Stereotypes Or Just Characters?
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Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Starting with Snow White: Disney’S Folkloric Impact and the Transformation of the American Fairy Tale
STARTING WITH SNOW WHITE: DISNEY’S FOLKLORIC IMPACT AND THE TRANSFORMATION OF THE AMERICAN FAIRY TALE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Dana M. DiLullo Gehling May 2018 Examining Committee Members: Miles Orvell, Advisory Chair, English & American Studies James Salazar, English Sue-Im Lee, English Paul Swann, External Member, Film & Media Arts © Copyright 2018 by Dana M. DiLullo Gehling All Rights Reserved ii ABSTRACT Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. -
La Visión De África
LA VISIÓN DE ÁFRICA POR PARTE DE LA ANIMACIÓN CLÁSICA ESTADOUNIDENSE: UNA HISTORIA LASTRADA POR EL RACISMO THE VIEW OF AFRICA BY AMERICAN CLASSICAL ANIMATION: A HISTORY WEIGHTED BY RACISM RESUMEN ABSTRACT Durante siglos se ha promovido desde The West has promoted for centuries a Occidente una visión fragmentaria y erró- fragmentary and erroneous vision of the nea del continente africano, un territorio African continent, a territory subjected sometido y esclavizado por algunas de and enslaved by some of the great world las grandes potencias mundiales. El co- powers. Colonialism helped foster a racist lonialismo ayudó a fomentar desde muy vision of Africa and its population from temprano una visión racista de África y su very early on, which was reflected in some población, que quedó recogida en algunos animated short films made at the begin- cortometrajes de animación que se reali- ning of the 20th century. They did so by zaron a comienzos del siglo XX. Lo hicieron giving an archetypal vision of the African, dando una visión arquetípica del africano, both when they drew him as a human tanto cuando lo dibujaban como ser hu- being —Jungle Jitters (Friz Freleng, 1938), mano— Jungle Jitters (Friz Freleng, 1938), The Isle of Pingo Pongo (Tex Avery, 1938)— The Isle of Pingo Pongo (Tex Avery, 1938)—, and when they did it by providing him como cuando lo hacían proporcionán- with features of a jungle animal —Africa dole rasgos de animal selvático —Africa Squeaks (Bob Clampett, 1940), Congo Jazz Squeaks (Bob Clampett, 1940), Congo Jazz (Hugh Harman y Rudolf Ising, 1930)—, to (Hugh Harman y Rudolf Ising, 1930)—, increase the feeling of inferiority to which acciones en ambos casos encaminadas a all these regions were reduced. -
Jorge Luis Guarín Serrano
Universidad Distrital Francisco José de Caldas Facultad de Artes A.S.A.B Proyecto de Grado Artes Plásticas y Visuales Jorge Luis Guarín Serrano Tutor: Guillermo Vanegas Colombia - Bogotá D. C 2015 Estéticas Vitales. Este proyecto Artístico se orienta hacia la búsqueda de un nuevo lugar de enunciación de la serie animada Looney Tunes en la actualidad y la intrínseca relación de sus personajes con algunas comunidades de la ciudad de Bogotá. Producido hace siete décadas, este audiovisual, originado a partir de un contexto histórico específico, ahora recibe atención de manera distinta por parte de unos sujetos no necesariamente identificados con los objetivos iniciales de sus creadores. En el marco de esta investigación se abordará la serie transmitida durante los años noventa, época en donde se empezaron a asimilar los personajes animados de esta serie en la vida cotidiana generando su readaptación. Esta situación los lleva a ser partícipes de múltiples situaciones en donde se apela a la necesidad de expresión de cada usuario, bien sea positiva o negativa. En el escenario de las barriadas de Bogotá es donde transcurre esta dinámica. En específico en las periferias de la ciudad, los límites entre Bogotá y Soacha, un sector en el cual he convivido durante dieciséis años, y donde he podido identificar que la presencia de lo marginal es diferente, pues se ha adaptado y agrupado alrededor de La Hora Warner. Buscando demostrar que el uso de estos dibujos animados, ahora convertidos en iconos de suma importancia para la construcción de códigos en estos grupos, que les han posibilitado la convivencia y el accionar como población, que ha asumido su papel y que se exhiben a través de múltiples plataformas, muestran un mundo cargado de valores infantiles y adversidad pero siempre enaltecidos a través de la indumentaria de los Looney Tunes. -
Exhibition Catalogue Black Character Revolution Exhibition Catalogue Table of Contents
