1. 4. The Scarecrow (1920)
1.1. Narrative
1.1.1. Convoluted narrative
1.1.1.1. Expressed through the twisted routing of the roommates and the rivalry of the roommates for Sibils affection
1.1.2. Melodramatic narrative
1.1.2.1. Containing so many events which dispense emotion and sentimentality
1.2. Context
1.2.1. References to the housing crisis in the USA in 1920
1.2.2. Luke the dog plays the mad dog
1.2.2.1. Famous staffordshire bull terrier owned by roscoe fatty arbuckle
1.2.2.1.1. This was luke the dogs final film
1.3. Breakfast sequence
1.3.1. Cinematography
1.3.1.1. Mid shot usage allows Geometric symmetry achieved by composing the table with the salt and pepper shakers
1.3.1.1.1. Creates lines representing the randomness of modernist art movement
1.3.2. Mise-En-Scene
1.3.2.1. Fairly expressive mise-en-scene referencing mechanism and keatons obsession with machinery
1.3.2.1.1. Dual functionality of the items in the house
1.3.2.2. Props in the house reference Rube goldberg artwork
1.3.3. Editing
1.3.3.1. Crosscutting between the interior and exterior of the one room house
1.3.3.1.1. Explains the outcomes of the mechanist gags within the house
1.3.4. Performance
1.3.4.1. Is less critical in this sequence to allow for the digestion of the mise-en-scene and its contraptions
1.4. Dog chase sequence
1.4.1. Cinematography
1.4.1.1. Frequent shot reverse shots between the medium close ups emphasises the action and intensity of the sequence
1.4.1.2. Keaton is framed centrally with luke the dog breaking the symmetrical composition
1.4.2. Mise-En-Scene
1.4.2.1. Dereclict farm building represents the struggles of post-war agricultural america
1.4.3. Editing
1.4.3.1. Use of an iris shot to focus on the hay bale emphasises keatons mechanical obsessions
1.4.3.1.1. Optimising the machinery in the farm
1.4.3.2. Fast paced continuity editing develops intensity
1.4.3.2.1. Keaton cuts closer during intense action before slowing down cuts (like when keaton runs around the ruins from the dog) to construct gags
1.4.3.3. Match on action cuts
1.4.3.3.1. Constructs narrative during a period of no camera movement
1.4.4. Performance
1.4.4.1. Irony as Joe Roberts' character collects first aid supplements with the intention of keaton needing it before he gets hit by the car
1.4.4.2. Use of luke the dog is a reference to keatons family vaudeville performer history
2. 5. The High Sign (1920/1921 release)
2.1. Narrative
2.1.1. Blinking Buzzards are a secret society of extortionists and killers
2.1.1.1. Keaton is sworn in and given assignment to kill a local man who keaton was hired as a bodyguard to protect
2.1.2. More of a conventional narrative
2.1.2.1. Growing into an overarching narrative departing from cinema of attractions
2.1.2.1.1. Rather than smaller narratives within one two reeler
2.2. Context
2.2.1. Keaton takes on a more devious 'hero' like persona
2.2.1.1. He is stealing at the beginnning and parodies gang culture
2.2.1.1.1. Film is a lot more violent
2.3. Final chase sequence
2.3.1. Cinematography
2.3.1.1. Use of deep focus in the four rooms coupled with the change in aspect ratio
2.3.1.1.1. Allows for greater focus on intricate mise-en-scene which in this sequence drives the narrative
2.3.2. Mise-En-Scene
2.3.2.1. Gang is positioned in the backrooms
2.3.2.1.1. Represents class divide in society
2.3.2.2. Mechanical trap doors and hatches references the cubism movement
2.3.2.2.1. Positioning of windows doors and frames through which keaton escapes
2.3.2.3. Adverse Keaton two-reeler using guns and violence as props for humour
2.3.2.3.1. Mocking the state of organised crime in the US
2.3.2.4. Buster is chased across a 2 dimensional 'flat world'
2.3.2.4.1. Expressing element of realism
2.3.3. Editing
2.3.3.1. Crosscutting between interior and exterior developing two parallel narratives
2.3.4. Performance
2.3.4.1. Escapes and trap doors rooted in vaudeville history
2.4. Shooting gallery sequence
2.4.1. Cinematography
2.4.1.1. Use of a wide shot to include the guns in the composition of the sequence
2.4.1.1.1. Suggestive of possibly challenging the idea of owning guns
2.4.2. Mise-En-Scene
2.4.2.1. Once agains contraptions are used to develop the gag
2.4.3. Editing
2.4.3.1. Crosscutting between itnerior and exterior of the shooting gallery
