Change silent comedy in film – Buster Keaton and Charlie Chaplin

During the 1910s , a popular comedy shorts preceded most valued characteristics . In the 1920s , however , the comedy became a mass species observed lengths background with stars like Buster Keaton and Charlie Chaplin. The silent film , only by reference to its title, suggests physical dependence burlesque action – comedians. But that alone does not distinguish between the capabilities of silent film comedy . A similar action , but with it , there had been in vaudeville and circus sands . To this end, the silent film actors needed to offer something more to explain his longevity to a generous public , despite the appearance of massive exposure is crucial when taking into account the different specific strategies available means for actors .

The emphasis on the careers of the artists mentioned above offers an explanation of why this relation not only to the environment but also the public , affected his silent-film comic approach . Through analysis of Sherlock Holmes ( 1924 ) , The bobo (1920 ) , and El , a course in film Immigrants ( 1917 ) is offered as a form of artistic representation of time and space that could be manipulated to convey a complicated gag and more sophisticated story . This was achieved by using agents to exclusive technical resources , and the development of a film character who has worked both for and against public expectations .

Before that happens any discussion of this silent film actors specific proposal must first recognize the overall contribution to film artists and the public. Before movies, shows such as circuses and music halls were the main entertainment inexpensive ( Bordwell 3). However, because these performances were live , the constriction of time and space limitations some potential for exposure. For a specific performance , there was a time and place to see it , it would obviously be smaller than an action is described in several places repeatedly crowd.

Similarly, the transport of complete plays in various locations was expensive ( Bordwell 3). The distinctive look of the film was then the ability to cheaply mass exposure . Moreover, the center of the silent film comedy released in the spatial and temporal limits of the staging . It would not be a comedian have a chance to run a successful gag or express concern about the limits of a single locality . In fact , had the ability to capture more complex scenes , including through the use of cinematic devices .

This idea is reflected in Sherlock Jr. Keaton. As Keaton ‘s character , Sherlock Jr. , he falls asleep in the projection booth , which doubles the effect of overlap. This is so that the public knows that the real Sherlock Jr. is asleep , her perfect body becomes the main character and conduct as a gag complex involving cinema itself . This suggests that the public openly realizes lifeless quality actor. In introducing the character of that dream body without life , the viewer is given more reasons to mock the body instead of worrying . In the next scene, Sherlock Jr. (not yet completely absorbed in the film, which tries to enter ) is among the areas to thank a movie already published . While diving on a rock surrounded by the sea , for example , has cut away in a snow bank , his legs up. This is not only impossible to reproduce outside movie sequence , but other qualities comments on the media. The sabotage of the stage with the film cutting techniques applied to public expectations . To this end, the film technology itself becomes the mainstay of the joke.

The chase scene the driver of the motorcycle , which covers the climax of the film is a specific type of gag developed featuring silent films . It is both a show and humorous scene to see Keaton perform his own stunts . For a moment, the safe passage of the bike through a missing part of a bridge is only possible with the support of two trucks passing . This shot was made with the help of a shared screen horizontally. Like the scene in the movie theater , game motorcycle shows how filmic devices are used both complicate and execute various gags .

While the silent film comedians offering specific devices – the choice of the mass – exhibition has allowed the development of a broader consideration of identity within and outside the screen. The enormous attention to Keaton ‘s performance in El bobo reflects the presence not only of a star in the making, but also a specific style of acting that has formed a film identity . Since 1909 , the dramas have sought a way to “auto – action ” in which the actors ” kept their movements in order to focus on gestures and subtle facial expressions ” ( Kramer 281) . However, often the actors turned their increased performance of the camera, the point was a reaction to the immediate audience is laughing ( theater scene Sherlock Holmes) or surprise ( motorcycle chase ) .

