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That's Enough Folks, by Henry T. Sampson
Ebook That's Enough Folks, by Henry T. Sampson
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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That's Enough Folks includes many rare, previously unpublished illustrations and original animation stills and an appendix listing cartoon titles with black characters along with brief descriptions of gags in these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.
- Sales Rank: #1816326 in Books
- Brand: Brand: Scarecrow Press
- Published on: 1998-06-25
- Original language: English
- Number of items: 1
- Dimensions: 11.28" h x .86" w x 8.72" l, 2.30 pounds
- Binding: Hardcover
- 288 pages
- Used Book in Good Condition
Review
...a powerful book which puts the spotlight on the entertainment world...a scholarly and well researched book...illustrations...are important...a very complete index. Mr. Sampson has given U.S. History teachers some long neglected areas of study and an important book for all of us. (Paper Pile Quarterly)
...a major work of reference, important in the fields of both animation history and black American studies. It cannot be improved upon and certainly cannot be recommended enough. (Classic Images)
...a stellar reference book, exhaustively covering black cartoon characters and themes (the safari, the minstrel show) through very full synopses and all available reviews of the period. (Past Times)
His brief introductions to the series stars alone are worth the price of the book...an essential work... (Arba)
...an invaluable reference source of visual art and racial stereotyping in the popular culture...Its coverage is prodigious and the commentary and anaysis balanced and insightful. (J. Boskin)
...informative and enlightening. A great reference book. Excellent. (Mark Mayfield)
About the Author
Henry T. Sampson has written a number of books including Blacks in Black and White: Source Book on Black Films (Scarecrow, 1995, 1977) and Blacks in Blackface: A Source Book on Black Musical Shows (Scarecrow, 1980). He is currently Director of Mission Development and Operations, Space Test Program, Aerospace Corp.
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IN Toon African Americans copyright 1992.jpg
By John Altyn
Being a Professional Animation Art Curator for Bonham & Butterfields and for Animation Art Galleries around the world and an Animation Art Historian as well, including co-founder of "In-Toon!" Magazine an International Quarterly, I was disappointed with how negative the content is. I personally worked with Warner Bros. Legendary Animator, Virgil Ross in creating Limited Editions for Warner Bros., using Bugs Bunny and his cohorts in the early to mid 1990's. Virgil animated "Prince Charmin'" for the short directed by Bob Clampett "Coal Black and de Sebben Dwarfs," (1943). We discussed this animated short many times and by no means, was he or any of the other animators being "racist" by any means. They were welcomed into the night clubs of East Los Angeles by the African American (Negro at the time) dancers and owners without any upset. I also had the opportunity to speak with Legendary Director, Walter Lantz, and he too was shocked to find out that the animated shorts he directed for Universal Pictures were now held in contempt as being "racist." And many other animators of that era. I was beginning to write my book in 1992, "African Americans in Cartoons; A Misunderstood Legacy," but due to other professional responsibilities at the time, finishing my book, never materialized. Now, I wish I had finished this work. It was a balanced historic review of how and why certain demographics of the population were offered African American animated shorts including music not only from the Fleischer Brothers (Paramount Distribution) but to other studios to promote the music and songs of the African American Artists. On and on.
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