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The perverse version of the black fantastic in the coming of sound film: Al Jolson samples the fruit of a pork-chop tree in an all-black heaven in Wonder Bar (1934), while cartoon darkies joyfully pick cotton in Mississippi Swing (1941).
Depicting a continuum of diegetic spaces onscreen, animation helped to regulate and reproduce racial formations through the manner by which these spaces, both real and imagined, interacted with one another - from the stage, to the screen, to the theatre in which audiences were housed.
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