Buster Keaton Short Films: Cinematography
Questions in the exam could focus specifically on the ways in which cinematography (camerawork and lighting) creates meaning for audiences BUT a number of other types of questions may require you to make reference to cinematography - even if the term is not in the title. Answers to questions on representation or aesthetics may be dominated by discussion of elements of cinematography and you should mention both camerawork and lighting in essays about institutional context and the critical debate studied for silent cinema - the realist and the expressive. To refresh your memory about the key terms for cinematography, click on the links below.
Remember, questions on cinematography will require you to discuss, in detail, certain scenes from at least two of the short films studied - so make sure you have at least two scenes from two different short films that you can recall in detail. In reality (time permitting) it would be a good idea to also mention another scene from a third short film.
Opening and closing scenes are always useful to know in detail but try to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in the short films. To re-familiarise yourself with the Buster Keaton short films, click on the links below.
One area of cinematography that you should certainly discuss in relation to the Buster Keaton short films is camerawork. Typical of silent cinema of the period, the camera movement is relatively limited (certainly compared to more recent cinema that you will be more familiar with). With American silent film comedy, this limited camera movement encourages the audience to focus on the physical performance of the actors and the slapstick comedy.
One notable exception to the conventional static camera movement, however, can be found in One Week (1920). Here the repeated use of a handheld pan (inside the house) as the house spins around in the storm, creates a sense of intensity and urgency, alongside concern for the potential safety of the characters during the house-warming party. This chaotic camerawork (made more chaotic by the fact that it so clearly contrasts with the static camerawork that dominates the rest of the short film) helps position the audience with the characters in the house, enabling us to 'feel' their experiences. Note, however, that many of the shots of Keaton's character outside the house as it spins, are shot from a static camera in extreme long shot.
Opening and closing scenes are always useful to know in detail but try to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in the short films. To re-familiarise yourself with the Buster Keaton short films, click on the links below.
One area of cinematography that you should certainly discuss in relation to the Buster Keaton short films is camerawork. Typical of silent cinema of the period, the camera movement is relatively limited (certainly compared to more recent cinema that you will be more familiar with). With American silent film comedy, this limited camera movement encourages the audience to focus on the physical performance of the actors and the slapstick comedy.
One notable exception to the conventional static camera movement, however, can be found in One Week (1920). Here the repeated use of a handheld pan (inside the house) as the house spins around in the storm, creates a sense of intensity and urgency, alongside concern for the potential safety of the characters during the house-warming party. This chaotic camerawork (made more chaotic by the fact that it so clearly contrasts with the static camerawork that dominates the rest of the short film) helps position the audience with the characters in the house, enabling us to 'feel' their experiences. Note, however, that many of the shots of Keaton's character outside the house as it spins, are shot from a static camera in extreme long shot.
Throughout all of the short films, Keaton uses extreme
long shots and long shots to draw attention to the action within the scenes and the stunts that
are, again, typical of American silent film comedy. These longer shot distances frequently involve the audience's attention becoming focused on aspects of mise-en-scene, such as the props and even
the setting, which then function as an integral part of the comedy; a good example of this can be seen with the frequent extreme long shots of the house in One Week which, with its ever-changing shape, is almost a character in itself.
Remember, it is the choice of shot distance which draws the attention of the audience to these elements of mise-en-scene. A common convention at the time was to shoot chase sequences in long shot or even extreme long shot and this is evident in the chase sequences in Cops (1922) and those found in The Scarecrow (1920). During these chase sequences the camera remains static in long shot or extreme long shot, enabling the audience to clearly see the action taking place within the frame.
Other typical shots in Keaton's short films include medium shots which emphasise characters' facial expressions and body language/figure behaviour as they react to events around them. As is typical of American silent film comedy, these expressions and physical movements are often exaggerated to emphasise the humour.
Remember, it is the choice of shot distance which draws the attention of the audience to these elements of mise-en-scene. A common convention at the time was to shoot chase sequences in long shot or even extreme long shot and this is evident in the chase sequences in Cops (1922) and those found in The Scarecrow (1920). During these chase sequences the camera remains static in long shot or extreme long shot, enabling the audience to clearly see the action taking place within the frame.
Other typical shots in Keaton's short films include medium shots which emphasise characters' facial expressions and body language/figure behaviour as they react to events around them. As is typical of American silent film comedy, these expressions and physical movements are often exaggerated to emphasise the humour.
A particular
convention of silent film is the use of circular masks to draw attention to characters
in close up or medium close up; again, this technique emphasises reaction shots and facial
expressions, which are often the source of much of the humour.
In all of the short
films, Keaton’s character is frequently placed at the centre of the frame. The shots, which are often static, therefore are composed with a clear symmetry and encourage the audience to focus on the ways in which Keaton interacts with the world around him; this type of shot composition is particularly noticeable in One Week as Keaton's character attempts to build the house, which seems to take on a life
of its own. Despite the quite surreal nature of the comedy, most of the shots are
at realistic, conventional straight-on, eye-level angles rather than more expressionist
disorientating canted angles. These realistic, conventional angles are used so as not to distract from the action taking place within
the shot. Remember, that in American silent film comedy the focus is always on the physical
comedy/action.
Throughout Keaton’s
films, the director frequently uses deep focus cinematography – this enables the
audience to see everything in both the foreground and the background - which is
particularly important in American silent film comedy as it enables the viewer to witness the gag developing in the background of the frame (when the characters are unaware of it). A
good example of deep focus being used in One Week is where the audience can see a train in the
background hurtling towards the house that Keaton’s character has built that
has become stuck on the railway track. Keaton's character is oblivious to the impending crash, yet the audience are put in a more privileged position, expecting the crash to happen. One of Keaton’s trademarks as both a performer and director is his use
of cinematic space to build up a physical gag before the punchline.
Another area of cinematography that you should certainly discuss in relation to the Buster Keaton short films is lighting. All four of Keaton’s short films we have studied use what was described at the time as flat lighting. Flat
lighting has little shadow and creates an even, bright look (an aesthetic particularly appropriate for the
comedy genre, leading the audience to believe that, despite various mishaps, the
narrative will end positively for the characters). This type of lighting was
very common in American silent film comedy as it enabled the audience to look
around the frame and see Keaton's character interact with the environment. In conjunction
of the use of deep focus cinematography (discussed earlier), it helps the audience see the gags develop in the
background.
Many of Keaton’s films where shot during daylight hours (typical of filming in the early 1920s, before the development of the Studio Era and the building of studio sets and the development of lighting systems that allowed filmmakers more freedom to film at night). Therefore, the majority of scenes in Keaton’s films are shot using natural light.
Typical questions related to cinematography can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. 'Cinematography was central to the visual storytelling of silent cinema.' Discuss this statement with reference to key sequences from your chosen film option.
2. Explore how aspects of cinematography are used to enrich meaning in your chosen film option. Make detailed reference to particular sequences in your answer.
Many of Keaton’s films where shot during daylight hours (typical of filming in the early 1920s, before the development of the Studio Era and the building of studio sets and the development of lighting systems that allowed filmmakers more freedom to film at night). Therefore, the majority of scenes in Keaton’s films are shot using natural light.
Typical questions related to cinematography can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. 'Cinematography was central to the visual storytelling of silent cinema.' Discuss this statement with reference to key sequences from your chosen film option.
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