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