Buster Keaton Short Films: Sound
Questions in the exam could focus specifically on the ways in which sound (particularly music and sound effects, rather than dialogue) creates meaning for audiences BUT a number of other types of questions may require you to make reference to sound (or an absence of sound) - even if the term is not in the title. Answers to questions on representation or aesthetics may include discussion of music or sound effects (or the ways in which the above are shaped by other aspects of film language as a result of a lack of sound) and you should mention sound (or a lack of it) 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 sound, 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.
It is, however, extremely unlikely that you will be asked to write an essay on sound
in relation to Keaton’s short films (a film language question is much more
likely to be on cinematography, mise-en-scene or performance) because the
films were silent, specifically containing no dialogue (which was replaced by intertitles). However, it may be useful to discuss sound briefly in other
questions, such as those related to institutional contexts (where you might choose to discuss Keaton's films in the context of silent cinema).
Although Keaton's short films were silent movies, early film audiences would have experienced film with live musical accompaniment, usually
on a piano but sometimes with a larger orchestra (especially for longer, feature-length films). Keaton’s short would have featured live piano music which would
act non-diegetically, encouraging audiences to read the film/scenes in specific
ways (with the music creating suspense or emphasising the action and comedy).
There is no set, synchronised score for any of the Keaton short films we have studied, therefore the musicians in the movie theatres would play along to the film to heighten the emotion and, in the case of Keaton's short films, emphasise the comedy. These musicians, then, would often choose their own music, which meant that watching the same film in different theatres could be a very different experience for audiences.
Keaton's short films, and silent short films in general, compensate for the lack of audio cues with an exaggeration in performance and an emphasis on the purely visual elements of cinema. Many critics argue that it is this visual exaggeration that gives silent cinema a hypnotic quality, particularly for modern audiences who are so used to their interpretation of events of scenes being guided by music.
There is no set, synchronised score for any of the Keaton short films we have studied, therefore the musicians in the movie theatres would play along to the film to heighten the emotion and, in the case of Keaton's short films, emphasise the comedy. These musicians, then, would often choose their own music, which meant that watching the same film in different theatres could be a very different experience for audiences.
Keaton's short films, and silent short films in general, compensate for the lack of audio cues with an exaggeration in performance and an emphasis on the purely visual elements of cinema. Many critics argue that it is this visual exaggeration that gives silent cinema a hypnotic quality, particularly for modern audiences who are so used to their interpretation of events of scenes being guided by music.
Alongside musical accompaniment, basic sound effects would have been played in the theatres to enhance the action on screen. Again, the exact nature of these sound effects would
differ from theatre to theatre.
Typical questions related to sound can be found below - but, remember, that it is highly unlikely that you would get a question on sound for the silent cinema section in the exam. It is still important that you attempt them (just in case), 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. What you may find is that any question on sound related to silent cinema may require you to discuss other elements of film form in addition to sound.
1. 'Silent cinema was never truly silent.' Discuss this statement with reference to key sequences from your chosen film option.
2. Explore how sound may have been used to enrich meaning for audiences, even during the Silent Era. Make detailed reference to particular sequences in your answer.
Typical questions related to sound can be found below - but, remember, that it is highly unlikely that you would get a question on sound for the silent cinema section in the exam. It is still important that you attempt them (just in case), 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. What you may find is that any question on sound related to silent cinema may require you to discuss other elements of film form in addition to sound.
1. 'Silent cinema was never truly silent.' Discuss this statement with reference to key sequences from your chosen film option.
OR
OR
3. 'Sound was unimportant during the Silent Era of cinema.' With reference to the film option you have studied, assess the validity of this statement. Make detailed reference to particular sequences in your answer.
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