Meaning and Response: Representation and Aesthetics in Buster Keaton Short Films
Questions in the exam could focus specifically on either representations (of individuals, but more likely on social groups in terms of age, gender, ethnicity or class - though this last area isn't prescribed by the exam board) found in Buster Keaton's short films or the aesthetics (the look or the style of the films) of Keaton's work. Answers to questions on representation or aesthetics may be dominated by discussion of elements of film language (such as cinematography, mise-en-scene, editing or performance) and will in all likelihood make reference to contexts, silent film and American silent film comedy. Representations and aesthetics are also likely to form a substantial part of any essay on the critical debate studied for silent cinema - the realist and the expressive. To refresh your memory about the key ideas surrounding meaning and response, representation and aesthetics, 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.
REMEMBER that the representations of individual characters, social groups and places are achieved through the use of film language - and much of what we have discussed regarding elements of mise-en-scene, cinematography, performance and even editing and sound will definitely be useful in this essay.
REMEMBER also that much of what has been discussed in relation to film language will form the backbone of any essay on aesthetics - so it would be useful to first re-read the posts on those areas of film language.
So, some of the points you
have made in the separate sections of film form may be useful when discussing
representation, but you must make sure that you restructure these points so that the emphasis of your discussion focuses specifically on this area. The first argument that you should make when discussing representation is that, most significantly, Keaton’s short films foreground
representational issues regarding gender, rather than age or
ethnicity.
The function of women in the narratives of Keaton’s short films is often as devices of conflict and/or as Keaton’s love interest. In The Scarecrow, for example, the female character is the catalyst for the conflict between the male characters (and the conflict between Keaton's character and the girl's father) and in Cops the female character initiates the plot/the conflict that Keaton has with the police force as he tries to prove himself a worthy businessman (so that he can win the woman's affection). In this regard, you could argue that many of the women in Keaton's short films are presented stereotypically and fulfil a very specific narrative function
The function of women in the narratives of Keaton’s short films is often as devices of conflict and/or as Keaton’s love interest. In The Scarecrow, for example, the female character is the catalyst for the conflict between the male characters (and the conflict between Keaton's character and the girl's father) and in Cops the female character initiates the plot/the conflict that Keaton has with the police force as he tries to prove himself a worthy businessman (so that he can win the woman's affection). In this regard, you could argue that many of the women in Keaton's short films are presented stereotypically and fulfil a very specific narrative function
There are, however, alternative representations of women in Keaton's short films. In One Week,
the actor Sybil Seely who plays Keaton’s wife has a much stronger
role. It is certainly possible to argue that she is presented largely as his equal, as the two characters work together to build and maintain
their house.
Despite this appearance of equality, you may wish to argue however that, at times, the bride still reinforces traditional gender roles (a good example is that she cooks breakfast whilst Keaton's character attempts to build the house, taking on the domesticated role).
As has been commonplace throughout cinematic history, the bride is also objectified (another stereotypical female representation). In the scene where the bride takes a bath, Keaton uses the camera voyeuristically; as the bride drops her soap whilst bathing, a hand comically appears and covers the lens of the camera as if to protect the bride's modesty from prying eyes. The bride breaks the fourth wall by smiling at the camera, indicating that she is aware that she is being watched (breaking the fourth wall is a technique that is arguably more common in comedies than any other genre).
Sybil Seely also plays Keaton’s love interest in The Scarecrow (though she has a less significant role in the narrative, simply acting as a means of conflict between the two male protagonists). Here, in a title card, Keaton states “I don’t care how she votes. I'm going to marry her”. This overt reference to the fact that women's rights were changing significantly (as by 1919 most American States had granted women voting rights), suggests that even though Keaton’s films belong to the comedy genre, they often still made important social and political points.
Despite many positive representations of women in Keaton's short films (the female character in The 'High Sign', for example, shows initiative by hiring Keaton's character to act as a bodyguard for her father), it is perhaps best to describe the representation of women in Keaton's work as mixed (sometimes they are presented stereotypically, whereas sometimes they are presented atypically). Keaton's love interest in Cops, for example, is represented as a snobbish, arrogant, cruel gold-digger, in stark contrast to his sweet bride in One Week. In Cops, the female character functions mainly as a one-dimensional plot device, as her rejection of Keaton initiates the various comic mishaps in the narrative.
Despite this appearance of equality, you may wish to argue however that, at times, the bride still reinforces traditional gender roles (a good example is that she cooks breakfast whilst Keaton's character attempts to build the house, taking on the domesticated role).