Black Character Revolution A Retrospective Of 1970’s Saturday Morning Animation Art Featuring Black Characters Exhibition Catalogue Black Character Revolution Exhibition Catalogue Table Of Contents Curator’s Statement 3 Historical Overview 4-5 Exhibition Review 6-8 In The Beginning... 9 1970‘s Black Character Timeline 10-12 Exhibition Firsts 13-15 Key Animation Studios 16-21 1970’s Black Animation Timeline 22-29 1970’s Black Animation Timeline By Category 30-38 1970’s Black Animation Fun Facts 39-49 ! ! 2 Black Character Revolution Exhibition Curator’s Statement As a kid growing up in the 1960’s, I saw images of Blacks being beaten and tortured. I saw the aftermath of the assassinations of Martin Luther King and Malcolm X and I couldn’t understand why people who looked like me had been treated in this manner. Then the 1970’s arrived and brought an explosion of color to Saturday Morning cartoons. As a pre-teen, I could see positive Black characters that looked like me and real people that I admired, like the Jackson Five and The Harlem Globetrotters. I was glued to the television. I couldn’t wait to see these animated characters fill the small screen. These cartoons changed my life...filling me with pride and self esteem. They brought adventure, mayhem and fun to a generation of Black children. Forty years later, my perspective on these cartoons is a little different. Besides being an integral part of Black children’s lives, these cartoons also benefited white children and the broader society as a whole. A number of these cartoons addressed issues like cultural differences, racism and multiculturalism. -
La Visión De África Por Parte De La Animación Clásica Estadounidense: Una Historia Lastrada Por El Racismo
LA VISIÓN DE ÁFRICA POR PARTE DE LA ANIMACIÓN CLÁSICA ESTADOUNIDENSE: UNA HISTORIA LASTRADA POR EL RACISMO THE VIEW OF AFRICA BY AMERICAN CLASSICAL ANIMATION: A HISTORY WEIGHTED BY RACISM RESUMEN ABSTRACT Durante siglos se ha promovido desde The West has promoted for centuries a Occidente una visión fragmentaria y erró- fragmentary and erroneous vision of the nea del continente africano, un territorio African continent, a territory subjected sometido y esclavizado por algunas de and enslaved by some of the great world las grandes potencias mundiales. El co- powers. Colonialism helped foster a racist lonialismo ayudó a fomentar desde muy vision of Africa and its population from temprano una visión racista de África y su very early on, which was reflected in some población, que quedó recogida en algunos animated short films made at the begin- cortometrajes de animación que se reali- ning of the 20th century. They did so by zaron a comienzos del siglo XX. Lo hicieron giving an archetypal vision of the African, dando una visión arquetípica del africano, both when they drew him as a human tanto cuando lo dibujaban como ser hu- being —Jungle Jitters (Friz Freleng, 1938), mano— Jungle Jitters (Friz Freleng, 1938), The Isle of Pingo Pongo (Tex Avery, 1938)— The Isle of Pingo Pongo (Tex Avery, 1938)—, and when they did it by providing him como cuando lo hacían proporcionán- with features of a jungle animal —Africa dole rasgos de animal selvático —Africa Squeaks (Bob Clampett, 1940), Congo Jazz Squeaks (Bob Clampett, 1940), Congo Jazz (Hugh Harman y Rudolf Ising, 1930)—, to (Hugh Harman y Rudolf Ising, 1930)—, increase the feeling of inferiority to which acciones en ambos casos encaminadas a all these regions were reduced. -
One Little, Two Little, Three Little Stereotypes: a History of Native Culture and Imagery in American Cinematic Cartoons
ONE LITTLE, TWO LITTLE, THREE LITTLE STEREOTYPES: A HISTORY OF NATIVE CULTURE AND IMAGERY IN AMERICAN CINEMATIC CARTOONS By DUSTIN DEVORE Bachelor of Arts in History University of Tulsa Tulsa, OK 2002 Master of Arts in History University of Tulsa Tulsa, OK 2005 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2017 ONE LITTLE, TWO LITTLE, THREE LITTLE STEREOTYPES: A HISTORY OF NATIVE CULTURE AND IMAGERY IN AMERICAN CINEMATIC CARTOONS Dissertation Approved: William S. Bryans Dissertation Adviser L.G. Moses Committee Member Michael M. Smith Committee Member Douglas K. Miller Committee Member Stephen M. Perkins Outside Committee Member ii ACKNOWLEDGEMENTS The journey to complete this dissertation was long and arduous, and would not have been possible without the help and support of many people. I would like to express my sincere thanks to Dr. Bill Bryans who took over as my committee chair and motivated me to complete this project. I would also like to thank Dr. L.G. Moses for inspiring me to write about a subject that I love. In addition, I would like to thank Dr. Michael M. Smith for his years of academic advisement. I would like to express my gratitude to Dr. Stephen Perkins and Dr. Douglas Miller for serving on my dissertation committee and working with me to complete this endeavor. Finally, I owe my interest in popular culture in history to Dr. Andrew Wood at the University of Tulsa. I have had tremendous support from friends and family on this journey as well. -
