Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 1 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 137

Regulating onscreen and off-screen spaces, both real and imagined, was crucial to the transition from silent to sound cinema. 

For example, a featurette in a 1930 issue of Paramount Publix Opinion explains how one Tennessee exhibitor sold King Vidor's film Hallelujah (1929) by constructing a cotton field in his lobby: he created an off-screen space to directly mirror the space represented onscreen.

By resorting to the central minstrel stereotype of a plantation, the exhibitor also spoke to white audiences' fear of miscegenation, creating in his exhibition space a means of regulating blackness and whiteness in public. 
Comment on this page

Discussion of "Space, Page 137"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 1 of 36 Next page on path

Related:  Performance, Page 80Race, Page 219Space, Page 191Performance, Page 40Conclusion, Page 289Race, Page 257Space, Page 170Race, Page 252Introduction, Page 12introduction-page-22Race, Page 224Space, Page 163Space, Page 156Labor, Page 96Race, Page 251Labor, Page 119Space, Page 184Race, Page 225Conclusion, Page 274Space, Page 183Race, Page 206Space, Page 171Labor, Page 112Introduction, Page 26Introduction, Page 9Introduction, Page 18Labor, Page 128Space, Page 175Conclusion, Page 268Race, Page 220Conclusion, Page 278Space, Page 172Conclusion, Page 272Labor, Page 109Performance, Page 67Performance, Page 62Space, Page 169Introduction, Page 29Space, Page 194Race, Page 231Labor, Page 123Labor, Page 122Race, Page 253Introduction, Page 23Space, Page 159Introduction, Page 20Space, Page 152Race, Page 229Labor, Page 93Space, Page 178Conclusion, Page 284Conclusion, Page 286Introduction, Page 21Race, Page 232Performance, Page 74Performance, Page 78Space, Page 192Introduction, Page 2Labor, Page 131Space, Page 197Space, Page 187Race, Page 258Labor, Page 126Space, Page 195Space, Page 181Race, Page 245Space, Page 190Performance, Page 35Space, Page 165Performance, Page 43Introduction, Page 14Performance, Page 84Introduction, Page 30Performance, Page 60Performance, Page 56Space, Page 182Space, Page 188Labor, Page 102Race, Page 213Race, Page 221Performance, Page 72Space, Page 177Space, Page 193Space, Page 162Race, Page 230