Buster Keaton Short Films: Key Scenes
It is important that you refer in detail to key scenes from Buster Keaton's short films in any answer you write in the exam, relating these scenes to the focus topic found in the question (for example cinematography, aesthetics, cultural context, the realist and the expressive). I would suggest learning at least TWO scenes from each of the four films we have studied and committing them to memory in detail, so that you can recall them clearly in the exam.
You will be expected to mention at least two scenes in any answer, from different films - though I would suggest discussing THREE different scenes just to be on the safe side. This means that you would have at least one example for each of the paragraphs you write (if, as I've suggested throughout, you try and split your essay into three different points).
When revising, try to pick scenes from the films which cover a number of topics, for example scenes that may be useful to use in an essay on cinematography but also in other essays on mise-en-scene, aesthetics, contexts or even the Specialist Study Area - the realist and the expressive. This may take a little longer during revision BUT should mean fewer scenes to remember overall.
To help you choose your scenes, re-watch each of the films by clicking on the links below:
Cops
1. The breakfast scene in the house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, irises used for close ups), mise-en-scene (the setting constructed for the purposes of the gags, cleverly constructed studio sets, props that show Keaton's fascination with gadgets and labour-saving contraptions), editing (continuity editing style, long takes/slow editing to allow the gag to develop iris-in/out), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shows the men as atypically domesticated), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including an emphasis on symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly contraptions and gadgets which are multi-functional, reference to the illustrations of Rube Goldberg), and the realist and the expressive (surreal props, cinema being used in a surreal rather than realistic way).
2. The dog chasing Keaton's character around the abandoned building and the house - useful for cinematography (longer shots to show the gag developing, static camera, limited camera movement with the tilt up the ladder, deep focus cinematography, iris for close up), mise-en-scene (the setting constructed for the purposes of the gags - the house with a trapdoor and the multi-functional furniture, constructed studio sets versus location shooting), editing (continuity editing style, long takes/slow editing to allow the gag to develop contrasted with quicker editing during the chase, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypical masculine traits of ingenuity as he avoids being caught by the dog), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the construction of the house), and the realist and the expressive (exaggerated stunts, unrealistic situations such as the dog's behaviour in the abandoned building, cinema being used in a surreal rather than realistic way).
3. Keaton being fired out of the threshing machine and ending up semi-naked - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, iris for close up), mise-en-scene (the setting used for the purposes of the gags, location shooting, costume used to create humour), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's atypically masculine lack of strength and inability to perform DIY and the stereotypicall swooning/fainting of the female love interest when she sees Keaton semi-naked), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, such as the mechanised threshing machine), and the realist and the expressive (exaggerated stunts, surreal props, unrealistic situation, cinema being used in a surreal rather than realistic way).
4. Keaton as the scarecrow - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (location shooting, costume used for comic purposes), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both the masculine physicality as the men fight, stereotypical representation of the love interest with her reaction to Keaton's proposal), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
5. The chase scene and marriage at the film's climax - useful for cinematography (longer shots to show the gag developing, static camera, limited camera movement as the motorcycle moves, deep focus cinematography), mise-en-scene (location shooting), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension, iris-in), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (stereotypically happy ending, with the female character fulfilling her limited narrative role becoming Keaton's wife), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly vehicles), and the realist and the expressive (exaggerated stunts, unrealistic scenario, cinema being used in a surreal rather than realistic way).
1. The opening scene with the over-sized newspaper - useful for cinematography (longer shots to show the gag developing, static camera with movement in the frame to create the illusion of action, deep focus cinematography), mise-en-scene (location shooting, surreal use of props to create the gag), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts contrasted with Keaton's trademark deadpan expression), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, shown through Keaton's arrival by train), and the realist and the expressive (use of surreal props to create the humour, cinema being used in a surreal rather than realistic way).
