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TCMCeci

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About TCMCeci

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    California
  1. Good question! You're right and I think it has all of the other elements of slapstick. I do think that there is always the threat of violence (if he is caught by the cook, or worse, by the police officer) against the Little Tramp. As I'm writing I'm remembering that, at the end, the cook does end up hitting the cop in the face with a large sausage, having really meant to finally give the Little Tramp his due! So there actually is violence, just not toward the intended target!
  2. 2. I disagree that this "completely visual" style of gags has disappeared from comedy. Montages of multiple gags over time with music playing would be one type of example in which we see this gags without words being performed to great effect. So, even if the film or show is not silent, there are pieces of it which are funny physical comedy being performed wordlessly. I think these gags have evolved in the sound era, especially now with all the visual special effects. There are different ways to insert physical comedy into a work. One is by integrating it with new technology or new cultural re
  3. 1. I really don't think there is a "greatest era" of anything. I think nostalgia is often a big factor when people are judging the best and the greats of a genre. Agee and Youngson are writing from the 1950s and judging the greatest comedy era as having been decades earlier. Yet, today, Lucille Ball and her iconic show "I Love Lucy" are widely regarded as monumental comedy greats. Didn't they realize they were in the middle of a great comedy era - what we know call the Golden Age of Television -themselves? (To be fair, Agee wrote his essay before "I Love Lucy," but this does seem to be a broad
  4. I keep thinking about what Dr. Edwards quoted Charlie Chaplin saying about slapstick - how "nothing transcended personality." How would the same gag look if someone other than Chaplin as the Little Tramp were performing it? I wonder: how does the personality inform and transform the physicality? In the first bit where the Little Tramp eats a banana and throws the peel on the ground, the Little Tramp does a little flourish with his left foot right before he turns and slips on the banana with his right foot. This is how I think he injects his personality into his physicality. That gesture sh
  5. I think it's interesting that some people see the boy as perhaps being from a different social class than the gardener and that the ultimate comeuppance the boy gets has social undertones. I didn't notice that difference in class when I saw the short film. They didn't seem to be wearing clothes that would indicate such a thing. Is it simply because the gardener is working and the boy seems to have some time on his hands (enough to play a joke)? Could one also say it's as much about age/generations as it is about working class v. middle class? I'm not sure it's either, but these are interesting
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