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 |
Vanuit het boek
Resultaten 1-3 van 14
Pagina 8
... became Rice's “ Jump Jim Crow " and later became part of the basic architecture of hip hop . " 8 The shortcomings to these texts , in my view , are that they largely sublimate critical musicological discussions of how sound both informs ...
... became Rice's “ Jump Jim Crow " and later became part of the basic architecture of hip hop . " 8 The shortcomings to these texts , in my view , are that they largely sublimate critical musicological discussions of how sound both informs ...
Pagina 16
... became racially masked by the technological advancements of talking pictures and phonographs . What had in the past been an embodiment of racial passing became an even more distanced representation of blackness articulated in sound ...
... became racially masked by the technological advancements of talking pictures and phonographs . What had in the past been an embodiment of racial passing became an even more distanced representation of blackness articulated in sound ...
Pagina 24
... became a strategic homogenizing device through which non - whites could racially assimilate themselves into privileged whiteness . In other words , they could musically " pass " into whiteness through blackness . When these men in the ...
... became a strategic homogenizing device through which non - whites could racially assimilate themselves into privileged whiteness . In other words , they could musically " pass " into whiteness through blackness . When these men in the ...
Inhoudsopgave
Baptism Through Blackness | 23 |
Theres a Lot of the Mouse in Me Mickey Mouse | 49 |
Imitations of the Dance | 72 |
1 andere gedeelten niet getoond
Veelvoorkomende woorden en zinsdelen
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