2.4.3.1.1. Reveals the gag through editing - visual storytelling as the dog is chasing after the meat triggered by keatons contraption
2.4.3.2. Intertitle cards are used more frequently in this two reeler
2.4.3.2.1. While keaton tried to demonstrate the story visually, the complex narrative requires usage of intertitle cards
3. 6. Cops (1922)
3.1. Narrative
3.1.1. Omniscient narration
3.1.1.1. We see who actually threw the bomb for example
3.1.1.2. We are aware of the causes of the events that occur representing that in some cases keaton is simply a catalyst to the chaos and not always the source of it
3.2. Context
3.2.1. Influenced by the 'Keystone Cops'
3.2.1.1. Represents the police as incompetent and humorous
3.2.1.1.1. Also features roscoe fatty arbuckle as a actor in these films
3.2.2. Directed and written by keaton and cline
3.2.3. John R Brinkley
3.2.3.1. A quack in the US who transplanted goat testicles into men
3.2.3.1.1. Two reeler references 'goat gland specialist' on a sign
3.2.4. Keaton purchased a block on the old metro studios on lilian way in 1921
3.2.4.1. Rperesents freedom prior to vertical integration
3.2.4.2. Enabled him to use southern california as a backlot for this two reeler
3.2.4.2.1. Hence the significantly larger cast
3.3. Chase Sequence
3.3.1. Cinematography
3.3.1.1. High key lighting used throughout (natural)
3.3.1.2. Keaton framed symmetrically like in the seesaw gag
3.3.1.2.1. Patterning exemplified through the number of gags
3.3.1.3. Use of eye level close up at the start to portray keaton behind bars as if he is in prison (foreshadowing the ending)
3.3.1.3.1. Mid shot then reveals he is behind the bars of a garden gate
3.3.2. Mise-En-Scene
3.3.2.1. Shot on location using surreal props
3.3.3. Editing
3.3.3.1. Sped up movement (temporal manipulation) increases the pace, tension and comedic effect
3.3.3.2. Mimicks the ability of the cops with the intertitle cards stating cops to defend the policemen'
3.3.3.2.1. Incompetance of the police force
3.4. Horse and Cart sequence
3.4.1. Cinematography
3.4.1.1. Use of longshots instead of close ups allows uninterrupted construction of tension and comedy
3.4.1.2. Use of deep focus as keaton naps during the precession emphasises the chaos ensuing around him
3.4.1.2.1. Keaton is also framed centrally
3.4.2. Mise-En-Scene
3.4.2.1. Use of the bomb presents keaton as a mistaken anarchist
3.4.2.1.1. Use of mise-en-scene to develop an omniscient narrative with cross cutting allowing us to see who actually threw the bomb
3.4.3. Performance
3.4.3.1. Critical of the police throughout
3.4.3.1.1. Police is punched twice by the make-shift indicator
4. 7. General Buster Keaton Film Form
4.1. Cinematography
4.1.1. Keaton is almost always framed centrally
4.1.1.1. Hence we align with keaton and observe how he interacts in this mechanical chaotic world
4.1.2. Use of longshots to encourage the audience to look around the frame and spot the joke for themselves
4.1.2.1. Allows the audience to appreciate the use of close ups to convey emotion
4.1.3. Audience is positioned level to the actor with very few canted angle shots
4.1.3.1. Hence composition is almost always symmetrical
4.1.4. Natural lighting and mostly shot outdoors
4.1.4.1. Enables the audience to engage with keatons environment and how he interacts with it
4.2. Editing
4.2.1. Gags traditionally completed in one take
4.2.1.1. Allows keaton to construct stunts within the scene rather than camera trickery
4.2.1.1.1. Allows us to marvel at his stunt work
5. 1. Buster Keaton: Contexts
5.1. Cultural contexts
5.1.1. 1920's audience would be working class, potentially immigrants, which allows for this cinema of attractions style to develop popularity as you didnt need a universal language to understand it
5.1.2. Vaudeville Contexts
5.1.2.1. Vaudevill background as the three keatons developed his Performance and persona
5.1.2.1.1. Trademark deadpan expression used for comic effect
5.1.2.1.2. Verisimilar style of acting
5.1.3. Development of the star system in the 1920s
5.1.3.1. Studios publicised films using stars, who developed a distinct persona
5.1.3.1.1. Like keatons trademark deadpan expression, his simple man dealing with a chaotic world and verisimilar style of acting