2. Switching the policeman's gun with a banana and shooting the bottles on the beach - useful for cinematography (longer shots to show the gag developing but also medium shots to show figure behaviour, static camera, deep focus cinematography), mise-en-scene (location shooting, props used for comic effect), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's atypically masculine inability to shoot straight), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy, including the popular character type of the incompetent cop) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
3. Hooking the dog up to the bell in the shooting gallery - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets, innovative use of props), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypically masculine trait of ingenuity), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the creation of the bell-ringing device) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
4. The chase scene with the policeman through the streets - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (location shooting, the use of both props and costume for comic effect), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy, particularly the representation of incompetent cops) and the realist and the expressive (exaggerated stunts, surreal props, unlikely scenarios, cinema being used in a surreal rather than realistic way).
5. The final chase scene with the Blinking Buzzards in August's house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets), editing (continuity editing style, long takes/slow editing to allow the gag to develop, quicker editing as the chase intensifies, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypically masculine ingenuity and physical agility, male characters being presented as violent), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the trapdoors and hiding places that have been built into the house), and the realist and the expressive (exaggerated stunts, surreal props/setting, cinema being used in a surreal rather than realistic way).
I would suggest the following scenes from each film as essential to learn, though you should also pick other scenes of your own choice. If you look carefully at the examples I have given from One Week, you can see how I have picked scenes that could be used whatever the focus of the question. You must try to do the same with the other scenes I have suggested and those that you choose yourselves.
One Week
1. The car journey from the church to the lot where the couple will build their house - useful for cinematography (longer shots to show the gag developing, examples of camera movement), mise-en-scene (the characters' costumes, the props of the vehicles, outdoor locations), editing (continuity editing style), performance (exaggerated stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (characters conforming to stereotypical gender roles - which contrast with some of the representations later and in some of the other films), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly vehicles), and the realist and the expressive (exaggerated stunts, cinema being used in a surreal rather than realistic way).
2. The scene where the man arrives carrying a piano on his shoulder and Keaton attempts to get the piano into the house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the exaggerated prop of the piano, outdoor locations versus constructed studio sets), editing (continuity editing style, iris-in, long takes to allow the gag to develop, crosscutting), performance (exaggerated stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's atypically masculine lack of strength and inability to perform DIY), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
3.The scene with the bride in the bath as Keaton continues to attempt to build the house, before falling into the bathroom - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, iris for close up), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension, iris-out), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's atypically masculine lack of strength and inability to perform DIY and the objectification of the bride whilst she is naked in the bath), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house, Cubist house looking like a surreal face), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
4. The house-warming party, where the house spins in the storm - useful for cinematography (longer shots to show the gag developing, static camera versus camera movement inside the house, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets, change in costume), editing (continuity editing style, long takes/slow editing to allow the gag to develop contrasted with quicker editing as the storm becomes more intense, crosscutting to build tension, iris-out/in), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender with Keaton being atypically ineffective), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house, Cubist house looking like a surreal face), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way shown through the house spinning in the storm).
5. The final scene where the house is hit and destroyed by the locomotive - useful for cinematography (longer shots to show the gag developing with the train arriving in the background, static camera versus camera movement when a pan is used to show the train missing the house, deep focus cinematography, iris for close up on the train), mise-en-scene (location shooting, props of the car and the train), editing (continuity editing style, long takes/slow editing to allow the gag to develop, quicker editing as the couple realise the house is on the train tracks, crosscutting to build tension, iris-in to end), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's failed attempts to find a solution and the bride showing more masculine traits of strength as she tries to push the house), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly modern transport), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
2. The scene where the man arrives carrying a piano on his shoulder and Keaton attempts to get the piano into the house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the exaggerated prop of the piano, outdoor locations versus constructed studio sets), editing (continuity editing style, iris-in, long takes to allow the gag to develop, crosscutting), performance (exaggerated stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's atypically masculine lack of strength and inability to perform DIY), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
3.The scene with the bride in the bath as Keaton continues to attempt to build the house, before falling into the bathroom - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, iris for close up), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension, iris-out), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's atypically masculine lack of strength and inability to perform DIY and the objectification of the bride whilst she is naked in the bath), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house, Cubist house looking like a surreal face), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
4. The house-warming party, where the house spins in the storm - useful for cinematography (longer shots to show the gag developing, static camera versus camera movement inside the house, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets, change in costume), editing (continuity editing style, long takes/slow editing to allow the gag to develop contrasted with quicker editing as the storm becomes more intense, crosscutting to build tension, iris-out/in), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender with Keaton being atypically ineffective), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the building of the house, Cubist house looking like a surreal face), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way shown through the house spinning in the storm).
