One Week - 1920
The class ideology is established instantly in the beginning of the short film, the wedding scene showing a fancy attire yet Keaton picking up and measuring shoes against his own, keeping them. Throughout the film, the equality between Keaton and Seely are consistant, shown through Keaton's emphasise of him being a small statured man, being non dominative and doing similar actions and stunts. Instead of using title cards to reflect speech and establishment in place, Keaton uses other methods such as letters. To emphasise the humour subtly, Keaton uses visual jokes within the mise-en-scene, such as the car saying 'Good luck! You'll need it!'. Linking back to the lack of dominance in Keaton's structure, the framing of the 'villain' in front adds to the comparison. The wide shot framing to create a tense visual joke of the motorbike coming towards leads into a confrontation with the police, a mockery of law and order, significantly as he's a traffic warden. To highlight sections in the centre of the shot, such as directions or facial expressions, the black circular highlight is used - this is also used through emphasising the moments by showcasing them largely to the camera, such as the 'portable house'. For an emphasis of naturalism in the narrative, Keaton uses the naturalistic lighting, and also the continuous editing. These moments of continuous editing portray a simplistic atmosphere, the significant moment of clear editing being when the man's head goes into the roof. Through the use of camera placement and mise-en-scene, Keaton creates a tension to his oncoming, layered jokes, such as through the spinning house scene and the train gag. By aligning the house with the tracks of the train through camera perspective, it creates an increase in tension, the couple being significantly out of shot. When it goes past, the camera swivels to the right slowly, then returning to show the house still intact and the couple's relief, which is then contrasted by the other smash from an opposite train.
Contextual ideas:
- Cubism art movement of the 1920s which links to the style of the house
- Anti Law and Order
- Narrative based on advertisement which was the new thing
The Scarecrow - 1920
- Positive representation of women, dancing for herself and is seen riding the horse
- Marriage is mocked and depicted as humourous by the use of a car chase
- Jump cut used when working with the doggo, as if used repeatedly
- Anticipation of injury, during the dog chase
- Layering of jokes, such as the multiple uses of house equipment
- Considered generic chase scene
- Messes with jokes such as teeth pulling, simple ideas that left to the element of surprise
- Size difference with Buster Keaton and other male figures
- Visual jokes at the breakfast through visuals
- Performance of the table scene, causal interaction shows a normality
- Other times were exaggerated physical comedy, such as the Scarecrow kicks and the doggo chase scene
Context:
- Links to Vaudeville comedy
- Lower class society
The class ideology is established instantly in the beginning of the short film, the wedding scene showing a fancy attire yet Keaton picking up and measuring shoes against his own, keeping them. Throughout the film, the equality between Keaton and Seely are consistant, shown through Keaton's emphasise of him being a small statured man, being non dominative and doing similar actions and stunts. Instead of using title cards to reflect speech and establishment in place, Keaton uses other methods such as letters. To emphasise the humour subtly, Keaton uses visual jokes within the mise-en-scene, such as the car saying 'Good luck! You'll need it!'. Linking back to the lack of dominance in Keaton's structure, the framing of the 'villain' in front adds to the comparison. The wide shot framing to create a tense visual joke of the motorbike coming towards leads into a confrontation with the police, a mockery of law and order, significantly as he's a traffic warden. To highlight sections in the centre of the shot, such as directions or facial expressions, the black circular highlight is used - this is also used through emphasising the moments by showcasing them largely to the camera, such as the 'portable house'. For an emphasis of naturalism in the narrative, Keaton uses the naturalistic lighting, and also the continuous editing. These moments of continuous editing portray a simplistic atmosphere, the significant moment of clear editing being when the man's head goes into the roof. Through the use of camera placement and mise-en-scene, Keaton creates a tension to his oncoming, layered jokes, such as through the spinning house scene and the train gag. By aligning the house with the tracks of the train through camera perspective, it creates an increase in tension, the couple being significantly out of shot. When it goes past, the camera swivels to the right slowly, then returning to show the house still intact and the couple's relief, which is then contrasted by the other smash from an opposite train.
Contextual ideas:
- Cubism art movement of the 1920s which links to the style of the house
- Anti Law and Order
- Narrative based on advertisement which was the new thing
The Scarecrow - 1920
- Positive representation of women, dancing for herself and is seen riding the horse
- Marriage is mocked and depicted as humourous by the use of a car chase
- Jump cut used when working with the doggo, as if used repeatedly
- Anticipation of injury, during the dog chase
- Layering of jokes, such as the multiple uses of house equipment
- Considered generic chase scene
- Messes with jokes such as teeth pulling, simple ideas that left to the element of surprise
- Size difference with Buster Keaton and other male figures
- Visual jokes at the breakfast through visuals
- Performance of the table scene, causal interaction shows a normality
- Other times were exaggerated physical comedy, such as the Scarecrow kicks and the doggo chase scene
Context:
- Links to Vaudeville comedy
- Lower class society
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