Birth of an industry : blackface minstrelsy and the rise of American animation

In __Birth of an Industry__, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life. Nicholas Sammond Describes How Popular Early American Cartoon Characters Were Derived From Blackface Minstrelsy. He Charts The Industrialization Of Animation In The Early Twentieth Century, Its Representation In The Cartoons Themselves, And How Important Blackface Minstrels Were To That Performance, Standing In For The Frustrations Of Animation Workers. Cherished Cartoon Characters, Such As Mickey Mouse And Felix The Cat, Were Conceived And Developed Using Blackface Minstrelsy's Visual And Performative Conventions: These Characters Are Not Like Minstrels; They Are Minstrels. They Play Out The Social, Cultural, Political, And Racial Anxieties And Desires That Link Race To The Laboring Body, Just As Live Minstrel Show Performers Did. Carefully Examining How Early Animation Helped Naturalize Virulent Racial Formations, Sammond Explores How Cartoons Used Laughter And Sentimentality To Make Those Stereotypes Seem Not Only Less Cruel But Actually Pleasurable. Although The Visible Links Between Cartoon Characters And The Minstrel Stage Faded Long Ago, Sammond Shows How Important Those Links Are To Thinking About Animation Then And Now, And About How Cartoons Continue To Help Illuminate The Central Place Of Race In American Cultural And Social Life. Introduction: Biting The Invisible Hand -- Performance -- Labor -- Space -- Race -- Conclusion: The New Blackface. Nicholas Sammond. Includes Bibliographical References And Index. In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as Live minstrel show performers did. Carefully examining how early animation helped naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help illuminate the central place of race in American cultural and social life. Book jacket "Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help illuminate the central place of race in American cultural and social life."--Page 4 de la couverture Nicholas Sammond argues that early cartoons are a key components to blackface minstrelsy and that cartoon characters such as Mickey Mouse and Felix the Cat are not like minstrels, but are minstrels. Cartoons have played on racial anxieties, naturalized racial formations, committed symbolic racial violence, and help perpetuate blackface minstrelsy. Contents 8 Note on the Companion Website 10 Acknowledgments 12 Introduction. Biting the Invisible Hand 18 1. Performance 50 2. Labor 104 3. Space 152 4. Race 220 Conclusion. The "New" Blackface 284 Notes 324 Bibliography 368 Index 382