Buster Keaton Short Films: Editing
Questions in the exam could focus specifically on the ways in which editing (transitions and pace) creates meaning for audiences BUT a number of other types of questions may require you to make reference to editing - even if the term is not in the title.
Answers to questions on representation or aesthetics may include discussion of editing techniques and you should mention editing 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 editing, click on the links below.
Remember, questions on editing 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.
Compared to modern cinema, the editing in Buster Keaton's short films is relatively straightforward and simplistic, generally following the patterns of continuity editing. As is typical of American silent film comedy, the editing is structured so that it develops the physical gags, building up to the punchline for the audience.
A good example of this can be found in the opening shots of Cops, where the framing of the shots and the editing, in particular, creates the gag. At first the medium shot of Keaton’s character, clinging to the bars, leads the audience to believe that he is in prison. In this two shot he is in the background behind the bars, whilst the woman he admires is in the foreground, in front of the bars, as if visiting him in jail.
When the director cuts to a long shot/extreme long shot from behind Keaton, it is revealed to the audience that his character is in fact behind the bars of a large garden gate of a huge estate; he is actually on the outside and the girl he is trying to impress is actually on the inside. This shot demonstrates how Keaton’s character is “locked out” from the wealthy world the young woman he admires inhabits, and it is this exclusion that is the catalyst for his actions throughout the rest of the narrative as he attempts to make enough money so that he can prove to the woman that he can be a successful businessman. This is an excellent example of editing being used to facilitate a joke, and it is fine for you to use this as an example in any essay on editing. I would suggest, however, that you find one or two other examples of editing being used to deliver the punchline of a gag from either this or the other Keaton films we have seen.
Another good example is the scene in One Week where Keaton tries to drag the piano into the house using a pulley attached to the ceiling, firing a man in the room upstairs through the roof (the editing creates the expectation that this will happen before the audience actually see the incident).
Answers to questions on representation or aesthetics may include discussion of editing techniques and you should mention editing 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 editing, click on the links below.
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.
Compared to modern cinema, the editing in Buster Keaton's short films is relatively straightforward and simplistic, generally following the patterns of continuity editing. As is typical of American silent film comedy, the editing is structured so that it develops the physical gags, building up to the punchline for the audience.
A good example of this can be found in the opening shots of Cops, where the framing of the shots and the editing, in particular, creates the gag. At first the medium shot of Keaton’s character, clinging to the bars, leads the audience to believe that he is in prison. In this two shot he is in the background behind the bars, whilst the woman he admires is in the foreground, in front of the bars, as if visiting him in jail.
When the director cuts to a long shot/extreme long shot from behind Keaton, it is revealed to the audience that his character is in fact behind the bars of a large garden gate of a huge estate; he is actually on the outside and the girl he is trying to impress is actually on the inside. This shot demonstrates how Keaton’s character is “locked out” from the wealthy world the young woman he admires inhabits, and it is this exclusion that is the catalyst for his actions throughout the rest of the narrative as he attempts to make enough money so that he can prove to the woman that he can be a successful businessman. This is an excellent example of editing being used to facilitate a joke, and it is fine for you to use this as an example in any essay on editing. I would suggest, however, that you find one or two other examples of editing being used to deliver the punchline of a gag from either this or the other Keaton films we have seen.
Another good example is the scene in One Week where Keaton tries to drag the piano into the house using a pulley attached to the ceiling, firing a man in the room upstairs through the roof (the editing creates the expectation that this will happen before the audience actually see the incident).
The pace of the editing of in Buster Keaton's short films has been manipulated for precise comic timing. Chase sequences (such as the dog chasing Keaton in The Scarecrow or multiple scenes when the police force are chasing Keaton in Cops), for example, are edited quickly, to create a sense of urgency and intensity for the audience, alongside creating a sense of action (particularly important as the camera movement is almost non-existent in many of these scenes).
Conversely, Keaton often uses slow editing (the long takes proving particularly effective in allowing the audience to see the gag develop), for example when he is building to the punchline of his physical gags (creating tension, almost making the audience wait for the pay-off) or when he wants the gag to develop in the background of the shot (for example, when Keaton runs around the corner of a street in Cops and it is revealed that the entirety of the Los Angeles police force is chasing him or in The Scarecrow, where Keaton's character, dressed as a scarecrow, kicks the girl's father causing a fight between him and Keaton's love rival).
Conversely, Keaton often uses slow editing (the long takes proving particularly effective in allowing the audience to see the gag develop), for example when he is building to the punchline of his physical gags (creating tension, almost making the audience wait for the pay-off) or when he wants the gag to develop in the background of the shot (for example, when Keaton runs around the corner of a street in Cops and it is revealed that the entirety of the Los Angeles police force is chasing him or in The Scarecrow, where Keaton's character, dressed as a scarecrow, kicks the girl's father causing a fight between him and Keaton's love rival).
Keaton often employs other editing techniques in his films, such as crosscutting. Crosscutting is an editing technique used to create suspense and tension in genres such as horror films and thrillers, but can also be a very effective technique when developing comedy. A good example of crosscutting being used for comic purposes in Keaton's short films can be found in The 'High Sign' where Keaton’s character (who is clearly incompetent on the rifle range) uses a dog to ring a bell he has rigged up outside every time he fires a shot at a target. The director crosscuts back and forth repeatedly from Keaton pressing the pedal (inside the shooting gallery) to outside where the rope attached to the pedal moves the bone which the dog lunges towards (ringing the bell the dog is attached to). The pace of the crosscutting, increases dramatically, particularly when the dog spots a cat and chases after it (bringing the punchline of the extended physical joke).
One other noticeable editing technique that was common during the silent era, but is rarely used today, is the iris shot. With an iris, the frame is partially obscured (usually around the edges of the frame) by a circular mask, which draws the audience's attention to whatever is in the circle. When an iris is used in this way, it acts much like a close up.
This technique is frequently used in One Week to signal the end of a scene (where the iris will close until the screen is black) and particularly the beginning of a new scene, where the audience see a date on a calendar representing a new day and signalling the passing of time.
Iris shots are also used throughout many of Keaton’s short films to emphasise the importance of certain characters or to draw attention to facial expressions or significant props.
Typical questions related to editing 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. 'Editing 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 editing is used to enrich meaning in your chosen film option. Make detailed reference to particular sequences in your answer.
This technique is frequently used in One Week to signal the end of a scene (where the iris will close until the screen is black) and particularly the beginning of a new scene, where the audience see a date on a calendar representing a new day and signalling the passing of time.
Iris shots are also used throughout many of Keaton’s short films to emphasise the importance of certain characters or to draw attention to facial expressions or significant props.
Typical questions related to editing 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. 'Editing was central to the visual storytelling of silent cinema.' Discuss this statement with reference to key sequences from your chosen film option.
OR
OR
3. With close reference to key sequences from your chosen film option, analyse how editing is used to create meaning for the audience.
Comments
Post a Comment