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 5
... stage representations were at first transformed into copies of sheet music rendered with an artistic representation of blackness on nearly every copy.3 Later , the advent of the broadcasting and recording industries helped to launch a ...
... stage representations were at first transformed into copies of sheet music rendered with an artistic representation of blackness on nearly every copy.3 Later , the advent of the broadcasting and recording industries helped to launch a ...
Pagina 7
... stage as well . Though marginalized by class and social standing , blackface performers sought to claim a space for themselves by mocking blackness , being neither black nor slave . Cockrell delineates the uses of the blackface both on ...
... stage as well . Though marginalized by class and social standing , blackface performers sought to claim a space for themselves by mocking blackness , being neither black nor slave . Cockrell delineates the uses of the blackface both on ...
Pagina 36
... stage , a fact that seemed to underwhelm Gershwin . He wrote the novel's author , saying , It is very interesting that Jolson would like to play the part of Porgy , but I really don't know how he would be in it . It might mean more to ...
... stage , a fact that seemed to underwhelm Gershwin . He wrote the novel's author , saying , It is very interesting that Jolson would like to play the part of Porgy , but I really don't know how he would be in it . It might mean more to ...
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