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riffraf

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Everything posted by riffraf

  1. The effect of the POV dolly shots is that “you are there and receiving an abundance of story information”, witnessing the actions and reactions of a very carefully composed sequence of events orchestrated by the director. Hitchcock’s vision captures for the audience the full range of emotions (fear, anxiety, dread) felt by the two schoolmates as they approach the headmaster (stern, authoritarian) and his unrelenting glare within his over elaborate office. I believe Hitchcock uses the POV tracking technique because it is the most effective tool for framing the action, drawing attention to details and moving the story forward while keeping the audience informed. As opposed to a stage play, for example, where the audience has the entire proscenium to gaze upon, a competent film director like Hitchcock uses his camera techniques of well-composed shots, to guide or often force his audience to follow his story and the details they should be focused on or at least need to know for continuity and dramatic effect. The most noticeable connection I see with the film clips we’ve viewed so far would be that the characters are under duress or emotional conflict. In The Pleasure Garden, Patsy the showgirl is dealing with the attentions of an unwanted, overzealous fan while Jill the want-to-be showgirl is the victim of a pickpocket. With The Lodger we are seeing people of the street, police and reporters reacting to a local murder. In The Ring we see Jim, the boxer along with his trainers and managers dealing with his anxiety and insecurities over an upcoming fight. Visually in Downhill, I’m seeing Hitchcock relying on the more fluid, camera dolly shots to accomplish the effect previously created by quick cuts from different positions/angles of the same shot. So the schoolmates dilemma captured within a couple of dolly shots in what would have required numerous static camera set-ups, cutting back and forth to show the boys, the schoolmaster, the office and the girl.
  2. Hitchcock did a number of montage sequences within this clip to add to the vibrant dancers and partygoers’ over the top actions of drinking, dancing and flirtatious moves all around the room. In stark contrast to the well-dressed boxer in the next room contemplating his upcoming bout while worrying about his wife’s fidelity. We are not sure if he is actually seeing his wife becoming intimately close to his rival in the next room or the image of them superimposed over a shot of him is just his imagination getting the best of him. Either way the montage fuels the thought of reckless abandon of the wild crowd partying in the next room and ignites this character’s insecurities. Though the main character is seated and quite reserved in a room adjacent to the party and is not directly involved, Hitchcock’s subjective montage containing hands playing the piano, the record player and other musical instruments all superimposed together in a powerful image indicating that this man is being besieged with the sounds of music and decadence within the next room. For set design and staging, starting with the room where the party is happening, full of people drinking and dancing and going wild is conveniently next to a more reserved parlor where the boxing managers are prepping their man for his next fight. Well-placed mirrors allows for the boxer and his wife to catch glimpses of each other from the different rooms. The rivalry is spurred on by the manager’s total lack of concern for the main character and tell him he wouldn’t be in this position (of losing his wife) if he were a champion. Once again the music punctuates the action on the screen with upbeat tempos for the party scenes and slow melancholy moods for the boxer character’s scenes.
  3. The opening of The Lodger is similar to the opening of The Pleasure Garden in that they are both tightly cropped views leading us to experience “The Hitchcock Touch”. The Pleasure Garden starts off with chorus girls hitting the stage in a lively dance routine underscored with a high-spirited and enthusiastic music background. The Lodger clip begins with a more sinister sounding music track and the images are full of terror, alarm and fear. What the two clips have in common is the way Hitchcock communicated his story by editing numerous shots together, The Pleasure Garden’s dancers and audience images and The Lodger’s street crowd/police/reporters images to convey an emotional environment: frivolous fun and flirtation to horror and alarm. Different emotions and different environments but both constructed the same way with fast-cut editing, meaningfully composed shots, fluid camera movement and actions accented with a well-orchestrated sound track. The opening image in The Lodger clip of a woman screaming was shot in an extreme close-up, completely filling the screen with her terrorized face and accented by the pounding, disturbing music which has to be a pre-cursor to Bernard Herrmann’s frightening and often copied score from the Psycho shower scene. So even with the lack of synchronized sound, Hitchcock visually captured a woman’s shrill scream and left the audience little doubt as to what they did not hear. This scream idea will be repeated in The 39 Steps when a woman discovers a body, turns to the camera to scream and dissolves to the next scene of a speeding train and it’s piercing train whistle. Also the clever use of the teletype machine to provide story information in a cinema graphic way rather than using title cards. “The Hitchcock Touch” is established.
