Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 12 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 162

In Chinaman's Chance (1933), Ub Iwerks's Flip the Frog performs as an animated minstrel opposite a shorthand racist caricature of a "Chinaman." The  cartoon opens with a stereotypically Chinese criminal, with a queue braid and wearing a changshan, attempting to escape from a prison. Flip the Frog is called in to pursue the character, named "Chow Mein." The "Chinaman" is depicted as maniacal and crafty, and Flip must pursue him into a opium den, in which the smoke causes Flip to hallucinate that Chow Mein transforms into a beautiful "dragon lady."
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Space, Page 162"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 12 of 36 Next page on path
MGM    1930s    Cartoons    Moving Image    Sound    Black and White    Ub Iwerks    Flip the Frog

Related:  Labor, Page 131,  Conclusion, Page 296,  Labor, Page 132,  Race, Page 251,  Conclusion, Page 275,  Race, Page 253,  Space, Page 152,  Space, Page 189,  Race, Page 247,  Performance, Page 70,  Race, Page 206,  Space, Page 170,  Race, Page 204,  Space, Page 172,  Labor, Page 112,  Performance, Page 77,  Space, Page 178,  Conclusion, Page 298,  Labor, Page 113,  Race, Page 235,  Performance, Page 47,  Performance, Page 72,  Conclusion, Page 286,  Labor, Page 88,  Performance, Page 84,  Conclusion, Page 292,  Labor, Page 133,  Space, Page 150,  Space, Page 197,  Space, Page 177,  Conclusion, Page 304,  Conclusion, Page 302,  Race, Page 254,  Space, Page 181,  Race, Page 258,  Performance, Page 50,  Performance, Page 82,  Conclusion, Page 278,  Space, Page 194,  Introduction, Page 14,  Space, Page 143,  Race, Page 248,  Space, Page 165,  Conclusion, Page 284,  Introduction, Page 6,  Performance, Page 54,  Space, Page 190,  Performance, Page 34,  Introduction, Page 21,  Space, Page 155,  Conclusion, Page 290,  Race, Page 225,  Labor, Page 98,  Space, Page 193,  Labor, Page 110,  Race, Page 230,  Producers,  Performance, Page 46,  Labor, Page 128,  Labor, Page 109,  Space, Page 146,  Race, Page 224,  Space, Page 183,  Race, Page 221,  Space, Page 171,  Space, Page 141,  Labor, Page 129,  Space, Page 138,  Performance, Page 44,  Performance, Page 35,  Introduction, Page 30,  Space, Page 182,  Space, Page 187,  Space, Page 188,  Race, Page 232,  Labor, Page 123,  Conclusion, Page 289,  Conclusion, Page 291,  Space, Page 175,  Space, Page 148,  Introduction, Page 29,  Conclusion, Page 300,  Race, Page 261,  Race, Page 229,  Space, Page 184,  Space, Page 163,  Performance, Page 42,  Space, Page 191,  Performance, Page 60,  Performance, Page 45,  Labor, Page 119,  Race, Page 252,  Labor, Page 101,  Race, Page 220,  Conclusion, Page 303,  Introduction, Page 4,  Performance, Page 52,  Labor, Page 122,  Performance, Page 74,  Introduction, Page 1,  Performance, Page 41,  Race, Page 239,  Introduction, Page 23,  Race, Page 213,  Introduction, Page 2,  Space, Page 137,  Race, Page 231,  Race, Page 219,  Conclusion, Page 273,  Performance, Page 43,  Labor, Page 102,  Space, Page 195