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About KGhidora

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  • Birthday 11/29/1967

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    Denver, CO
  1. I just finished the final too, and I'm a proud holder of all five Slapstick Fall badges. Thank you TCM and Dr. Edwards for putting this course together. I had a great time learning about the history of slapstick films, and really enjoyed seeing everyone's comments on the Daily Doses here on the message boards. I wish I had more time to watch the movies with the live tweeting. I did check in often with searches for #SlapstickFall to see the tweets later. Thanks to Dr. Gehring and Vince Cellini for participating in the videos. They added a nice variety to the printed modules and em
  2. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples. Like others have posted here, ZAZ's approach is to relentlessly fire off the gags in rapid succession. So many things happen that it's worth watching the film again to see what was missed on the first pass. Specific examples include every time they cut back to the car another air bag has gone off inside it, and the simple scene of walking to the next room has the moment where two characters walk through the door but Frank Drebbin walks off the set and around the wall to get into t
  3. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. The use of black and white mirrors the look of the Universal monster movies. There is a stranger in the back row of the lecture hall with an old wooden box with the journals of the elder Dr. Frankenstein which is similar to Dr. Pretorious arriving in Bride of Frankenstein to convince Victor to resume his experiments. Gene Wilder captures the essence of Colin Clive playing Victor Frankenstein with the wild eyes and voice as he is clearly engaged in his theories. 2. In keeping with Gene
  4. The crab helping to make people lose their grip on the turntable ride at Coney Island seemed original to me. The bit with Lloyd accidentally hitting the man in the face at the bottle game then the man knocking the bottles over may have been an original here, though there are similar gags in other pictures. There was a variation on this in "Number, Please?" where Lloyd was trying to throw the balls, but because he was distracted he threw them into the next game stall smashing the doll prizes. Lloyd appears in this clip as an average person on an afternoon out with his girlfriend. The gag
  5. I think the slapstick elements in this clip match with the conditions of slapstick. Charlie has very exaggerated expressions, especially when he realizes that Pip from Pittsburgh is standing behind him. He has physical interactions with the rosewater dispenser which could also qualify as painful with the shot in the eye. Charlie's facial expressions are repetitive during the clip, and the idea of shaving in a department store, using a man reading the newspaper aloud as a screen is absurd and make-believe. The clip supports Mast's description of Chase. Through the use of facial expressi
  6. The routine in this clip does meet Dale's definition of verbal slapstick. Groucho and Chico go at a "breakneck clip" in their back-and-forth about the "party of the first part shall be known as the party of the first part...." The words get twisted around at the end of the clip when Chico gets the name wrong. "Everybody knows there ain't no Sanity Clause!" Just about all of the visual slapstick condition exist in the verbal slapstick of the clip. The situation is exaggerated with literal removing of the clauses from the contracts. Groucho has a small physical bit in the clip when he r
  7. These were incredibly dangerous and meticulously planned stunts. Keaton had a great skill to pull these off, and take the viewer from the dread of the impending doom as the wall begins to fall to laughing that he survived only by standing in the exact right spot to pass through the window frame.
  8. 1. Do you agree or disagree with Agee and Youngson's statements that the silent films from 1912 – 1930 constituted "comedy's greatest era" or its "golden age?" Why or why not? I disagree that the silent film era was "comedy's greatest era." There have been several great and memorable comedies that came after the silent era. Comedy on film originated with the silents, but this does not automatically make these films superior to the releases that followed. 2. Do you agree with the film's narrator that in the silent film era the "gags were completely visual—a form of wit that has all but d
  9. I also hadn't really thought about how much effort was put into the blocking and the timing for the elements of slapstick routines. Like you mentioned, Chaplin had to be aware of all of the elements in the scene he would be working with while at the same time keeping his eye contact on the other person to sell the illusion of the bumbling klutz slipping on the soap and the bucket. A lesser performer would probably need to glance at the soap to verify its placement before slipping on it, a "tell" that would ruin the bumbling illusion. It's interesting to see the evolution of the routines
  10. Back in high school band we used a slapstick to make the whip crack sound for "Sleigh Ride." I didn't know that device existed outside of the percussion section, we just called it the whip. I agree with the definitions of slapstick comedy, and can't really think of anything to add to them. I think all of the conditions are present in slapstick comedies. The more exaggerated the situation is, the more violent the performers can take the act. In yesterday's film, the situation wasn't very exaggerated with the boy messing with the gardener and the violence ended up being sprayed in the
  11. It was interesting to see how a complete story could be told in just 0:45. There's a sense of anticipation as we know what will happen to the gardener before it happens, based on our viewing angle where we can see the mischievous boy, a 19th century Bart Simpson as we see from the poster that linked to the similar gag from The Simpsons. The shorter version seemed to be funnier to me, perhaps due to the way the gardener gets his revenge on the boy in each film.
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