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GAalt-text.bsky.social

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Nicholas Sammond argued in his book Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation that Mickey Mouse (and similar animated characters) wasn't just like a minstrel -- the premier Disney character, according to Sammond, was a cartoon minstrel: American animation, which had its origins and developed many of its enduring conventions on the vaudeville stage, is not merely one more in a succession of textual forms; it is also a performative tradition that is indebted to and imbricated in blackface minstrelsy and vaudeville. Commercial animation in the United States didn't borrow from blackface minstrelsy, nor was it simply influenced by it. Rather, American animation is actually in many of its most enduring incarnations an integral part of the ongoing iconographic and performative traditions of blackface. Mickey Mouse isn't like a minstrel; he is a minstrel.
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GAalt-text.bsky.social

Alt text retrieved

Nicholas Sammond argued in his book Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation that Mickey Mouse (and similar animated characters) wasn't just like a minstrel -- the premier Disney character, according to Sammond, was a cartoon minstrel: American animation, which had its origins and developed many of its enduring conventions on the vaudeville stage, is not merely one more in a succession of textual forms; it is also a performative tradition that is indebted to and imbricated in blackface minstrelsy and vaudeville. Commercial animation in the United States didn't borrow from blackface minstrelsy, nor was it simply influenced by it. Rather, American animation is actually in many of its most enduring incarnations an integral part of the ongoing iconographic and performative traditions of blackface. Mickey Mouse isn't like a minstrel; he is a minstrel.
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GAalt-text.bsky.social

Alt text retrieved

Nicholas Sammond argued in his book Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation that Mickey Mouse (and similar animated characters) wasn't just like a minstrel -- the premier Disney character, according to Sammond, was a cartoon minstrel: American animation, which had its origins and developed many of its enduring conventions on the vaudeville stage, is not merely one more in a succession of textual forms; it is also a performative tradition that is indebted to and imbricated in blackface minstrelsy and vaudeville. Commercial animation in the United States didn't borrow from blackface minstrelsy, nor was it simply influenced by it. Rather, American animation is actually in many of its most enduring incarnations an integral part of the ongoing iconographic and performative traditions of blackface. Mickey Mouse isn't like a minstrel; he is a minstrel.
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Beustace.link

Nicholas Sammond argued in his book Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation that Mickey Mouse (and similar animated characters) wasn't just like a minstrel - the premier Disney character, according to Sammond, was a cartoon minstrel: American animation, which had its origins and developed many of its enduring conventions on the vaudeville stage, is not merely one more in a succession of textual forms; it is also a performative tradition that is indebted to and imbricated in blackface minstrelsy and vaudeville. Commercial animation in the United States didn't borrow from blackface minstrelsy, nor was it simply influenced by it. Rather, American animation is actually in many of its most enduring incarnations an integral part of the ongoing iconographic and performative traditions of blackface. Mickey Mouse isn't like a minstrel; he is a minstrel.
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TCarchstreet.bsky.social

"It was an homage to the minstrelsy of my childhood."

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BSbenspky.bsky.social

Preparing to teach the May Irwin Kiss and I still can't get over Allyson Field's findings in her fantastic article "The Cinema of Racialized Attraction(s)." Specifically, she reveals that Irwin was a well-known minstrelsy performer and that viewers at the time would have read her character as Black.

May Irwin Kiss
May Irwin Kiss

YouTube video by Library of Congress

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MEjessefuchs.bsky.social

Every time some debate over word usage comes up, I’m tempted to lob the “the modern definition of “fun” originates from its primary and decades-long association with blackface minstrelsy” grenade in its direction. For, you know, fun.

LHlaurahelmuth.bsky.social

As an editor, I help people say what they mean--and not say what they don’t mean. Here are some common not-quite-right words or expressions that I often see. This is not to embarrass anybody--I've made many of these mistakes myself. Please share your favorite fixes at the end of the thread. (1/n)

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MEjessefuchs.bsky.social

Every time some debate over word usage comes up, I’m tempted to lob the “the modern definition of “fun” originates from its primary and decades-long association with blackface minstrelsy” grenade in its direction. For, you know, fun.

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BUaudubonballroom.bsky.social

I lasted maybe 20 minutes in the movie theater. Horrified by Olivier’s racialized prosthetics and West Indian minstrelsy, I fled into the night, angry that anyone could speak reverently about such a repugnant performance.' www.latimes.com/entertainmen...

Commentary: Must Laurence Olivier's blackface Othello be banned? I showed the film and wasn't canceled
Commentary: Must Laurence Olivier's blackface Othello be banned? I showed the film and wasn't canceled

A professor's recent showing of Laurence Olivier's offensive "Othello" prompts a heated — and necessary — conversation.

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DEcabrapreta.org

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