Buster Keaton Short Films: Performance
Questions in the exam could focus specifically on the ways in which performance creates meaning for audiences (this is particularly important with regards to silent films, and silent film comedy in particular) BUT a number of other types of questions may require you to make reference to performance - even if the term is not in the title.
Answers to questions on representation or aesthetics will certainly include discussion of performance and you should mention performance in essays about institutional context (in any discussion of silent cinema or silent film comedy) and the critical debate studied for silent cinema - the realist and the expressive. To refresh your memory about the key terms for performance, click on the links below.
Remember, questions on performance 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.
As Buster Keaton’s short films were made in the era of silent cinema, performance was frequently exaggerated to emphasise the emotions or the responses of characters, and to create meaning in the absence of sound (which is so often used to direct an audience's emotional response). It is therefore highly likely that at least one of the questions in the exam will focus on performance, or that discussion of performance will form a significant part of any answer to a question on representation, aesthetics, mise-en-scene, cinematography, contexts ( institutional, social and cultural) and the specialist study area - the realist and the expressive. Remember, that these films belong to the American silent film comedy movement and that one of the key conventions of this movement is the use of physical comedy to provoke a response from the audience.
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.
As Buster Keaton’s short films were made in the era of silent cinema, performance was frequently exaggerated to emphasise the emotions or the responses of characters, and to create meaning in the absence of sound (which is so often used to direct an audience's emotional response). It is therefore highly likely that at least one of the questions in the exam will focus on performance, or that discussion of performance will form a significant part of any answer to a question on representation, aesthetics, mise-en-scene, cinematography, contexts ( institutional, social and cultural) and the specialist study area - the realist and the expressive. Remember, that these films belong to the American silent film comedy movement and that one of the key conventions of this movement is the use of physical comedy to provoke a response from the audience.
Keaton’s nickname was
“the great stone face”, due to his dead-pan expression which showed very little
emotion. Keaton developed this technique as a result of performing in vaudeville shows as a child with his family, as he noticed that when he remained expressionless at the end of a gag the audience seemed to find it funnier. His dead-pan (almost emotionless) persona, which became his trademark, differentiated Keaton from other comedians of the time, such as Charlie Chaplin, who used a range of exaggerated facial expressions to
heighten the comedy.
Keaton’s facial
expression are emphasised through the choice of camera shots (typically medium shots, medium close
ups and close ups) and through the use of the iris as an editing technique (which often draws attention to facial expressions).
Throughout these short films Keaton uses his large eyes to present emotion; his
face and eyes imply a degree of innocence to the audience as he seems unmoved and
unaffected by the often hostile events taking place in the world around him (he is an 'everyman' character, with this persona designed to appeal to as wide an audience as possible).
Keaton's more subtle performance style (under-exaggerated) was typical of a new trend in silent cinema from roughly 1912 onwards, which aimed for greater verisimilitude even in the more physical genre of silent film comedy (this would be a good counterpoint to make in any essay you write on the realist and the expressive, where it is likely that you will state that Keaton's films, and silent film comedy more generally, fall into the expressive category). Actors began to mimic everyday human responses in a slightly more realistic fashion which contrasted with the histrionic style (over the top) popular in the early days of silent cinema, where actors used broad and exaggerated movements that bore no relation to how people responded in real life.
Keaton's more subtle performance style (under-exaggerated) was typical of a new trend in silent cinema from roughly 1912 onwards, which aimed for greater verisimilitude even in the more physical genre of silent film comedy (this would be a good counterpoint to make in any essay you write on the realist and the expressive, where it is likely that you will state that Keaton's films, and silent film comedy more generally, fall into the expressive category). Actors began to mimic everyday human responses in a slightly more realistic fashion which contrasted with the histrionic style (over the top) popular in the early days of silent cinema, where actors used broad and exaggerated movements that bore no relation to how people responded in real life.
Keaton was a physically agile actor who incorporated the acrobatics he developed in vaudeville into his films, performing all of
his own stunts (as many of the most popular silent comedians of the time did). Good example of these physical acrobatics can be found across all of
his films, for instance when Keaton's character in One Week, the groom, repeatedly dives in and
out of the windows of the house as it rotates in the storm, tumbling theatrically over as other house guests knock him down as they are thrown out of the house.
Throughout his films, his body becomes an element of the mise-en-scene, acting almost like a prop as he positions himself within the architecture and setting. A good example of this is where Keaton’s character is being chased by the dog through both a ruined building in The Scarecrow and the house that he shares with his love rival. Here, Keaton leaps through the windows and across the ledges of the building with ease, both exciting the audience and creating humor (a similar technique is used during the chase sequence through August's house in The 'High Sign').
Typical questions related to performance can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. Remember, that this is likely to be a key question related to silent cinema as performance arguably took on extra importance due to an absence of sound (dialogue, in particular). When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. 'Performance 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 performance are used to enrich meaning in your chosen film option. Make detailed reference to particular sequences in your answer.
Throughout his films, his body becomes an element of the mise-en-scene, acting almost like a prop as he positions himself within the architecture and setting. A good example of this is where Keaton’s character is being chased by the dog through both a ruined building in The Scarecrow and the house that he shares with his love rival. Here, Keaton leaps through the windows and across the ledges of the building with ease, both exciting the audience and creating humor (a similar technique is used during the chase sequence through August's house in The 'High Sign').
Typical questions related to performance can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. Remember, that this is likely to be a key question related to silent cinema as performance arguably took on extra importance due to an absence of sound (dialogue, in particular). When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse.
1. 'Performance 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. 'Much of the pleasure that audiences derived from films from the Silent Era comes from the performances of the actors.' With detailed reference to key sequences from your chosen film option, discuss the importance of performance in communicating meaning.
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