  4. You can clearly see examples of "The Hitchcock Touch" in The Pleasure Garden (1925), starting with the cool, attractive, blonde showgirl who reappears as a staple character throughout Hitchcock's filmography. Subtle humor is another element sprinkled through these otherwise taunt dramas. The male patron stepping on the toes of an audience member while being distracted by the showgirl as well as the backstage manager puffing away on a cigar while standing next to a "Smoking Prohibited" sign. The showgirl herself making fun of the high society, tux and tails "gentleman" who claims to be attracted to her "lovely curl of hair", which she promptly removes and hands over to him. One other Hitchcock touch in this clip is the way he carefully forces the audience's attention onto key objects or actions such as the close-up shot of the woman's handbag while observed by the pickpocket. Not only is this a close-up shot as opposed to a medium view of the action but the close-up is done in a vignette, so the handbag is saturated in brightness while the entire image is framed in blackness. Basically leading his audience by the nose as to where and what they should be seeing and thinking. And not always in the right direction but often just to toy with us. I agree with Strauss, Yacowar and Spoto's assessments and this sequence contains multiple elements and techniques clearly refined and reused throughout Hitchcock's career. He was a visual director and therefore had no need of synchronous spoken dialogue to illustrate his vision. Story telling with well planned and well crafted scenes was his forte.
  5. Likewise double!!! What a gold mine!!! Thanks for sharing!!!! Throw even more brandy!
  6. And a special thanks to all of my classmates who's posts and commentaries helped make me think outside the box and from within a different pair of shoes! It's been a collective process and even when we don't agree...it gives pause for thought and as long as we are made aware of different perspectives, we keep learning. Thank you all! Now, brandy! Throw more brandy!!!
  7. This has been a very positive learning experience and fun to boot. My many thanks to Dr. Rich Edwards, Dr. Wes Gehring and Vince Cellini for all your efforts to make learning slapstick film history such a rewarding and pleasant experience! It has all been deeply appreciated and our collective knowledge of comedy on film has been elevated to a higher level of understanding and awareness of the creative process. Thank you all so much!!!
  8. 1. How does the spoof style of Ferrell and McKay differ from or compare to the styles of Woody Allen, Mel Brooks, or the team of ZAZ? Be specific. Ferrell and McKay’s spoof style is far more exaggerated than that of Woody Allen’s but not as extreme as the ZAZ team. So it more closely resembles that of Mel Brooks and Gene Wilder’s work on Young Frankenstein in the way that both teams stayed true to advancing the story line sprinkled with short bits of visual slapstick in between plot points but with a more controlled pacing of “outrageousness” than Brooks’ work on Blazing Saddles. The newsmen rumble was the probably the most over-the-top visual gag in “Anchorman” whereas in the hands of ZAZ, that type of craziness would have been repeated scene after scene. 2. We first saw a portion of this clip during our Breakdown of a Gag on Cameos – in the full context, what do the cameos add to this fight scene? I think we all want to see our favourite stars perform or work with an ensemble cast. From a standpoint of marketing using cameos would come under the idea of a bigger, grander, feature with more stars. As we learned in class earlier, every comedian in the business wanted to participate in It’s a Mad, Mad, Mad, Mad World and Gene Hackman practically begged for a role in Young Frankenstein. Cameo parts expand an actors repertoire and enhance the fans movie going experience either by anticipating a particular actor’s appearance (the Where’s Waldo? factor) within the feature or to satisfy one’s curiosity as how an actor will handle a scene (the What would Jesus do? factor). ; - ) 3. Of the slapstick influences we covered in this class, who do you think most influenced Will Ferrell as a slapstick comedian? You can select for your answer any of the studios, directors, writers, or actors covered in this course. Will Ferrell seems to play most of his comedy straight, relying on the situation at hand or the verbal banter to set off a gag, so I would think that Peter Sellers must have been a role model for his career. PS Once again this has been a great experience participating online with Dr. Edwards and all my classmates, exchanging ideas and truly looking a the history of slapstick comedy with "fresh eyes". Good to see my "Noir" classmates again & hope to see you all down the line for whatever comes next! Thank you everybody!
