Social, Cultural and Political Contexts of Buster Keaton Short Films
Questions in the exam could focus specifically on the way that social, cultural or political contexts influence the narratives of Buster Keaton's short films, and the ways that audience appreciation of these contexts can enhance their understanding and appreciation of the films. It is unlikely that you will be asked a specific question about political contexts (as Keaton's short films are not political in nature) but answers to questions on social and/or cultural contexts are likely to be dominated by discussion of the consumerist society of 1920s America, the rise in new technologies (exemplified by the increase in mechanical objects, a fascination with vehicles and labour-saving devices) and popular artistic movements of the time. To refresh your memory about the key ideas surrounding these areas, click on the links below.
Remember, questions on social, cultural or political contexts 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.
Keaton's fascination with the workings of mechanical objects can be clearly seen throughout the short films we have studied. This fascination reflects the rise of new industries and the developing consumer culture that was clearly evident within American society from the late 19th century to the early 20th century. Keaton's reflections on these cultural elements of American society are at the heart of many of the narratives of his short films and man's relationship with these new examples of innovation and technology form the basis of much of the comedy in the short films we have studied (reflecting the society and culture of the time).
American society of the 1920’s (when the films we have watched were released) was one of increased consumerism and advertisers began to link the products they were trying to sell to idealised lifestyles (the products, advertisers claimed, would make citizens' lives infinitely better). Many of Keaton's short films made at least passing references to this and therefore reflected elements of the society in which his films were made.
Keaton, for example, developed the idea for One Week after viewing a Ford Motor Company documentary called Home Made. The documentary demonstrated how Ford workers could build
their own prefabricated homes. In One Week Keaton attempts to construct the ideal home for him
and his new bride (that they have received as a wedding gift), so that they can live the perfect lifestyle that is promoted by
these kind of companies and the adverts that were so prevalent at the time.
However, Keaton’s inability to successfully build the house undercuts the notion of the idealised lifestyle and essentially questions the benefits of these kinds of products. Here, Keaton is using comedy to make a comment on American society and culture (something that audiences of the time would instantly recognise).
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.
Keaton's fascination with the workings of mechanical objects can be clearly seen throughout the short films we have studied. This fascination reflects the rise of new industries and the developing consumer culture that was clearly evident within American society from the late 19th century to the early 20th century. Keaton's reflections on these cultural elements of American society are at the heart of many of the narratives of his short films and man's relationship with these new examples of innovation and technology form the basis of much of the comedy in the short films we have studied (reflecting the society and culture of the time).
American society of the 1920’s (when the films we have watched were released) was one of increased consumerism and advertisers began to link the products they were trying to sell to idealised lifestyles (the products, advertisers claimed, would make citizens' lives infinitely better). Many of Keaton's short films made at least passing references to this and therefore reflected elements of the society in which his films were made.
However, Keaton’s inability to successfully build the house undercuts the notion of the idealised lifestyle and essentially questions the benefits of these kinds of products. Here, Keaton is using comedy to make a comment on American society and culture (something that audiences of the time would instantly recognise).
The short films
depict Keaton’s character as both confused and fascinated by this new mechanical
world of consumer contraptions. The house in The Scarecrow, for example, is a reference to the comic illustrations by the American illustrator Rube Goldberg (one of his illustrations can be found at the top of this post), who drew characters surrounded by crazy contraptions as a comment on the ways that devices that were designed to improve people's lives often simply confused people and, conversely, complicated their lives. In The Scarecrow Keaton’s adaptation of the house with crazy
contraptions, that often have multiple functions, show the innovative practicality of the inventive adaptation of normal household items BUT also often lead to utter confusion for the
people who live in the house. Keaton obviously emphasises this confusion, and the resulting mishaps, for
comic purposes, but the films would have reflected society's attitudes to this
new, contemporary mechanised world. The best comedy is often simply just an exaggerated version of reality, and Keaton's presentation of devices that are intended
to simplify our lives often only end up confusing and complicating them.
Culturally, Cubism was an
influential artistic movement of the time and it is clear to see the influence of this movement in many of Keaton's short films, most obviously in One Week. Famous artists such as Pablo Picasso
would break objects down into distinct areas and forms, creating abstract and
fragmented images.
Keaton references Cubism in One Week for comic affect, as the house he builds takes on a Cubist form resembling an abstract, angular face. The roof takes on the appearance of a tiny hat, the windows resemble eyes (that are noticeably askew) and the front porch takes the form of a mouth with large teeth. The reflection of this artistic style in One Week ties the film to an important area of popular culture of the time.
Keaton references Cubism in One Week for comic affect, as the house he builds takes on a Cubist form resembling an abstract, angular face. The roof takes on the appearance of a tiny hat, the windows resemble eyes (that are noticeably askew) and the front porch takes the form of a mouth with large teeth. The reflection of this artistic style in One Week ties the film to an important area of popular culture of the time.
Keaton was also
fascinated with modes of transport, reflecting a general societal fascination at
the time with motor cars and locomotive trains (relatively new inventions that
reflected a rise in consumer culture and advancements in mechanics and
technology). The famous Ford motor car, the Model T, was manufactured between
1908-1927 (a car which dominated the marketplace) had opened up the possibility of
motor transport to middle-class Americans; a perfect lifestyle, the adverts suggested, required a
motor car. Keaton's short film One Week, for example, features multiple gags involving cars and other
forms of transport such as motorcycles.
The climatic joke that ends the film features a motor car; as Keaton tries to pull his badly-built house to the plot of land where it should have been located, the house gets stuck on a railway line and a steam locomotive hurtles through the house, destroying it. Another of Keaton's short films, The 'High Sign', begins with Keaton being kicked off a locomotive and Cops involves multiple jokes featuring cars. At the time the films were made, locomotives were associated with modernity (new, innovative, modern life) speed and efficiency, but also romance and danger. Trains, in particular, featured heavily in silent cinema reflecting society's attempts to understand, and adapt to, modern life.
The climatic joke that ends the film features a motor car; as Keaton tries to pull his badly-built house to the plot of land where it should have been located, the house gets stuck on a railway line and a steam locomotive hurtles through the house, destroying it. Another of Keaton's short films, The 'High Sign', begins with Keaton being kicked off a locomotive and Cops involves multiple jokes featuring cars. At the time the films were made, locomotives were associated with modernity (new, innovative, modern life) speed and efficiency, but also romance and danger. Trains, in particular, featured heavily in silent cinema reflecting society's attempts to understand, and adapt to, modern life.
Typical questions related to the influence of social and cultural contexts on Keaton's films can be found below. It is important that you attempt them, combining the notes above (and those found in the posts on silent cinema and American silent film comedy) 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.
One important point to remember is that exam questions may include the term political context alongside social and cultural contexts - don't worry, just ignore political context and focus on the other two!
1. Discuss how far your chosen film or films reflect the social, cultural or political contexts of the time. Make detailed reference to particular sequences in your answer.
OR
OR
3. 'Knowing more about a film's social and/or cultural contexts can enhance your appreciation and understanding of that 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. 'Films are always shaped by their social and cultural contexts.' With detailed reference to key sequences, discuss your chosen film option in relation to this statement.
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