5.1.3.2. Mack Sennett Studios really pushed the idea of the film star, developing out of the keystone cops
5.1.4. Dealing with transition to the machine age
5.1.4.1. Fascination with mechanical objects
5.1.4.1.1. Visualises the development of technology from the end of the 19th century into the 20th parodying the rise of consumer culture
5.1.4.2. Development of modernist artistic style characterised by rapid industrialisation
5.1.4.2.1. A break from previous traditional art forms in search of new forms of expression
5.1.4.2.2. Picasso cubist style in the house in one week and the influence of rube goldberg's cartoons influence over the duel functionality in the scarecrow house
5.1.5. This is a silent film movement
5.1.5.1. Meaning its cultural contexts has led to its specific typical narrative and conforms to the movemenbts characteristics
5.2. Social Contexts
5.2.1. 1920's prohibition
5.2.1.1. Purchasing of alcohol is illegal, brings about the rise of gang culture, evident in the high sign
5.2.2. Women suffrage
5.2.2.1. Develops in the 1920's and referenced in multiple keaton two reelers, like the intertitles in the scarecrow
5.2.3. Dealing with the transition to the machine age
5.2.3.1. See above
5.2.4. Housing crises as a result of migration rise
5.3. Production context
5.3.1. No set synchronised score, however audiences would never watch in silence
5.3.1.1. Audio would play along to heighten and emphasise comedy
5.3.2. Always produced by Joseph M Schenk
5.4. Representations
5.4.1. Women function as romantic interests and are integral to the plot
5.4.1.1. Keatons wife in one week is both his equal and foil to his gags
5.4.1.1.1. Hence proving women retain a certain amount of independane in his films
5.5. Auteur Characteristics
5.5.1. Characters lack biological origin
5.5.1.1. Suggests keaton wants the audience to focus on the present with no historical distractions
5.5.2. Keaton does not conform to traditional narrative closure
5.5.2.1. He does not use a three act structure hence subverting the conventions of narrative structure
5.5.3. Role of the clown
5.5.3.1. Keatons personal is unknowable, like that of a clowns (deadpan expression)
6. 2.Specialist Study Area: Critical Debates
6.1. Andre Bazin
6.1.1. Began the realist vs expressive debate in the 1940's
6.1.1.1. He beleieved filmmakers had a moral duty to be realist in their art
6.2. Realist
6.2.1. Characteristics
6.2.1.1. Limited role of the filmmaker with visual aesthetic representing the natural world
6.2.1.1.1. Allows room for spectator to reflect
6.2.2. Examples
6.2.2.1. Lumiere Brothers
6.2.2.1.1. French inventors and pioneers of photographic equipment
6.2.3. Realism and keaton
6.2.3.1. Use of outdoor locations, long takes and long shots and use of natural lighting
6.2.3.1.1. Tells story through actions, rather than intertitle cards
6.2.3.2. Spectator is positioned head on eyeline with the character with few canted angles unless to promote emotion
6.2.3.2.1. We are aligned with buster keaton through these methods, alignment is a realist technique
6.2.3.3. Rooted in the real world through references to real life events
6.2.3.3.1. Reference and parody of 'home made' ford advertisement
6.2.3.4. Examples
6.2.3.4.1. Realistic gang violence in the high sign
6.3. Classicism
6.3.1. Middle ground on the realist to expressive spectrum
6.3.2. Idea of Verisimilitude
6.3.2.1. The reality and rules the movie develops at the start
6.3.2.2. The idea that a movie is good regardless of whether it is realist or expressive as long as it doesnt break its verisimilitude
6.3.2.2.1. Hence keeping the audience immersed
6.3.3. Cinema of Attractions
6.3.3.1. The style of cinema prior to use of narratives
6.3.3.1.1. Keatons films lie in between as they show elements of developing narrative features
6.4. Expressive
6.4.1. Characteristics
6.4.1.1. Highly mediated role of the filmmaker with highly constructed visual narrative
6.4.1.1.1. Intends to manipulate the spectator through the way the film is perceived
6.4.2. Examples
6.4.2.1. George Melies
6.4.2.1.1. Early french experimenter the first to film fictional narratives
6.4.3. Expressive and keaton
6.4.3.1. Elaborate mechanised sets with physical stunts defying logic