5. The final scene where the house is hit and destroyed by the locomotive - useful for cinematography (longer shots to show the gag developing with the train arriving in the background, static camera versus camera movement when a pan is used to show the train missing the house, deep focus cinematography, iris for close up on the train), mise-en-scene (location shooting, props of the car and the train), editing (continuity editing style, long takes/slow editing to allow the gag to develop, quicker editing as the couple realise the house is on the train tracks, crosscutting to build tension, iris-in to end), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's failed attempts to find a solution and the bride showing more masculine traits of strength as she tries to push the house), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly modern transport), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
The Scarecrow
1. The breakfast scene in the house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, irises used for close ups), mise-en-scene (the setting constructed for the purposes of the gags, cleverly constructed studio sets, props that show Keaton's fascination with gadgets and labour-saving contraptions), editing (continuity editing style, long takes/slow editing to allow the gag to develop iris-in/out), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shows the men as atypically domesticated), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including an emphasis on symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly contraptions and gadgets which are multi-functional, reference to the illustrations of Rube Goldberg), and the realist and the expressive (surreal props, cinema being used in a surreal rather than realistic way).
2. The dog chasing Keaton's character around the abandoned building and the house - useful for cinematography (longer shots to show the gag developing, static camera, limited camera movement with the tilt up the ladder, deep focus cinematography, iris for close up), mise-en-scene (the setting constructed for the purposes of the gags - the house with a trapdoor and the multi-functional furniture, constructed studio sets versus location shooting), editing (continuity editing style, long takes/slow editing to allow the gag to develop contrasted with quicker editing during the chase, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypical masculine traits of ingenuity as he avoids being caught by the dog), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the construction of the house), and the realist and the expressive (exaggerated stunts, unrealistic situations such as the dog's behaviour in the abandoned building, cinema being used in a surreal rather than realistic way).
3. Keaton being fired out of the threshing machine and ending up semi-naked - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, iris for close up), mise-en-scene (the setting used for the purposes of the gags, location shooting, costume used to create humour), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's atypically masculine lack of strength and inability to perform DIY and the stereotypicall swooning/fainting of the female love interest when she sees Keaton semi-naked), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, such as the mechanised threshing machine), and the realist and the expressive (exaggerated stunts, surreal props, unrealistic situation, cinema being used in a surreal rather than realistic way).
4. Keaton as the scarecrow - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (location shooting, costume used for comic purposes), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both the masculine physicality as the men fight, stereotypical representation of the love interest with her reaction to Keaton's proposal), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
5. The chase scene and marriage at the film's climax - useful for cinematography (longer shots to show the gag developing, static camera, limited camera movement as the motorcycle moves, deep focus cinematography), mise-en-scene (location shooting), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension, iris-in), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (stereotypically happy ending, with the female character fulfilling her limited narrative role becoming Keaton's wife), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, particularly vehicles), and the realist and the expressive (exaggerated stunts, unrealistic scenario, cinema being used in a surreal rather than realistic way).
The 'High Sign'
1. The opening scene with the over-sized newspaper - useful for cinematography (longer shots to show the gag developing, static camera with movement in the frame to create the illusion of action, deep focus cinematography), mise-en-scene (location shooting, surreal use of props to create the gag), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts contrasted with Keaton's trademark deadpan expression), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, shown through Keaton's arrival by train), and the realist and the expressive (use of surreal props to create the humour, cinema being used in a surreal rather than realistic way).
