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1 Silent film comedy

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Laughing matters
This chapter is in the book Laughing matters

Abstract

This chapter discusses silent comedy, including the classical comedian comedies of Charlie Chaplin, Harold Lloyd and Buster Keaton. The history and evolution of silent film comedy from the mid-1890s to the coming of commercially viable synchronised sound cinema in the late 1920s mirrors changes within cinema itself during that period. While recognising the diversity that characterised developments in silent film comedy, Peter Krämer identifies some distinct phases in the development of American silent film comedy. American slapstick comedy, reliant on fast and furious physical activity, became associated with Mack Sennett's Keystone Company from 1912 onwards. The importance of character and costume to Max Linder's success proved hugely influential when American film comedy began to challenge the dominance of European companies and comedians in the period just prior to the outbreak of the First World War.

Abstract

This chapter discusses silent comedy, including the classical comedian comedies of Charlie Chaplin, Harold Lloyd and Buster Keaton. The history and evolution of silent film comedy from the mid-1890s to the coming of commercially viable synchronised sound cinema in the late 1920s mirrors changes within cinema itself during that period. While recognising the diversity that characterised developments in silent film comedy, Peter Krämer identifies some distinct phases in the development of American silent film comedy. American slapstick comedy, reliant on fast and furious physical activity, became associated with Mack Sennett's Keystone Company from 1912 onwards. The importance of character and costume to Max Linder's success proved hugely influential when American film comedy began to challenge the dominance of European companies and comedians in the period just prior to the outbreak of the First World War.

Chapters in this book

  1. Front matter i
  2. Contents v
  3. List of illustrations vi
  4. Acknowledgements vii
  5. Dedication viii
  6. Introduction 1
  7. Part I Comedy forms
  8. 1 Silent film comedy 23
  9. 2 Early sound film comedy 45
  10. 3 The romantic comedy film 65
  11. 4 Radio comedy 81
  12. 5 Television comedy 100
  13. 6 Comedy and genre boundaries 130
  14. 7 Animated comedy 149
  15. Part II Themes, effects and impact of comedy
  16. 8 Comedy, gender and sexuality 173
  17. 9 Comedy and cultural value 207
  18. 10 Comedy, race and ethnicity 231
  19. Conclusion 254
  20. Appendix 259
  21. Select bibliography 261
  22. Index 273
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https://doi.org/10.7765/9781526130525.00008

Chapters in this book

  1. Front matter i
  2. Contents v
  3. List of illustrations vi
  4. Acknowledgements vii
  5. Dedication viii
  6. Introduction 1
  7. Part I Comedy forms
  8. 1 Silent film comedy 23
  9. 2 Early sound film comedy 45
  10. 3 The romantic comedy film 65
  11. 4 Radio comedy 81
  12. 5 Television comedy 100
  13. 6 Comedy and genre boundaries 130
  14. 7 Animated comedy 149
  15. Part II Themes, effects and impact of comedy
  16. 8 Comedy, gender and sexuality 173
  17. 9 Comedy and cultural value 207
  18. 10 Comedy, race and ethnicity 231
  19. Conclusion 254
  20. Appendix 259
  21. Select bibliography 261
  22. Index 273
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