Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 13 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 163

An example of "black vaudeville" on film, the Vitaphone short Pie, Pie Blackbird (1932) teamed jazz singer Nina Mae McKinney with composer/bandleader Eubie Blake and child tap dancing wizards the Nicholas Brothers. This routine has McKinney playing Mammy to the brothers, singing to them about "Massah" while Blake and his band, dressed as chefs, emerge from a giant pie.

Major African American stars of the early sound era who crossed from vaudeville, Broadway, and the club circuit onto the screen were often forced to play minstreleque roles in order to gain exposure, as segregation extended to film production, distribution and exhibition. 

Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Space, Page 163"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 13 of 36 Next page on path
1930s    Live Cinema    Moving Image

Related:  Race, Page 254,  Conclusion, Page 300,  Introduction, Page 4,  Introduction, Page 29,  Space, Page 177,  Performance, Page 72,  Conclusion, Page 296,  Performance, Page 74,  Race, Page 258,  Race, Page 221,  Performance, Page 46,  Introduction, Page 23,  Conclusion, Page 284,  Space, Page 189,  Introduction, Page 15,  Introduction, Page 14,  Space, Page 141,  Space, Page 187,  Labor, Page 133,  Space, Page 181,  Performance, Page 45,  Labor, Page 132,  Performance, Page 84,  Introduction, Page 30,  Space, Page 182,  Race, Page 230,  Race, Page 261,  Space, Page 188,  Race, Page 252,  Labor, Page 123,  Performance, Page 60,  Space, Page 183,  Labor, Page 110,  Race, Page 225,  Race, Page 253,  Space, Page 172,  Performance, Page 50,  Race, Page 219,  Race, Page 206,  Performance, Page 77,  Race, Page 229,  Conclusion, Page 275,  Space, Page 193,  Space, Page 171,  Performance, Page 47,  Introduction, Page 16,  Space, Page 184,  Conclusion, Page 273,  Space, Page 190,  Space, Page 170,  Space, Page 143,  Space, Page 138,  Conclusion, Page 291,  Space, Page 194,  Conclusion, Page 302,  Race, Page 239,  Conclusion, Page 286,  Space, Page 195,  Space, Page 197,  Performance, Page 52,  Race, Page 232,  Race, Page 231,  Race, Page 247,  Labor, Page 122,  Space, Page 162,  Performance, Page 82,  Space, Page 155,  Introduction, Page 21,  Performance, Page 41,  Conclusion, Page 304,  Labor, Page 109,  Performance, Page 54,  Introduction, Page 1,  Introduction, Page 2,  Labor, Page 98,  Conclusion, Page 278,  Space, Page 178,  Performance, Page 35,  Performance, Page 43,  Race, Page 220,  Labor, Page 128,  Race, Page 248,  Labor, Page 131,  Conclusion, Page 289,  Space, Page 191,  Race, Page 213,  Race, Page 235,  Introduction, Page 6,  Race, Page 224,  Space, Page 150,  Labor, Page 88,  Space, Page 148,  Performance, Page 44,  Race, Page 251,  Race, Page 204,  Space, Page 137,  Labor, Page 112,  Space, Page 152,  Performance, Page 42,  Conclusion, Page 290,  Labor, Page 113,  Space, Page 146,  Labor, Page 119,  Conclusion, Page 292,  Space, Page 165,  Performance, Page 34,  Conclusion, Page 303,  Space, Page 175,  Conclusion, Page 298