Televisión Hiperconsciente: Las Comedias Animadas De Prime Time
Beatriz María Gómez Morales Televisión hiperconsciente: las comedias animadas de prime time Tesis doctoral Directora: M. Rosario Lacalle Zalduendo Departamento de Periodismo y Ciencias de la Comunicación Facultad de Ciencias de la Comunicación Universidad Autónoma de Barcelona 2012 Agradecimientos La primera persona en quien pienso mientras escribo estas líneas es en Charo, la directora de esta tesis doctoral, a quien agradezco muy sinceramente el seguimiento riguroso y puntual, así como el estímulo intelectual constante. También agradezco la profesionalidad y la cálida relación humana del personal de la Biblioteca de Comunicación y Hemeroteca General de la Universidad Autónoma de Barcelona. Siempre han puesto a mi disposición todos sus recursos y han hecho las largas jornadas de trabajo mucho más agradables. A Jordi y Vador, que le han dado intención comunicativa a la forma de un trabajo que habla de la cultura audiovisual. Por último, pero no menos importante, quiero agradecer a Enric todo el tiempo dedicado a escuchar todas mis dudas y a Karen y Jorge por acompañarme incondicionalmente en estos años de trabajo de investigación. Índice 0. Introducción ............................................................................................................... 13 0.1. Hipótesis ............................................................................................................... 14 0.2. Objetivos ............................................................................................................... 17 0.3. Justificación -
Title Page for Reference Only
Fats Waller on the Air Additions and Corrections Fats at the piano, unknown date. © Corbis. 1 2 Fats Waller on the Air Introduction This file is a list of additions and corrections for the book Fats Waller on the Air: The Radio Broadcasts and Discography [FWotA] (Scarecrow Press, 2006). The chapter and page numbers refer to those in the book. Please refer to the revi- sion date at the end of the listing. The discography section is updated from the book version which uses a re- vision dated 22 December 2005, and includes all the updates included in the electronic version of the discography called the Fats Waller Ultimate Discogra- phy, available from the author. As stated in the introduction to the published discography, the CD listing includes most issues up to 21 May 2005, the 101st anniversary of Waller’s birth in 1904, but does not include compilations by various artists unless they contain an unusual track or some other special feature such as a previously unissued take. This update continues that policy. Since the publication of the book I have received further information about additional Victor Argentina and Brazil 78 rpm issues. I have noted some of these here, but for a more complete listing please refer to the Discography. Please note these updates are cumulative, and incorporate previous revisions which can be discarded. Abbreviations p xix. Add the following abbreviations (Hansjürg Richner email 17 May 2006) BBC British Broadcasting Corporation (U.K.) BMG Bertelsmann Music Group (U.S.A.), now a joint venture with Sony BMG Music Entertainment (Sony–BMG). -
Animating Race
Chapter 4 Animating Racism In February 1940, cartoon gurus William Hanna and Joseph Barbera intro- duced one of the most famous duos in animation history. In “Puss Gets the Boot,” the world met Tom Cat and Jerry Mouse for the first time.1 Known as Jasper and Jinx in the premiere episode, generations of children sub- sequently grew to know these characters as Tom and Jerry. The Tom and Jerry series became a national, and global, phenomenon, with hundreds of shorts, myriad series spinoffs, and nearly a dozen full-length feature films produced in the half century after its premiere. In that very first short in 1940, audiences also saw for the first time an unnamed character. She was a large, dark-skinned black woman who spoke in a vernacular dialect that was overlaid with a thick southern accent. That unnamed character also