Sign in or register
for additional privileges

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

Nicholas Sammond, Author

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

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

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