6.4.3.1.1. Foreground genre conventions (sybil breaking fourth wall in one week)
6.4.3.2. Use of machinery highly constructed
6.4.3.2.1. The rotating house in one week develops picasso style cubic expressionism
6.4.3.3. Busters 'flat world'
6.4.3.3.1. The idea if we cant see the characters then the characters cant see each other
6.4.3.4. keatons two reelers exist in a real world in which expressive things can occur
6.4.3.4.1. One week house
6.4.3.5. UPDATED Example
6.4.3.5.1. One weeks usage of barrels to move house
7. 3. One Week (1920)
7.1. Narrative
7.1.1. Narrative is divided by intertitle cards
7.1.1.1. Broken into days with the hurricane occuring on friday 13th
7.1.2. Unconventional narrative
7.1.2.1. The marriage occurs at the start, where we would expect it at the end
7.1.3. Foregrounding film form
7.1.3.1. Sibil acknowledges the camera and breaks fourth wall before she gets out of the bath
7.1.3.1.1. Keaton is exposing the illusion of cinema with the cameramans hands covering the lens interrupting narrative flow
7.1.4. Omniscient narration
7.1.4.1. For example we know the train is coming before keaton does
7.1.4.1.1. We always know more than the character itself does
7.2. Context
7.2.1. Parody of the ford motor company documentary called 'Home Made' released in 1919
7.2.1.1. An educational short about prefabricated housing
7.2.1.1.1. Parallels can be drawn through the wedding at the start and the driving of the model T car
7.2.2. In 2008 one week was added to the library of congress's national film registry
7.2.2.1. Marks it as a historically significant piece of work to be preserved for all time
7.3. Hurricane Sequence
7.3.1. Cinematography
7.3.1.1. Use of wide shots to demonstrate lack of symmetry in the cubist house
7.3.1.2. Keaton is framed centrally
7.3.1.3. Rare usage of low angle shot
7.3.1.3.1. Shows the water coming through the roof of the house
7.3.2. Mise-En-Scene
7.3.2.1. Characters dressed formally for the housewarming gathering
7.3.2.1.1. Emphasises the irony when the hurricane hits
7.3.2.2. House rotates on a turntable acting as a metaphor for the dangers of married life and acting almost as if it is a character
7.3.2.2.1. On wednesday the house has a cubist appearance
7.3.2.2.2. House acts as a metaphor for keatons masculinity, as he fails to complete 'basic' tasks
7.3.2.3. Use of mechanical comedy with focus on gadgets and props
7.3.2.3.1. Props take on a life of their own mimicking his chaotic persona
7.3.2.4. Keaton is diminished by the mise-en-scene emphasising how he is a small man dominated by a larger world
7.3.3. Editing
7.3.3.1. Intertitles and use of iris shots as per the start of a new day
7.3.3.1.1. With intertitles taking on a largely functional usage driving the narrative with the hurricane beginning on friday 13th
7.3.3.2. Use of crosscutting between the interor of the house spinning in the hurricane and the ouside
7.3.3.2.1. Develops the narrative alongside the threat of the hurricane
7.3.3.3. 'Sly' cuts are used to to cut between footage and calendar pages
7.3.3.3.1. Along with use of continuous editing
7.4. Train Sequence
7.4.1. Cinematography
7.4.1.1. Use of long shots coupled with long takes to allow the audience to digest the gag
7.4.1.1.1. Encourages the audience to look around the frame and spot the joke for themselves
7.4.1.2. Use of long shots emphaisises emotion in the sequence and develops tension as the train approaches
7.4.1.3. Shot outdoors enabling audience to engage with keatons environment
7.4.1.3.1. Building tension as the use omniscient narration allows for the audience to acknowledge the dangers of the forthcoming train
7.4.2. Mise-En-Scene
7.4.2.1. The house, now positioned on the track, mimicks that of a human face further emphasising metaphor for struggles of married life
7.4.2.1.1. The gag then subverts the audience expectations by developing a sense of relief before destroying it
7.4.3. Editing
7.4.3.1. Crosscutting to the train when keaton and sibil begin moving the house
7.4.3.1.1. Builds tension
7.4.3.2. Long takes in this sequence begin to restrict the narrative
7.4.3.2.1. The audience begins to wonder where the train is and whether keaton is to escape it
7.4.4. Performance
7.4.4.1. A slapstick gag that relies on keatons deadpan expression