  9. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples. ZAZ’s approach to film making is obviously “anything goes”. By approaching the film with a keen sense of nothing being taken for granted in a character’s behavior or actions there is no limit to the degree of spoofs. Frank Drebin’s reckless driving entrance in this scene where he almost hits two police officers on the street and does hit a number of garbage cans, yet no one protests his behavior, he’s not reprimanded and with Leslie Nielsen’s dead pan, serious attitude his actions are portrayed as normal. Add to this the comic looking air bags going off in all directions within his car, which he doesn’t recognize as his own, we are in a very ZAZ film world. 2. How is ZAZ's approach to spoofing similar to or different from Mel Brook and Gene Wilder's approach in yesterday's Daily Dose? ZAZ go beyond breaking the fourth wall in this clip by having Frank Drebin walk right around the movie set wall in the police lab while Ted & Ed use the door to enter the next room. As if the directors were taking the attitude of we know it’s a movie, you know it’s a movie, what’s the big deal? There are no rules. Let’s have fun with it! 3. In the context of slapstick comedy, compare Peter Sellers' Inspector Clouseau with Leslie Nielsen's Frank Drebin. By having Leslie Nelsen’s character being oblivious to his own bungling ways he is very much in line with Peter Sellers’ Inspector Clouseau in that they cause most of their own problems. Both of these parodied crime fighters play their roles as straight men either pretending to not know of the problems they have created or totally ignoring them. Much like the early silent films these characters are moving through a chaotic world of visual gags and situations for our need of comic pleasure. The only difference is now the films are layered with sound effects and verbal humor that reinforce the visuals.
  10. For those who didn't catch it, there was a photo spread of movers & shakers back in the 80s made by Annie Leibovitz for Vanity Fair or Esquire, where she shot Ted Turner black & white and (because of his indiscretions) hand colored his image for the publication.....
  11. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. This particular scene we have been given to review does not, in my opinion, successfully parody the old Universal horror films of the 1930s except for being filmed in black and white. The lecture hall looks modern, the student interns’ hairstyles and dress appear to be more contemporary than the 30s. It’s not until Gene Wilder’s character returns to his father’s home/castle that we seem to enter a 1930s Universal horror picture. From that point on, we could just as well be watching a Boris Karloff flick. 2. In keeping with Gene Wilder's own observations about the writing of this film, how does this scene move between comic subtlety and broad slapstick humor? Be specific. The painful and violent self-stabbing of Dr. Frankenstein’s leg is of itself an act of broad slapstick humour as done by the Three Stooges, Laurel and Hardy and so many others in our study of earlier comedies. The difference in subtlety is Gene Wilder’s reaction to the violent accident as he attempts to remain calm, cross his legs, and as he tries so hard to mask the pain, he casually dismisses the class. 3. Would this film and its gags have worked as well if Young Frankenstein was shot in color? Defend your answer. I do not think Young Frankenstein would have worked as well had it been shot in color mainly because as a parody of the original Frankenstein (1931) and The Bride of Frankenstein (1935) were both widely considered classic horror films and shot in black and white. For Mel Brooks and Gene Wilder to make Young Frankenstein a true homage to these iconic films they should replicate as much as possible regarding the set design and production values. That they did and as mentioned earlier they used some of the original props as seen in the 1930s versions of the Frankenstein period pieces. On the other hand, what Blake Edwards accomplished in The Great Race (1965) as homage to the silent comedies of yesteryear as well as a tip of the hat to Looney Toons and other animated cartoons, which we have concluded were also a homage to slapstick comedy. Color not only worked well for The Great Race but was necessary component.
