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Three-color Technicolor, first successfully launched in Walt Disney animated shorts like The Three Little Pigs (1933) and costume-film features such as Becky Sharp (1935), more accurately replicated the color spectrum and made possible the firm’s subsequent “Glorious Technicolor” successes of the 1930s and 1940s. ” This stone tower is flanked on both sides by tall timber fences with spiked points, suggesting a cavalry fort in an American frontier Western. A subsequent scene of an outdoor banquet feast shared by Vikings and Indians evokes school textbook tableaux of the first American Thanksgiving.
Racializing vinland 37 two Scandinavian/American Whiteface Ethnic Whiteness and Assimilation in Victor Sjöström’s He Who Gets Slapped w hile the viking appropriated the vinland sagas to shore up biological and essentialist concepts of Nordic whiteness in the “discovery” of America, other silent-era films in 1920s Hollywood cinema engage more directly with Scandinavian whiteness. As this chapter argues, He Who Gets Slapped selfconsciously allegorizes and “makes strange” Scandinavian racial and ethnic identity through the auteurist sensibilities of its Swedish émigré writer-director, Victor Sjöström.
Within a political climate of zealous jingoism, anything resembling a too-German affiliation was marked as potentially anti-American and treasonous. ”16 The cryptic strangeness of Scandinavian-immigrant foreign-language newspapers, fraternal societies, and dual-language practices smacked of possible German sympathies, even collaboration. Norwegian, Swedish, and Danish ethnicity also scandinavian/american whiteface 45 remained under an ambiguous cloud of potentially “un-American” difference even in the immediate aftermath of the war, with its Red Scare and Palmer Raids targeting Bolsheviks, organized labor, and all perceived foreign radical threats inside the nation’s borders.