Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 3 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 141

In the late 1920s and early 1930s, cartoons were key to selling sound films into movie-going audiences, and they took the place of liver performers in combination shows.

In Bosko the Talk-Ink Kid (1929), Rudy Ising meets Bosko, whom he has just drawn. Playing on vaudeville and blackface minstrelsy, Harman and Ising created a character who was a minstrel, right down to singing Al Jolson's blackface minstrel hit "Sonny Boy" (1928). Bosko's body mirrored the minstrel's fluidity of motion and resistance to control, and he gleefully performs the ongoing battle between the maker (Rudy) and the thing made (Bosko).
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Space, Page 141"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 3 of 36 Next page on path
Moving Image    With Live Characters (Animators)    Live Cinema    Cartoons

Related:  Conclusion, Page 292,  Conclusion, Page 289,  Introduction, Page 6,  Conclusion, Page 296,  Performance, Page 45,  Race, Page 235,  Space, Page 175,  Race, Page 252,  Space, Page 150,  Conclusion, Page 302,  Race, Page 204,  Space, Page 193,  Performance, Page 82,  Labor, Page 98,  Space, Page 188,  Performance, Page 50,  Labor, Page 109,  Conclusion, Page 290,  Race, Page 248,  Race, Page 261,  Space, Page 182,  Space, Page 187,  Space, Page 183,  Race, Page 231,  Conclusion, Page 298,  Space, Page 162,  Performance, Page 46,  Performance, Page 74,  Labor, Page 113,  Conclusion, Page 278,  Conclusion, Page 303,  Conclusion, Page 284,  Race, Page 221,  Race, Page 230,  Labor, Page 133,  Space, Page 138,  Performance, Page 72,  Race, Page 253,  Space, Page 197,  Race, Page 239,  Performance, Page 70,  Introduction, Page 2,  Introduction, Page 4,  Space, Page 170,  Race, Page 220,  Conclusion, Page 304,  Race, Page 206,  Race, Page 225,  Conclusion, Page 291,  Labor, Page 88,  Performance, Page 54,  Performance, Page 35,  Performance, Page 47,  Labor, Page 110,  Race, Page 258,  Introduction, Page 21,  Introduction, Page 1,  Race, Page 213,  Space, Page 189,  Race, Page 254,  Race, Page 247,  Space, Page 178,  Space, Page 191,  Performance, Page 44,  Space, Page 181,  Labor, Page 101,  Space, Page 172,  Labor, Page 112,  Introduction, Page 23,  Space, Page 148,  Introduction, Page 14,  Race, Page 232,  Space, Page 146,  Space, Page 194,  Conclusion, Page 275,  Performance, Page 84,  Conclusion, Page 273,  Space, Page 190,  Labor, Page 128,  Space, Page 163,  Introduction, Page 15,  Labor, Page 122,  Space, Page 143,  Performance, Page 60,  Labor, Page 123,  Introduction, Page 29,  Labor, Page 119,  Race, Page 229,  Space, Page 177,  Performance, Page 42,  Introduction, Page 16,  Space, Page 165,  Space, Page 155,  Performance, Page 41,  Conclusion, Page 300,  Introduction, Page 30,  Performance, Page 77,  Conclusion, Page 286,  Performance, Page 34,  Race, Page 224,  Performance, Page 43,  Labor, Page 129,  Labor, Page 132,  Space, Page 152,  Race, Page 251,  Performance, Page 52