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