In bobo , Keaton characterization becomes a character in a room right Bertie ” too small ” to act as a comic strategy . Keaton ‘s last theatrical way to do this as a strategy rather than a weakness , ” order and subtly expressive effect ” Buster Keaton was the result of its extensive powers of the live stage ( Kramer 281) . As legitimate action juxtaposed with William H. Crane, yield restriction became a comedy that often compromised , as well as comments on the dramatic style of the crane. ( 285 ) For example , the conclusion of the film shows Bertie heard news about the birth of her twins . Crane character , Nick , expressing joy through dance , but Bertie showed no emotional reaction. Keaton’s performance has become a central theme of the film because of it . Critics l ‘ described as a reflection of a bad action, but others have found that an ironic statement Bertie ‘s character as the only hero in the film unwise at this point ( 286 ) . ‘s assuming a product yield and professional satisfaction . For recycled stock style became a trademark Keaton , who developed the character through a series of films , to be known as ” the Great Stone Face ” ( Bordwell 140 ) . His character, because of the notoriety that offers average confusion often rode his personal life. Gossip , because he never smiled , often means a life of love melancholy ( Krämer 287 ) .

Turn the focus Chaplin, his early films also reflect a character connected to the traditions of a community performing arts . As an employee of Mack Sennett at Keystone, Chaplin was initially less aware of his film character . His presence in the film shows a fairly flat Keystone characterized by violence and vulgarity character . It can be seen hitting a man in the mouth with a brick Laughing Gas ( 1914) and a slight to a policeman in a film by Johnnie ( 1914 ) ( Maland 199). Although we found great success with this farce thick , several critics hated this promotion primitive could positively influence the masses , and to develop the art of silent film ( 204 ) . Chaplin has responded to criticism of vulgarity through reflection on its past:

It is because of my training and experience … working on my young son acting vulgarities … This crude form of farce and slapstick comedy … was due solely to my music-hall environment early, and now I try to stay away from this kind of humor and adapt to a more subtle nuance and act well . ( Maland 204 )

Clearly there is a certain level of sophistication desired by the silent movie . As Keaton altered strategy performance , actors united by a vaudevillian past must now rebuild his personality and humor to satisfy the expectations of a new medium.

It is important to recognize the importance of criticism and how this response shows the contribution of a specific product Chaplin silent film actors . The existence of the same test the massive critical attention , not only for the actor as an important figure , but a movie star whose influence must be oriented educational and artistic development. As noted Chaplin , these specific concerns did not exist as live performer . The attention of comedian in the world of silent film has brought the requirements and expectations of greater appeal. Similarly, the support offered to the players a tangible record of their comic transformations , which leads not only to a strong film identity , but also the development of an image of the star in the middle .

As seen through Chaplin ‘s response to criticism of his character, a higher level responsibility was necessary to maintain the comic fame in silent films . It was urgent to explain their artistic choices , while at the same time, be careful not to reduce its popularity ( Maland 204 ) . As announced his ambitions Chaplin comic of the same magnitude , a level of care outside of the film formed . While the actor has acquired the ability to be influenced by the film ( such as critical otherwise) , are equally driven by the attraction of the audience , while the film silently worked to a certain artistic level , which was last instance , a commercial product . Non-profit , the actor is no longer continued to work in film. Therefore, the image of star actors associated with the proposed source of advertising essential for sustainability film . Throughout 1915 Chaplin ‘s image was operated by the Journal of Film , several cartoons and clothing (203 ) . This gave him a level of fame beyond the average , and the responsibility to consolidate the gains.

The continuing popularity and profits are crucial for artists in the medium of silent film . The actors needed to follow the desires of your audience to remain in the film, through this , they were forced to a greater awareness of their characters and style of humor. Silent film actors offer the opportunity to develop a story that is complemented by his gags . Through the study of Chaplin The Immigrant , let’s see how the previous reviewer motivated Chaplin silent film consider a sharper eye . The film does not contain a character based on the vulgarity and violence , but a comic character that represents the romance and goodness ( Maland 205 ) . This ” subtle nuance and doing well ” is complemented by his wit, with humor ( 204 ) .

The original home of silent film , as seen through the previous years of Chaplin and film scene in Sherlock Jr. , was that because the characters do not have a voice , they were closer to inanimate objects.

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