Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Race, page 20 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 252

In Swing Wedding (1937), jazz musicians are depicted as frogs whose performance whips them into such a frenzy that they destroy their instruments; one injects himself using a trumpet valve.

These virulently racist depictions of African-Americans became far more common in the jazz era, expressed in shorts such as Scrub Me Mama With a Boogie Beat (1937) and Tin Pan Alley Cats (1943).
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Race, Page 252"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Race, page 20 of 25 Next page on path
1940s    Harman and Eising    Walter Lantz    Universal    MGM    Warner Bros    1930s    Leon Schlesinger    Cartoons    Moving Image    Sound    Color

Related:  Introduction, Page 23,  Space, Page 193,  Labor, Page 109,  Space, Page 163,  Space, Page 162,  Space, Page 182,  Space, Page 184,  Conclusion, Page 292,  Race, Page 261,  Introduction, Page 6,  Race, Page 204,  Space, Page 172,  Race, Page 247,  Space, Page 195,  Labor, Page 123,  Labor, Page 122,  Space, Page 194,  Performance, Page 82,  Labor, Page 133,  Space, Page 189,  Introduction, Page 2,  Labor, Page 101,  Race, Page 232,  Race, Page 229,  Space, Page 152,  Space, Page 165,  Introduction, Page 30,  Introduction, Page 4,  Performance, Page 84,  Space, Page 190,  Race, Page 231,  Race, Page 248,  Conclusion, Page 284,  Conclusion, Page 289,  Labor, Page 129,  Performance, Page 35,  Space, Page 155,  Space, Page 181,  Conclusion, Page 296,  Performance, Page 45,  Conclusion, Page 304,  Space, Page 141,  Space, Page 175,  Race, Page 235,  Space, Page 187,  Space, Page 177,  Introduction, Page 29,  Race, Page 258,  Conclusion, Page 300,  Space, Page 138,  Space, Page 146,  Performance, Page 72,  Conclusion, Page 290,  Labor, Page 131,  Performance, Page 74,  Conclusion, Page 286,  Conclusion, Page 273,  Labor, Page 119,  Space, Page 150,  Introduction, Page 21,  Labor, Page 128,  Space, Page 178,  Performance, Page 47,  Introduction, Page 14,  Race, Page 251,  Producers,  Labor, Page 112,  Race, Page 220,  Labor, Page 88,  Conclusion, Page 298,  Labor, Page 113,  Conclusion, Page 303,  Race, Page 253,  Conclusion, Page 291,  Race, Page 254,  Space, Page 191,  Space, Page 143,  Performance, Page 52,  Conclusion, Page 278,  Performance, Page 46,  Race, Page 225,  Race, Page 224,  Conclusion, Page 302,  Race, Page 230,  Performance, Page 60,  Race, Page 221,  Performance, Page 50,  Performance, Page 34,  Race, Page 239,  Space, Page 183,  Labor, Page 110,  Space, Page 197,  Introduction, Page 1,  Labor, Page 98,  Space, Page 137,  Space, Page 188,  Labor, Page 132,  Performance, Page 70,  Performance, Page 41,  Performance, Page 54,  Performance, Page 40,  Race, Page 206,  Space, Page 148,  Performance, Page 77,  Conclusion, Page 275,  Race, Page 213,  Space, Page 171,  Performance, Page 42,  Space, Page 170,  Race, Page 219,  Performance, Page 43