  12. 1. In what ways does this scene from Bananas operate as both slapstick comedy and as parody? In Bananas, Woody Allen’s character as a revolutionary rebel soldier, with his looks alone, large hard rimmed glasses and coke bottle style lens makes for visual slapstick comedy. His physical presence and look goes against the grain of the idea for a combat ready soldier making it a slapstick gag as well as a parody of a dramatic situation. Seeing the exaggerated, long line of café workers delivering the food order, including coleslaw in wheelbarrows, at gunpoint covers the five conditions of exaggerated, physical, repetitive, make believe and maybe painful or at least with the threat of violence. 2. Do you agree or disagree with Mast in his view that Bananas more closely captures Sennett's style or spirit than The Great Race? Even if you haven't seen either film, you can base your analysis on today's Daily Dose vs. last week's Daily Dose from The Great Race I agree with Mast that Bananas would fall under the spirit of Mack Sennett in the way this clip plays we are seeing more of the visual comedy like a Sennett film but with the ideas of comedy from Allen’s comic personality. If Gerald Mast is seeing Bananas as a conceptual parody of social attitudes and conventions, I would consider The Great Race and It’s a Mad, Mad, Mad, Mad World a more physical comedy in the traditional style of slapstick films in homage to an earlier era.
  13. Like my classmates have noted, no Daily Dose #13 in the form of an email or on the Canvas site.... Guess the jokes on us!
  14. 1. Describe specifically how this scene looks and feels like a "live action" cartoon. One cannot help but compare this clip with same look and feel of a Roadrunner Wiley Coyote cartoon. The animated sparkle in the Great Leslie’s smile, the fumbling villains with the large harpoon gadget for the “shock and awe” factor in their attempt to bring down the hot air balloon, all similar to the attempts of the determined coyote to make a meal out of the very clever and super fast roadrunner. And like in the cartoons, the elaborate plans and devices used to stop, capture or destroy the roadrunner/hero, will backfire and cause more damage and destruction to the coyote/villain. 2. In what ways does this scene function as “homage" to earlier slapstick comedies? The time period this clip portrays, early in the twentieth century, seems to be an obvious homage to the days of the earlier slapstick comedies and to the earliest days of movie making itself. With early year vintage cars and clothes/fashion of the day all reflects the comic films we have reviewed from our earlier classes. The time period is a perfect fit. 3. How does Blake Edwards depict The Great Leslie (Curtis) as the "definitive hero" and Professor Fate (Lemmon) as the "definitive villain?" Blake Edwards depicts The Great Leslie as the definitive hero by having him always dressed in all white attire. Women throw themselves at him while men applaud his daring deeds. Professor Fate is the definitive villain very much like the cartoon character of Snidley Whiplash from The Rocky & Bullwinkle Show, dressed head to toe in black and constantly trying to foil the all too good heroes of the show.
