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An authoritative and valuable resource for students and scholars of
film animation and African-American history, film buffs, and casual
readers. It is the first and only book to detail the history of
black images in animated cartoons. Using advertisements, quotes
from producers, newspaper reviews, and other sources, Sampson
traces stereotypical black images through their transition from the
first newspaper comic strips in the late 1890s, to their inclusion
in the first silent theatrical cartoons, through the peak of their
popularity in 1930s musical cartoons, to their gradual decline in
the 1960s. He provides detailed storylines with dialogue, revealing
the extensive use of negative caricatures of African Americans.
Sampson devotes chapters to cartoon series starring black
characters; cartoons burlesquing life on the old slave plantation
with "happy" slaves Uncle Tom and Topsy; depictions of the African
safari that include the white hunter, his devoted servant, and
bloodthirsty black cannibals; and cartoons featuring the music and
the widely popular entertainment style of famous 1930s black stars
including Cab Calloway, Louis Armstrong, and Fats Waller. That's
Enough Folks includes many rare, previously unpublished
illustrations and original animation stills and an appendix listing
cartoon titles with black characters along with brief descriptions
of gags in these cartoons.
Since its publication in 1977 to acclaim as a pioneering work, this
has remained the first and only book to detail all aspects of a
unique era in the history of motion pictures the only time in the
U.S. when films featuring an all-Black cast, produced and directed
by Blacks, were shown primarily to Black audiences, in theatres
many of which were owned and managed by Blacks. Sampson traces the
history of the Black film industry from its beginnings around 1910
to its demise in 1950, chronicling the activities of pioneer Black
filmmakers and performers who have been virtually ignored by film
historians. Significantly more information on Oscar Micheaux and
other Black producers of the period and descriptions of many more
Black films are included in the second edition. A new chapter
discusses the first black images in American film as portrayed by
Whites in blackface. The list of film titles from both the sound
and the silent periods, including members of the cast, has been
greatly expanded. With an extensive list of Black musical
"soundies;" full index; and many new and rare photographs.
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