As has been commonplace throughout cinematic history, the bride is also objectified (another stereotypical female representation). In the scene where the bride takes a bath, Keaton uses the camera voyeuristically; as the bride drops her soap whilst bathing, a hand comically appears and covers the lens of the camera as if to protect the bride's modesty from prying eyes. The bride breaks the fourth wall by smiling at the camera, indicating that she is aware that she is being watched (breaking the fourth wall is a technique that is arguably more common in comedies than any other genre).
Sybil Seely also plays Keaton’s love interest in The Scarecrow (though she has a less significant role in the narrative, simply acting as a means of conflict between the two male protagonists). Here, in a title card, Keaton states “I don’t care how she votes. I'm going to marry her”. This overt reference to the fact that women's rights were changing significantly (as by 1919 most American States had granted women voting rights), suggests that even though Keaton’s films belong to the comedy genre, they often still made important social and political points.
Despite many positive representations of women in Keaton's short films (the female character in The 'High Sign', for example, shows initiative by hiring Keaton's character to act as a bodyguard for her father), it is perhaps best to describe the representation of women in Keaton's work as mixed (sometimes they are presented stereotypically, whereas sometimes they are presented atypically). Keaton's love interest in Cops, for example, is represented as a snobbish, arrogant, cruel gold-digger, in stark contrast to his sweet bride in One Week. In Cops, the female character functions mainly as a one-dimensional plot device, as her rejection of Keaton initiates the various comic mishaps in the narrative.
In any question about
gender it is also worth discussing the representation of men. Silent film
comedians often played child-like and naive characters, which to a large degree
defy or subvert traditional masculine representations.
In One Week, Keaton struggles to conform to tradition masculine roles as he is unable to successfully build a home for his wife, or even able to cope with the most basic of DIY tasks. One typical trait of masculinity is that men are often represented as being in control; the fact that throughout these short films Keaton's character is often unable to control the environment around him and instead relies on luck to get him through, presents him as an atypical male.
Keaton does, however, possess some stereotypically masculine traits, for example, he often uses his physical strength (there are numerous, all-be-it comic, fight scenes in his films) and he performs all of his own stunts. He also demonstrates the more commonly masculine traits (in film narratives) of ingenuity and innovation, shown through the using and building of mechanical objects (particularly in One Week and The Scarecrow).
He is also quick-thinking, which is best exemplified in the chase sequence in the house in The 'High Sign' or where he rigs up the bell to the shooting gallery in the same film as an attempt to prove his skill at shooting to his employer. The fact that much of the comedy in the short films focuses on the physicality of Keaton, is again stereotypically masculine.
In One Week, Keaton struggles to conform to tradition masculine roles as he is unable to successfully build a home for his wife, or even able to cope with the most basic of DIY tasks. One typical trait of masculinity is that men are often represented as being in control; the fact that throughout these short films Keaton's character is often unable to control the environment around him and instead relies on luck to get him through, presents him as an atypical male.
Keaton does, however, possess some stereotypically masculine traits, for example, he often uses his physical strength (there are numerous, all-be-it comic, fight scenes in his films) and he performs all of his own stunts. He also demonstrates the more commonly masculine traits (in film narratives) of ingenuity and innovation, shown through the using and building of mechanical objects (particularly in One Week and The Scarecrow).
He is also quick-thinking, which is best exemplified in the chase sequence in the house in The 'High Sign' or where he rigs up the bell to the shooting gallery in the same film as an attempt to prove his skill at shooting to his employer. The fact that much of the comedy in the short films focuses on the physicality of Keaton, is again stereotypically masculine.
Any question on
aesthetics essentially requires you to discuss the look and or the style of the
films; therefore, much of the information in your notes on film form will be important
in this essay. There is a consistent style across all of Keaton's short films
partly because of genre (they are all American silent film comedies), partly because
they were all made during the silent film era and partly as a result of the
fact that they were all co-directed by Buster Keaton and Eddie Cline (raising the
notion of the films' style being influenced by an Auteur director team); each of these can (and should) be regarded as influences on the films' aesthetics. One key point worth making regarding aesthetics is that all four of Keaton's short films share an aesthetic or style that is typified by symmetry. The
composition of his shots are often carefully balanced on both sides of the
frame, as in the shot above which shows Keaton's character and his love rival around the dining table in The Scarecrow.
Another good example of this use of symmetry can be found in Cops where Keaton’s character straddles a large ladder on top of a fence, balancing precariously, with the police either side trying to pull him down. This symmetry in Keaton's short films almost acts as a counterpoint to the frequent chaos that takes place in the rest of the narrative (or, sometimes, even within the rest of the frame) which is often dominated by chase sequences and acrobatic, physical stunts. This symmetry is emphasised through the framing of shots, through the use of parallel lines (either through props or elements of the setting) and through the use of the iris (which is often used to frame the shot) - all of which are made more prominent as a result of a lack of camera movement and the frequent use of static shots.