  15. 1. Select one gag from this scene and describe why it is effective as visual and verbal comedy? (You can include discussion of performance, costume, props, set design, sound design) My favorite gag from this scene would be when Inspector Clouseau accuses George Sanders of murder with so much intensity (jage or rage) that he warps the shape of his cue stick to the point where it could never be used yet he presses on with the billiards game. Peter Sellers as Inspector Clouseau maintains a straight face and a serious demeanor in contrast to the visually absurd prop, his cue stick and takes his shot. Though we do not see him making actual contact with the table, the sound effect of the ripping cloth is hilarious. 2. From this scene, what are key characteristics you would use to describe Inspector Clouseau? Based on those characteristics, what makes Clouseau an effective slapstick character? Inspector Clouseau’s key characteristics would be the seriousness in how he approaches his profession, his solid determination to solve the case and his physical ineptness. This makes for a perfect combination to deliver slapstick situations throughout an otherwise dramatic storyline. He’s effective in solving crime as long as he can survive his own physical bungling nature. 3. Making fun of police/detective work is a line of slapstick comedy that stretches all the way back to Mack Sennett's Keystone Kops in the silent film era. What does Inspector Clouseau add to the history of slapstick characters in law enforcement? I believe what Mack Sennett wanted to do was to take what would normally be considered a very serious profession (Cops) and look at it in the light of comedy (Kops) and from that angle add every conceivable idea of a gag, from car chases to bank robberies and make them funny, laughable situations. Inspector Clouseau’s character updated the Mack Sennett idea and adapted it into the 1960s and made it playable for a more modern audience.
  16. 1. What do you think the addition of color adds to this scene and its gags? By accentuating Lucille Ball’s beautiful red hair, film studios were effectively competing with the upstart television studios in a way they could not technically respond. 2. What are some of the techniques that Vincente Minnelli uses in this scene to make it more cinematic than a TV show such as I Love Lucy? Some of the camera angles used by Vincent Minnelli give the audience a feeling of the long trailer’s lack of balance as well as an impending disaster. In spite of the wide screen format there’s a definite sense of claustrophobia with the narrow passages and tightly placed furniture the actors must navigate over and around. 3. What are some of Lucille Ball’s contributions to the history of slapstick comedy, and how does Minnelli use her physical comedy in this clip? Lucille Ball was a televison pioneer by bridging the best of comedy movies and slapstick of the past to transitioning into television of the 1950s. It would also be Desilu Productions, formally RKO Studios, that would turn out such groundbreaking television entertainment such as The Untouchables and Star Trek.
  17. 1. As you carefully watch the scene, what do you learn about the character of Hulot (Jacques Tati) as he walks up to his apartment? Watching the Hulot character in this scene we learn right away that he is a kind and friendly person seemingly enjoying his environment as he casually makes his way home from a day at the market. A gentle and considerate person as he does not get angry or upset when falsely accused of disrupting a fruit & vegetable stand and later even offering the young girl responsible, a gift from the stand. Jacques Tati appears to be a homage to the common man characters as we’ve experienced with Charley Chase and Harold Lloyd in that he innocently wanders from one awkward situation to another. The young girl in the market not only leaves him accused of being a nuisance but the dog under the stand doesn’t like his fish purchase and is ready to pounce, and then the same girl gives him sticky candy. Like so many of our earlier films Mr Hulot moves from one bad situation to another yet he is resilient and takes it all in stride. 2. How is the building used to support Tati's physical comedy? The building in this clip is a maze of odd angles, windows and stairs that seem to make Hulot’s trek home one of futility for him and frustration for the audience. Even still our kind Mr Hulot takes the time to angle his open window to keep a neighbour’s caged bird happy in reflected sunlight. By the time he makes it downstairs and back to the street, with sticky hands, I’m exhausted!
