performing intermediality in the early sound era, the blackface minstrels Moran and Mack circulated between the stage, radio and the screen (and between live and animated cinema) as the vestiges of the minstrel show and vaudeville stage were subsumed into newer forms of mass entertainment.

At the same time, as blackface minstrelsy's popularity faded and its markers became increasingly vestigial, representations of black culture in cartoons became more explicitly racist, especially in cartoons that celebrated jazz.
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Race, Page 251"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Race, page 19 of 25 Next page on path
MGM    1930s    Cartoons    Image    Moving Image    Sound    Color

Related:  Race, Page 224,  Race, Page 221,  Space, Page 182,  Race, Page 229,  Space, Page 188,  Race, Page 252,  Labor, Page 98,  Space, Page 172,  Race, Page 206,  Labor, Page 122,  Conclusion, Page 284,  Space, Page 194,  Performance, Page 60,  Space, Page 152,  Performance, Page 47,  Space, Page 156,  Performance, Page 74,  Performance, Page 84,  Race, Page 257,  Conclusion, Page 292,  Labor, Page 132,  Space, Page 197,  Introduction, Page 29,  Space, Page 187,  Race, Page 225,  Race, Page 248,  Race, Page 219,  Introduction, Page 6,  Labor, Page 129,  Space, Page 175,  Race, Page 204,  Performance, Page 82,  Conclusion, Page 304,  Conclusion, Page 286,  Labor, Page 110,  Space, Page 170,  Space, Page 162,  Conclusion, Page 302,  Space, Page 155,  Race, Page 254,  Race, Page 261,  Race, Page 230,  Race, Page 258,  Performance, Page 43,  Race, Page 231,  Introduction, Page 18,  Performance, Page 78,  Race, Page 235,  Space, Page 137,  Space, Page 163,  Conclusion, Page 268,  Performance, Page 62,  Introduction, Page 21,  Race, Page 253,  Space, Page 177,  Performance, Page 72,  Space, Page 143,  Performance, Page 41,  Introduction, Page 30,  Labor, Page 119,  Race, Page 220,  Space, Page 181,  Conclusion, Page 289,  Performance, Page 50,  Performance, Page 70,  Introduction, Page 4,  Space, Page 150,  Space, Page 193,  Space, Page 165,  Labor, Page 133,  Conclusion, Page 296,  Introduction, Page 14,  Space, Page 189,  Labor, Page 128,  Labor, Page 109,  Space, Page 195,  Performance, Page 40,  Space, Page 171,  Introduction, Page 1,  Race, Page 245,  Conclusion, Page 291,  Labor, Page 113,  Space, Page 146,  Labor, Page 101,  Introduction, Page 12,  Labor, Page 102,  Race, Page 247,  Performance, Page 54,  Performance, Page 35,  Space, Page 190,  Performance, Page 46,  Space, Page 141,  Space, Page 191,  Labor, Page 123,  Labor, Page 131,  Race, Page 213,  Conclusion, Page 298,  Conclusion, Page 274,  Labor, Page 126,  Race, Page 232,  Race, Page 239,  Introduction, Page 2,  Space, Page 192,  Conclusion, Page 272,  Introduction, Page 23,  Labor, Page 93,  Producers,  Conclusion, Page 278,  Introduction, Page 26,  Introduction, Page 20,  Performance, Page 42,  Conclusion, Page 300,  Space, Page 178,  Performance, Page 77,  Introduction, Page 9,  Performance, Page 34,  Performance, Page 52,  Labor, Page 112,  Performance, Page 56,  Labor, Page 88,  Space, Page 183,  Space, Page 138,  Space, Page 184,  Space, Page 169,  Conclusion, Page 303,  Performance, Page 45,  Space, Page 148,  Labor, Page 96,  Space, Page 159,  Conclusion, Page 275,  Conclusion, Page 273,  introduction-page-22,  Performance, Page 67,  Performance, Page 80,  Conclusion, Page 290