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

Nicholas Sammond, Author

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Space, Page 148

In Vaudeville (1926), Max Fleischer performs a quick-change act, becoming in succession a Native American man, a Jewish woman, an African American man, a dandy in a monocle, and finally a rabbi, proving to Ko-Ko that he is the better magician. 

Throughout their many cartoons, the Fleischers' central gag was having Max draw Ko-Ko, only to have the character escape the drawn world to wreak havoc in the live cinematic world. By the end, as always, Ko-Ko was always returned to the inkwell. 

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