  18. 1. How would you compare Abbott and Costello's style of verbal slapstick in this clip with Groucho and Chico's style from Daily Dose #6? Abbott and Costello’s style of verbal slapstick I would characterize as slow and methodical based on the visual elements of the scene whereas Groucho and Chico would be doing rapid-fire, verbal back and forth with each other and often would be commentary having nothing to do with the scene or plot, just outright outrageousness. 2. Wes Gehring's observation about the "polish" of Abbott and Costello's comedy routines is also a criticism of today's comedians that seem to lack "taste [and] timing." Even though it is a general comment, do you find yourself agreeing or disagreeing with Gehring's lament about contemporary comedy. I would agree with Wes Gehring that Abbott and Costello’s comedy routines were well structured and required a keen since of timing to work effectively. Obviously this required a great deal of work, planning and rehearsals to get it right. I further agree that contemporary comedy seems to rely more on “shock value” having an audience thinking, “I can’t believe he/she said or did that!”, therefore it must be funny to someone. 3. For those of you more familiar with the overall film career of Abbott and Costello (beyond this brief clip), what do you think is their biggest contribution to visual and/or verbal slapstick? Abbott and Costello’s biggest contribution to comedy would be the way they worked as a duo, to make the “straight man & comic” work in a team format. A format that would benefit other duos such as George Burns and Gracie Allen, Dean Martin and Jerry Lewis, Bob Hope and Bing Crosby and maybe even the Smothers Brothers. A well used, tried and true way of delivering comedy.
  19. 1. Compared to the last two Daily Doses, how does W.C. Fields verbal slapstick compare to and/or differ from Charley Chase and the Marx Brothers? In comparison to the earlier clips from Charley Chase and the Marx Brothers, W. C. Fields sets the tempo of the scene using his verbal comments and physical expressions/reactions to establish a rhythm all his own. His slow and steady demeanour create a more sophisticated characterisation of a man who is steadfast in knowing who he is and what he wants as opposed to the Marx Brothers who are constantly bouncing off the walls and other people, always angling to manipulate others or better their own positions. Charley Chase is more of a victim of circumstances as he moves from one situation to another whereas we learn early on with W. C. Fields who he is and what to expect from his character. To paraphrase Buck Henry on Fields, “He’s this big lug you expect can’t make it across the street, much less someone to accomplish the physical/dexterity actions he does!” So not being able to pull off the high-energy shenanigans like the Marx Brothers, Fields specializes in playing off the double entendres and the repartee with a cool line delivery accented with a drink. 2. Based on Alan Dale's definition of verbal slapstick, what are some of the characteristic verbal "gags" that you noticed in watching this clip? Feel free to share some of your favourite lines from the clip as well. Right off the bat we have the wife and mother-in-law complaining (verbally) about the Fields character smoking, drinking and reading detective magazines, so the verbal assault starts immediately & followed up with the physical attack (kicking) from his youngest daughter (physical/violence) which is escalated up to being hit in the back of the head with a ketchup bottle. We learn verbally, that Fields had robbed the little girl’s piggy bank, leaving IOUs and thus justification for their anger. Fields attempts to pick up a large decorative potted plant as if to throw it (exaggerated, physical) when interrupted by his older daughter with whom he seems to have a much better relationship. A well done verbal gag was all of Field’s advise to the stranded motorist who obviously had engine trouble yet Fields suggests remedies from tire air pressure to brakes (“have you had them tested lately?”), of course it may be “the wheel base”, then offers to fix the problem with a “shift expander” (monkey wrench) making us laugh at him if not his solution which sets us up for the sight gag of the engine falling out of the car. So much for boondoggling, and that’s enough incentive to wander down to The Black **** Cat for the best food & beverage in town. Ahhh yes, down the hatch! BELCH!
  20. 1. How well does Alan Dale's definition of verbal slapstick fit the Marx Brothers? The Marx Brothers go beyond fulfilling Alan Dale’s definition of verbal slapstick and who better than Harpo, Chico and Groucho use sound to maximize their already hilarious sight gags with synchronized sound! 2. Can you identify specific "characteristic gags" that Groucho and Chico use in their on-screen performance of this extended verbal slapstick gag? The perfect use of verbal use or better yet, abuse would be Groucho’s reading of the “contract” to Chico. The facial expressions of a knowledgeable con-man, Groucho rolls his eyes & does double takes while trying to explain contract language to an unaffected Chico. This type of gag would never work in a silent picture with title cards but was just made for sight and sound. How could you ever explain that Chico doesn’t believe in Sanity Clause on a title card? 3. Which of the five conditions we associated with visual slapstick comedy (exaggerated, physical, repetitive/ritualistic, make believe, painful/violent) remain operative in the use of verbal slapstick in the movies? All five conditions remain operative in verbal slapstick as keenly used and demonstrated by the Marx Brothers. In A Night At The Opera, Harpo hits the male lead on the head with a large mallet which would have killed a normal person, so that scene alone covers the “exaggerated, physical, make believe, painful/violent” points while Groucho’s reading & tearing up the contract covers repetitive/ritualistic points. The Marx Brothers were at the exact right place at the exact right time for the sound transition in film history and the progression of slapstick in the movies. And we all benefit!
