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One Week and The Scarecrow analysis

 

BUSTER KEATON : 'One Week' and 'The Scarecrow' analysis.


Use of Film  Form
- Buster is not really known for cuts in his editing in his short films. However in the scarecrow,  there are many, more than usual. This is because of the scene where buster is being chased by the dog. Dogs are clearly faster than humans so in the film he has to cut each shot to make the dog chase seem long , funny and entertaining. He does this by running out of shot, around corners and then cutting the shot to new scenery.

- mostly long shots (to frame large scale stunts, set pieces and gags); especially in One Week

-exaggerated performances

-long takes (to display large scale stunts, set pieces and gags in their entirety)

-mostly invisible editing


Buster Keaton's film persona

In one week, Buster Keaton already HAS a love where as in Scarecrow, he is looking for his love and keeps failing.
Another persona is in the scene where he is trying to have a posh dinner party, trying to 'fit in’
-working class/rural American

-relatable everyman

-aspirational/American dream

-clumsy/eccentric

-outsider

-hopeless romantic 

Representations:

-traditional/outdated gender roles

•man does hard, blue collar work as wife supports him/does more "feminine work"

•man must fend off rival suitor for wife's hand/love


-hard-working blue collar working class

•builder in One Week, farmer in The Scarecrow

Silent Comedy Techniques:

-Large scale stunts/action scenes at climax

•house spinning in "One Week", and chase in "The Scarecrow"


-slapstick comedy through exaggerated performance, set-up and pay-off

-post-modern techniques

•fourth wall break in "One Week"; cameraman covers lens in order not to expose nudity when woman in bath reaches down to pick up soap

 Cultural Contexts and References:

-opposed to capitalist modernisation/skeptical of industrial revolution

•mocks the idea of a build-it-yourself house kit

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