2. Switching the policeman's gun with a banana and shooting the bottles on the beach - useful for cinematography (longer shots to show the gag developing but also medium shots to show figure behaviour, static camera, deep focus cinematography), mise-en-scene (location shooting, props used for comic effect), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through Keaton's atypically masculine inability to shoot straight), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy, including the popular character type of the incompetent cop) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
3. Hooking the dog up to the bell in the shooting gallery - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets, innovative use of props), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypically masculine trait of ingenuity), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the creation of the bell-ringing device) and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
4. The chase scene with the policeman through the streets - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (location shooting, the use of both props and costume for comic effect), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy, particularly the representation of incompetent cops) and the realist and the expressive (exaggerated stunts, surreal props, unlikely scenarios, cinema being used in a surreal rather than realistic way).
5. The final chase scene with the Blinking Buzzards in August's house - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the setting constructed for the purposes of the gags, constructed studio sets), editing (continuity editing style, long takes/slow editing to allow the gag to develop, quicker editing as the chase intensifies, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's stereotypically masculine ingenuity and physical agility, male characters being presented as violent), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the trapdoors and hiding places that have been built into the house), and the realist and the expressive (exaggerated stunts, surreal props/setting, cinema being used in a surreal rather than realistic way).
Cops
1. The opening scene where it appears Keaton is behind bars - useful for cinematography (a mix of closer and longer shots to show the gag developing, static camera, deep focus cinematography), mise-en-scene (the setting used for the purposes of the gags, location shooting, setting indicating class differences), editing (continuity editing style, long takes/slow editing to allow the gag to develop, iris-in at the beginning of the scene), performance (exaggerated figure behaviour contrasted with Keaton's trademark deadpan expression), representation (negative representation of gender, shown through the presentation of the female character as being driven by money), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to the class divide in society at the time, highlights the importance of consumerism and money as a means of emphasising status), and the realist and the expressive (the 'trick' use of the setting).
2. Keaton driving the horse and cart through the streets of Los Angeles - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, movement within the frame alongside, for the time, quite extensive camera movement), mise-en-scene (location shooting, props used for comic effect), editing (continuity editing style, long takes/slow editing to allow the gag to develop), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (masculine trait of ingenuity), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy), social/cultural context (relates to society's fascination with new technology, contraptions and gadgets, shown through the creation of the boxing glove-indicator, uses a horse and court rather than more modern transportation), and the realist and the expressive (exaggerated stunts, surreal props, cinema being used in a surreal rather than realistic way).
3. The parade scene with the bomb - useful for cinematography (longer shots to show the gag developing and to show the size of the parade, static camera, found/existing footage of the parade, deep focus cinematography, limited camera movement), mise-en-scene (location shooting, props used for the purposes of the gags), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension), performance (exaggerated figure behaviour of Keaton and, particularly, the cops, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy, particularly policemen being represented as incompetent) and the realist and the expressive (exaggerated stunts, exaggerated and unrealistic scenario, cinema being used in a surreal rather than realistic way).
4. The chase scene through Los Angeles including the stunt on the ladder - useful for cinematography (longer shots to show the gag developing, static camera, deep focus cinematography, iris for close up), mise-en-scene (location shooting, props setting and costume used for the purposes of the gags), editing (continuity editing style, long takes/slow editing to allow the gag to develop, quicker editing to create intensity during the chases, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through both Keaton's ingenuity and the police force's physical strength), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films, including symmetry), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy) and the realist and the expressive (exaggerated stunts, surreal props and use of setting, cinema being used in a surreal rather than realistic way).
5. The film's ending where Keaton is rejected by the girl and arrested - useful for cinematography (longer shots to show the gag developing, static camera, lots of movement in the frame rather than camera movement to create a sense of the intensity of the chases, deep focus cinematography), mise-en-scene (location shooting, costume used for comic purposes), editing (continuity editing style, long takes/slow editing to allow the gag to develop, crosscutting to build tension), performance (exaggerated figure behaviour, stunts, pratfalls contrasted with Keaton's trademark deadpan expression), representation (representation of gender shown through the love interest's rejection of Keaton), aesthetics (contains many of the aspects - mentioned above - that are typical of the look/feel of Keaton's films), institutional context (contains many of the hallmarks or conventions of the film movement American silent film comedy) and the realist and the expressive (exaggerated stunts, unrealistic scenario, cinema being used in a surreal rather than realistic way).
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