Slapstick Comedy
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Slapstick comedy was a particularly strong form of silent movie comedy because it did not rely on words but on physicality and on the interaction of performers with the world surrounding them. The slapstick comedian took his cue from the circus clown more than the comic stage actor of the time. Chaplin developed his Tramp character and costumed that character with baggy pants and oversized shoes not unlike the circus clown costume. Chaplin also "was consciously modeling himself on the American tramp" (Musser 43). Chaplin reflected issues of labor and work through this character, but Walter Kerr states that this was a philosophical and not a social statement (Musser 42). Chaplin interacted with the world in a way that showed him to be an outsider trying to understand and adapt to the working of that world. His emphasis on work and labor followed the development of the Tramp character, for being a tramp included a certain relationship to work as an intermittent activity indulged in to get food. One aspect of slapstick comedy is disruption as the interactions of the comedian with the world lead to destruction and chaos. Chaplin showed this with the way his tramp character would try to do the job assigned and would encounter problems leading to more destruction than production. Chaplin came out of the tradition of the British music hall, and he adapted that tradition to the screen by emphasizing elements of movement and physical interaction over verbal humor. Buste
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reasoned--rightly, as it happens--that if the names of the actors were known, those actors would become popular as they had in the theater and then would be able to command a higher price because audiences would want to see them. The star system and the studio system went hand in hand. American film companies developed the star system to a high degree, creating stars from those performers they favored, responding to the approval of the audience for certain personalities, and shaping their advertising around these stars. As the star system developed, it produced a different outlook on the part of this niche in the entertainment industry and led to a different view of the female audience in particular. Several critics who have commented on this issue have used Rudolph Valentino's stardom as an example of the new view taken both of the audience and of other forces in American society that produced this sort of star and star-worship. Studlar traces the development of Valentino as an icon first to the way dance appealed to women, with dance being an art form noted for its shocking display of the body. Women were dominant in American dance, and the fact that dance was associated with a heightened awareness of the body was a reaso
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York Routledge, Oscar Micheaux, Fritz Lang, Ron Green, Louise Brooks, Hansen Valentino, Studlar Valentino's, Jr Keaton, Walter Kerr, Tramp Keaton, star system, german expressionism, silent movie, oscar micheaux, below ground, system developed, star system developed, psychology characters, tramp character, silent movie heroine, proper role, fritz lang, york routledge 1993, internal psychology characters,
Approximate Word count = 4009
Approximate Pages = 16 (250 words per page)
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