  21. Background music at help with our exploration & celebration of slapstick comedy. heustess.com/music Our Gang (The Little Rascals) Music (The Beau Hunks recreated the original LeRoy Shield music.)
  22. 1. How well do the slapstick elements of this clip match up with the five conditions of slapstick proposed in Module 1 (exaggerated, physical, repetitive/ritualistic, make believe, painful/violent)? In The Pip From Pittsburgh the actions of Charley Chase are exaggerated, physical, repetitive and make believe yet to a much lesser degree than the silent predecessors we viewed previously and completely gone is the degree of painful and violent actions that dominated the earlier films. 2. Do you find the clip confirming or challenging Gerald Mast's description of Charley Chase? Even in a short clip, do you get the sense that his greatest emotion is "exasperation?" The film clip most definitely confirms Gerald Mast’s description of Charley Chase being a character of domesticated exasperation. He seems to be an everyman who is constantly a victim of circumstances beyond his control and his struggle to endure with minimum consequences. Charley also breaks the “fourth wall” while dealing with the fragrance dispenser to display his exasperation directly to the audience. 3. As an early talkie that is transitioning from the "silent film era," how well do you think this scene uses synchronous sound and music in the construction of its gags? I’m sure the audiences of the day were “wowed” by the new technology of sound and was demonstrated well in the scene where Charley ask a character to read a newspaper article out loud while Charley performed the physical actions of shaving. You will also note that there is music playing throughout this entire clip and even during the sequences with dialog. The filmmakers no doubt felt this a necessary and convenient way to utilize synchronous sound over the use of a live orchestra, organ or piano accompaniment.
  23. 1. In what ways does Lloyd use the settings, amusements, and attractions of Coney Island in pursuit of creating original slapstick gags? Be specific. Lloyd supports the premise of being an everyman, average kind of guy we can all relate to as we see him taking his girl to Coney Island, which serves as a background to one physical gag after another. Starting with the crab in his clothes venturing out & pinching bystanders as he and his girl are enjoying the various activities of the fun park. Inevitably he physically pays the price for the rouge crabs menacing attacks. Once the crab has played out it’s Lloyd’s own exaggerated moves preparing to throw a ball that hits another character in the face. Unintentional and without malice Lloyds common man with glasses encounters continuous slapstick episodes in this clip all within the theme of Coney Island, the prefect backdrop for a comedy of events. 2. Do you agree or disagree with Schickel's assessment of Lloyd as more "real" or "freer" of "exaggeration and stylization" than Chaplin or Keaton? Why or why not? I would agree with Schickel that Lloyd seems to be real in his actions and without the exaggeration of the more physical/athletic Keaton and less stylised than the well defined little tramp character of Chaplin’s. Lloyd seems to just glide through his scenes doing normal actions that most people could relate to as opposed to extraordinary circumstances (falling houses, hurricanes, antagonizing policemen), which makes him the more common man. 3. In watching this clip, what contributions do you see that Lloyd added to the history of slapstick comedy? Making use of everyday situations and backgrounds as opposed to elaborate sets would be one contribution taken from this clip. Another would be simple props (the crab’s claw) and to rely more on Lloyd’s character dealing with everyday situations.
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