Blacking Up, Passing Down: The Minstrel Legacy in George Gershwin's Porgy and Bess and Walt Disney's Mickey MouseUniversity of Wisconsin--Madison, 1999 - 166 pagina's |
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Pagina 11
... audiences . In their enactments of blackness , these men and the audiences they entertained were passing too , i.e. , they were " accepted as being something [ they were ] not . " 12 I use the term here not ironically , but rather ...
... audiences . In their enactments of blackness , these men and the audiences they entertained were passing too , i.e. , they were " accepted as being something [ they were ] not . " 12 I use the term here not ironically , but rather ...
Pagina 28
... audiences . Part of the artifice of blackface minstrelsy , however , was the recognition of white skin underneath the blackface performance . Everyone was in on the joke knew that the performers were merely " performing blackness ...
... audiences . Part of the artifice of blackface minstrelsy , however , was the recognition of white skin underneath the blackface performance . Everyone was in on the joke knew that the performers were merely " performing blackness ...
Pagina 42
... audiences " get a bit of [ the ] Other " just like the American minstrel shows did.45 Unlike the nineteenth- century audiences of blackface minstrelsy , however , modern critics , both white and black , appeared less convinced by ...
... audiences " get a bit of [ the ] Other " just like the American minstrel shows did.45 Unlike the nineteenth- century audiences of blackface minstrelsy , however , modern critics , both white and black , appeared less convinced by ...
Inhoudsopgave
Baptism Through Blackness | 23 |
Theres a Lot of the Mouse in Me Mickey Mouse | 49 |
Imitations of the Dance | 72 |
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African American ambiguous American culture American music American popular music analysis appear appropriate argue articulated aspects attempt audiences authentic became become blackface minstrelsy cartoon character characterizations Chicago classical considered context continues copy critical cultural Dan Emmett dance desire difference discourse discuss Disney distinctions early Ellison enabled essay exist experience face fact fascination figures framework George Gershwin Gershwin gestures global Harlem helped identity ideology imitation interest interpretation Ironically jazz Jazz Age Jewish Jews legacy means Mickey Mouse Mickey's minstrel show minstrel tradition musicological Negro never nineteenth nineteenth-century blackface notions opera parody passing perceived performers phenomenon play popular music Porgy and Bess present primitive production race racial Renaissance representation represents Roediger seems sense significant slave social society song sound South speaks stage stereotypes story suggests transformation turn twentieth century University Press Western writes York