wore brightly colored clothing and was usually only visible from the waist down. This unnamed character became known as “Mammy Two Shoes,” a “galumphing black domestic.”2 Mammy Two Shoes was typically seen only from the waist down, was buffoonish in nature, and was, in essence, an ani- mated version of a black-blackface representation of the popular Mammy archetype.3 It has become cliché to note that the “golden age” of cartoon produc- tion between the 1920s and late 1960s, so characterized because of the addition of sound to animation, also produced the most racist and sexist depictions of people of color in cartoon history. Mammy Two Shoes was a product of this golden age. She was joined by a host of other racialized and racist characters, some of whom existed during the silent era and received new life with the advent of sound. -
Swing Shift Cinderella and Te Screwy Truant - 1945), Both to Create a Comic Efect and to Oppose the Former Code of Representation to the New One
FEMININITY, CENSORSHIP, AND MORE IN TEX AVERY CARTOONS. Pierre Floquet Universite Bordeaux, Francia. Enseña Inglés y es Profesor Asociado de la Universite Bordeaux (Francia). Escribió su Tesis de Doctorado en el año 1996 sobre lingüística aplicada al cine, focalizando en el lenguaje cómico de Tex Avery. Desde ese entonces, ha organizado retrospectivas y ha dictado conferencias sobre Avery en el Festival de Annecy, Francia (1998), en Italia (1998, 1999), Noruega (2001), Marruecos, Trinidad y Holanda (2008). Se ha desempeñado como Jurado en festivales internacionales. También ha expandido sus intereses por fuera del cine de animación, participando en libros y publicaciones académicas en Canadá, Francia, Italia, Japón, Rusia, España y los Estados Unidos. En marzo de 2007 editó el libro CinémAnimationS, y acaba de presentar su nuevo libro en el Festival de Annecy: Le Langage comique de Tex Avery (El lenguaje cómico de Tex Avery), basado en su disertación doctoral. As to put this issue today into perspective, I shall frst quote Gilles Deleuze, writing about American society: For Ford, as for Vidor, society changes, and does not stop changing, but its changes take place in an Encompasser which covers them and blesses them with a healthy illusion as continuity of the nation. Finally, the American cinema constantly shoots and reshoots a single fundamental flm, which is Birth of a Nation-Civilization, whose frst version was provided by Grifth.1 Applied to Tex Avery cartoons, the matter would then correspond to a continuance in a pragmatic view upon American society, faithfully following its inner changes, and yet keeping the same celebration of its existence as such. -
EL MENSAJE OCULTO DE LAS CARICATURAS LIVRO No 6
EL MENSAJE OCULTO DE LAS CARICATURAS 1 LIVRO No 6 WARNER BROS ELIZEUS y ODINUS SINISTRO PORTAL 01 02 14 GRAN VIVLIOTEKA VIRTUAL www.gftaognosticaespiritual.com ESTA DOKTRINA TIENE DERECHOS RESERVADOS GRAN BIBLIOTECA VIRTUAL ESOTERICA ESPIRITUAL EL MENSAJE OCULTO DE LAS CARICATURAS 2 LIVRO No 6 WARNER BROS ELIZEUS y ODINUS SINISTRO PORTAL 01 02 14 GRAN VIVLIOTEKA VIRTUAL INDICE EL MENSAJE OCULTO DE LAS CARICATURAS LIVRO 1 HISTORIA DEL COMIC OCCIDENTAL por ELIZEUS y ODINUS SINISTRO LIVRO 2 LAS CARICATURAS ANTIGUAS por ELIZEUS y ODINUS SINISTRO LIVRO 3 LAS CARICATURAS MODERNAS por ELIZEUS y ODINUS SINISTRO LIVRO 4 WALT DISNEY por ELIZEUS y ODINUS SINISTRO LIVRO 5 EL MANGA Y EL ANIME JAPONES por ELIZEUS y ODINUS SINISTRO LIVRO 6 WARNER BROS por ELIZEUS y ODINUS SINISTRO LIVRO 7 NICKELODEON por ELIZEUS y ODINUS SINISTRO LIVRO 8 CARTOON NETWORK por ELIZEUS y ODINUS SINISTRO LIVRO 9 KIDS ANIMATED SERIES por ELIZEUS y ODINUS SINISTRO LIVRO 10 COMIC PARA ADULTOS por ELIZEUS y ODINUS SINISTRO LIVRO 11 EL OMOSEXUALISMO Y LESBIANISMO EN LOS COMICS por ELIZEUS y ODINUS SINISTRO www.gftaognosticaespiritual.com ESTA DOKTRINA TIENE DERECHOS RESERVADOS GRAN BIBLIOTECA VIRTUAL ESOTERICA ESPIRITUAL EL MENSAJE OCULTO DE LAS CARICATURAS 3 LIVRO No 6 WARNER BROS ELIZEUS y ODINUS SINISTRO PORTAL 01 02 14 GRAN VIVLIOTEKA VIRTUAL LIVRO No 6 WARNER BROS ELIZEUS y ODINUS SINISTRO Warner Bros. Entertainment Warner Bros Entertainment, Inc es una compañía estadounidense y es una de las más grandes productoras de cine, música y televisión en el mundo incluye varias compañías subsidiarias, entre ellas Warner Bros. Animation, los remanentes de Hanna-Barbera Productions, Inc., aunque el antiguo estudio de la Hanna-Barbera es ahora conocido como Cartoon Network Studios y está bajo la Turner Broadcasting, otra filial de Time Warner.