Fr. 176.00

Behind the Screen - Tap Dance, Race, and Invisibility During Hollywood''s Golden Age

English · Hardback

Shipping usually within 3 to 5 weeks

Description

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How and why was outdated racial content - and specifically blackface minstrelsy - not only permitted, but in fact allowed to thrive during the 1930s and 1940s despite the rigid motion picture censorship laws which were enforced during this time? Introducing a new theory of covert minstrelsy, this book illuminates Hollywood's practice of capitalizing on the Africanist aesthetic at the expense of Black lived experience.

List of contents










  • Acknowledgments

  • Note on Language

  • Preface

  • Covert Minstrelsy: a Diagram

  • Introduction: Masks in Disguise

  • 1. Integrating the Screen: Sound Synchronization, Sonic Guises, and Pre-Code Blackface, 1927-1930

  • sing-along: "Dinah," a Fleischer Screen Song

  • 2. Optical Illusion and Design: Exposure Values, Protean Guises, and Eddie Cantor's Blackface 1930-1933

  • cartoon short: The Three Little Pigs, an excerpted Walt Disney Silly Symphony

  • 3. Public Works and Accolades: Race Film, Southern Repossession, and the Rise of Bill Robinson, 1929-1935

  • dance break: "Have You Got Any Castles," Featuring Buck and Bubbles

  • 4. Bon Homage: Female Figures, the Tribute Guise, and Pre-War Departures, 1934-1939

  • travel ad: Skirting Censorship: Brownface and Technology in Transit

  • 5. With a Glory Be: The Gabriel Variation, Jazz, and Everything in Between, 1934-1942

  • war bond ad: "Any Bonds Today?" Produced in Cooperation with Warner Bros. and U.S. Treasury Dept. Defense Savings Staff

  • 6. Hays is for Horses: Cartoons' Crossover Appeal, Dis-figuration, and the Animated Bestiary 1934-1942

  • Coda. Enlisting the Tropes: Covert Minstrelsy in Action, 1942-1954

  • Appendix: Excerpts from the Production Code (1934-1954)

  • Index



About the author

Brynn Wein Shiovitz is Lecturer in the Department of Dance at Chapman University and the editor of The Body, the Dance, and the Text: Essays on Performance and the Margins of History.

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