Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 29 of 36
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.

Space, Page 190

The Fleischers' Snow White (1932) features Cab Calloway as Ko-Ko, who is shown as a "spook" dancing in front of a ghastly backdrop associated with jazz and the ghetto. Depicting Calloway singing St. James Infirmary Blues, this cartoon projects fantasies of African-American life and culture as a dangerous yet desirable underworld, playing on the ambivalence of stereotype. Note also the addition of the minstrel face in the Queen's mirror.

Walter Lantz's Scrub Me Mama to a Boogie Beat (1941) features a southern backwater, Lazytown, only somewhat shaken out of its torpor by the rhythms of Harlem, animated by the arrival of a female cityslicker. The cartoon creates the seamless geography of blackness that links the South to Harlem via jazz and the black body, while reproducing the fantasy of that body as torpid, sensual, and rhythmic.
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Space, Page 190"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 29 of 36 Next page on path
Walter Lantz    1940s    Max Fleischer    Dave Fleischer    Black and White    Color    1930s    Bimbo    Moving Image    Ko-Ko the Clown    Sound    Betty Boop

Related:  Labor, Page 133,  Space, Page 155,  Labor, Page 119,  Conclusion, Page 303,  Labor, Page 98,  Race, Page 231,  Race, Page 229,  Race, Page 258,  Conclusion, Page 286,  Space, Page 178,  Space, Page 197,  Space, Page 184,  Labor, Page 110,  Race, Page 251,  Space, Page 194,  Space, Page 162,  Race, Page 225,  Space, Page 191,  Space, Page 181,  Race, Page 213,  Space, Page 175,  Conclusion, Page 300,  Race, Page 221,  Race, Page 261,  Conclusion, Page 304,  Conclusion, Page 291,  Introduction, Page 23,  Labor, Page 88,  Introduction, Page 6,  Race, Page 248,  Space, Page 187,  Performance, Page 52,  Labor, Page 122,  Performance, Page 74,  Conclusion, Page 289,  Performance, Page 72,  Introduction, Page 14,  Performance, Page 77,  Conclusion, Page 275,  Space, Page 189,  Space, Page 182,  Space, Page 146,  Labor, Page 129,  Performance, Page 46,  Performance, Page 47,  Labor, Page 109,  Space, Page 183,  Race, Page 219,  Race, Page 254,  Performance, Page 84,  Labor, Page 123,  Space, Page 148,  Introduction, Page 1,  Race, Page 230,  Race, Page 206,  Labor, Page 131,  Performance, Page 60,  Conclusion, Page 302,  Space, Page 165,  Performance, Page 44,  Performance, Page 50,  Space, Page 177,  Race, Page 224,  Performance, Page 35,  Race, Page 253,  Race, Page 220,  Space, Page 172,  Race, Page 232,  Space, Page 163,  Conclusion, Page 296,  Space, Page 188,  Performance, Page 54,  Conclusion, Page 292,  Conclusion, Page 298,  Introduction, Page 2,  Space, Page 193,  Space, Page 137,  Race, Page 235,  Race, Page 239,  Performance, Page 41,  Performance, Page 82,  Labor, Page 96,  Race, Page 252,  Race, Page 247,  Labor, Page 128,  Introduction, Page 29,  Space, Page 150,  Introduction, Page 30,  Space, Page 152,  Space, Page 138,  Space, Page 170,  Race, Page 204,  Space, Page 156,  Labor, Page 112,  Labor, Page 113,  Labor, Page 132,  Labor, Page 101,  Introduction, Page 21,  Labor, Page 97,  Performance, Page 42,  Performance, Page 45,  Conclusion, Page 290,  Space, Page 195,  Performance, Page 43,  Performance, Page 34,  Space, Page 171,  Performance, Page 70,  Conclusion, Page 284,  Space, Page 143,  Performance, Page 40,  Introduction, Page 4,  Space, Page 141,  Conclusion, Page 278,  Conclusion, Page 273