What is crucial to discuss in any essay about aesthetics and Keaton's short films is the manipulation of mise-en-scene and, in particular, the way he uses props and locations to form an essential part of his physical comedy. An excellent scene to discuss in terms of aesthetics is the dinner scene towards the beginning of The Scarecrow. The careful composition of the various shots of Keaton and his love rival eating is emphasised with the hanging salt and pepper pots (and the strings that are attached to other condiments and the drinks that they consume). In this scene, the characters sit at the table at either end of the frame, in symmetry, and the hanging pots create horizontal, vertical and diagonal patterns.
Another good example of this use of symmetry can be found in Cops where Keaton’s character straddles a large ladder on top of a fence, balancing precariously, with the police either side trying to pull him down. This symmetry in Keaton's short films almost acts as a counterpoint to the frequent chaos that takes place in the rest of the narrative (or, sometimes, even within the rest of the frame) which is often dominated by chase sequences and acrobatic, physical stunts. This symmetry is emphasised through the framing of shots, through the use of parallel lines (either through props or elements of the setting) and through the use of the iris (which is often used to frame the shot) - all of which are made more prominent as a result of a lack of camera movement and the frequent use of static shots.
What is crucial to discuss in any essay about aesthetics and Keaton's short films is the manipulation of mise-en-scene and, in particular, the way he uses props and locations to form an essential part of his physical comedy. An excellent scene to discuss in terms of aesthetics is the dinner scene towards the beginning of The Scarecrow. The careful composition of the various shots of Keaton and his love rival eating is emphasised with the hanging salt and pepper pots (and the strings that are attached to other condiments and the drinks that they consume). In this scene, the characters sit at the table at either end of the frame, in symmetry, and the hanging pots create horizontal, vertical and diagonal patterns.
Famous film
academic Charles Wolfe, in his book Idols of Modernity, suggests that Keaton's
aesthetic/style directly reflected the style of American art in the 1920s and 1930s (this point would also be useful in a question about cultural context – just as much of
the material in the notes about cultural context would also be useful in a
question about aesthetics). During this period of rising consumerism, the beauty
and simplicity of everyday objects was emphasised in artwork and in
advertisements; this may explain why Keaton's films foreground everyday props, highlighting their functionality and importance. Art during this period
featured geometric shapes and reflected the flourishing/successful industrial age which featured new innovative products and the development of vehicles such as
cars, trains and ships.
Cars and trains, in particular, feature prominently in Keaton’s films and whilst the camera does not move very frequently the movement of these vehicles (and the movement of people within the frame) form a major part of the films' aesthetic/style. The early 1920s (when Keaton was making the short films we have studied) was a period that celebrated the creativity of engineering and was also a period of technological change; these factors clearly influenced the aesthetic of Keaton’s films. Remember, that these last points would also be useful in answering any question related to the influence of cultural context on Keaton's work.
Cars and trains, in particular, feature prominently in Keaton’s films and whilst the camera does not move very frequently the movement of these vehicles (and the movement of people within the frame) form a major part of the films' aesthetic/style. The early 1920s (when Keaton was making the short films we have studied) was a period that celebrated the creativity of engineering and was also a period of technological change; these factors clearly influenced the aesthetic of Keaton’s films. Remember, that these last points would also be useful in answering any question related to the influence of cultural context on Keaton's work.
Typical questions related to both representation and aesthetics can be found below. It is important that you attempt them (at least one on representation and at least one on aesthetics), 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 films and pick appropriate scenes to analyse.
1. With reference to key sequences from your chosen film option, discuss how representations of gender, age or ethnicity reflect the time in which the film (or films) was made.
OR
OR
3. 'Both men and women are often represented stereotypically on film.' How far is this true in the film option you have studied? Make reference to key sequences from the film or films you have watched.
OR
4. 'The style of a film has more of an impact on the spectator than the story itself.' With detailed reference to key sequences from your chosen film option, discuss the importance of aesthetics in creating pleasure for the audience.
OR
5. Discuss how far your chosen film or films reflect aesthetic qualities associated with a particular film movement. Make detailed reference to particular sequences in your answer.
OR
6. To what extent do aesthetic qualities contribute to the impact of your chosen film or films? Refer in detail to specific sequences.
OR
7. Discuss how aesthetics are used to communicate important themes or ideas in your chosen film option. Make detailed reference to particular sequences in your answer.
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