Sign in or register
for additional privileges

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

Nicholas Sammond, Author

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.

Space, Page 150

Many animation studios played with moving between the drawn world and the live.

Sullivan Studio's Felix Saves the Day (1922) depicts a white baseball team playing against a black team, intercut with live footage of a crowd at a baseball game. And its Comicalamities (1928) features Felix transforming himself, and his environment, all with the help of the animator's hand. 

Dinky Doodle's Bedtime Story (1926) has the animated character Dinky escaping from the "real" world into an animated screen to chase after Mary and her little lamb. 

Walter Lantz's Petering Out (1927) opens a tug of war between Pete the Pup and Lantz. In this short, the line between the two worlds blurs as Pete throws pieces of drawn wallpaper into the live world, magically transforming them into a 3-D bridge. 

In Has Anyone Here Seen Kelly? (1926), Koko the Clown leads his Koko Kwartet through a rendition of a British music hall song about an Irish girl who gets lost in New York and tries to find her boyfriend, Kelly. The main animated segment features Koko assembling his "Kwartet". The rest is done in sing-along fashion, with an animated "bouncing ball" guiding the audience through the lyrics. This technique hearkens back to vaudeville, which sometimes encouraged audience participation. 

Comment on this page

Discussion of "Space, Page 150"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 7 of 36 Next page on path

Related:  Space, Page 141Space, Page 194Race, Page 232Space, Page 175Space, Page 193Introduction, Page 1Space, Page 178Space, Page 148Space, Page 155Space, Page 181Conclusion, Page 292Race, Page 221Space, Page 195Performance, Page 72Conclusion, Page 291Performance, Page 34Space, Page 138Labor, Page 122Race, Page 229Space, Page 163Conclusion, Page 286Race, Page 251Performance, Page 42Labor, Page 112Race, Page 220Performance, Page 41Labor, Page 123Performance, Page 84Space, Page 190Labor, Page 133Race, Page 235Race, Page 247Labor, Page 109Performance, Page 60Space, Page 182Space, Page 165Performance, Page 44Race, Page 231Space, Page 187Conclusion, Page 290Performance, Page 47Performance, Page 50Space, Page 191Conclusion, Page 303Labor, Page 98Conclusion, Page 278Race, Page 254Labor, Page 132Introduction, Page 21Race, Page 225Performance, Page 82Labor, Page 129Performance, Page 74Race, Page 206Race, Page 258Conclusion, Page 289Labor, Page 110Labor, Page 128Introduction, Page 6Performance, Page 45Conclusion, Page 273Labor, Page 102Labor, Page 113Performance, Page 52Labor, Page 119Space, Page 152Race, Page 242Conclusion, Page 298Race, Page 230Race, Page 248Performance, Page 70Race, Page 224Conclusion, Page 275Race, Page 239Space, Page 159Space, Page 146Introduction, Page 4Performance, Page 76Labor, Page 101Conclusion, Page 300Space, Page 172Race, Page 252Space, Page 177Race, Page 253Introduction, Page 2Performance, Page 46Conclusion, Page 302Performance, Page 77Space, Page 189Performance, Page 80Conclusion, Page 268Race, Page 204Race, Page 261Space, Page 162Labor, Page 88Performance, Page 35Space, Page 143Space, Page 169Labor, Page 115Performance, Page 54Conclusion, Page 284Performance, Page 43Introduction, Page 29Conclusion, Page 296Race, Page 213Space, Page 188Introduction, Page 14Space, Page 183Labor, Page 93Space, Page 197Conclusion, Page 304Space, Page 170Introduction, Page 23Introduction, Page 30Space, Page 166Space, Page 156Space, Page 184