Book contents
- Frontmatter
- Contents
- Acknowledgements
- 1 American Film Comedy and Cultural Critique: Glitches in the Smooth Running of the Social Machine
- 2 The Feeding Machine and Feeding the Machine: Silence, Sound and the Technologies of Cinema
- 3 The Constitution of the Real: Documentary, Mockumentary and the Status of the Image
- 4 Parody: Targeting Cinema's Narrative Technics
- 5 The Unspeakable and Political Satire: Performance, Perception and Technology
- 6 Conclusion: Between the Machine and the Event: Film Comedy
- Index
2 - The Feeding Machine and Feeding the Machine: Silence, Sound and the Technologies of Cinema
Published online by Cambridge University Press: 05 October 2013
- Frontmatter
- Contents
- Acknowledgements
- 1 American Film Comedy and Cultural Critique: Glitches in the Smooth Running of the Social Machine
- 2 The Feeding Machine and Feeding the Machine: Silence, Sound and the Technologies of Cinema
- 3 The Constitution of the Real: Documentary, Mockumentary and the Status of the Image
- 4 Parody: Targeting Cinema's Narrative Technics
- 5 The Unspeakable and Political Satire: Performance, Perception and Technology
- 6 Conclusion: Between the Machine and the Event: Film Comedy
- Index
Summary
I think everybody should be a machine.
Andy Warhol, Art News, 1963Charlie Chaplin as the Tramp stands at the assembly line where he mechanistically turns two screws every few seconds for hours on end. He falls behind, rushes to catch up and loses his sanity in the process; he snaps right there on the line, eventually following the screws into the workings of the machinery of the automated assembly-line belt. As his body threads over the gears of interlocking parts, it looks like nothing other than celluloid film being threaded into a projector. His body become film, Chaplin's movie on mechanical assembly-line production proves an allegory for the film industry, his reflections engaging the technologies that provide him with his art. Buster Keaton plays a projectionist in a slightly earlier film and falls asleep beside the projector. Understanding cinema's deep pull on the unconscious, Keaton's character enters the stuff of dreams by entering the film itself, and once having done so, becomes subject to the manipulations of the editing table and film's capacity to change chronotopes in a flash: the character-as-object within the mise-en-scène. Both iconic films, Modern Times (1936) and Sherlock Jr. (1924) respectively offer different engagements with the visual techne of cinema and its by-then decades of manipulation of visual representation, as well as of time, space and corporeal constraints, while also providing uniquely nuanced engagements with the visual technologies of their craft.
- Type
- Chapter
- Information
- Comedy and Cultural Critique in American Film , pp. 22 - 57Publisher: Edinburgh University PressPrint publication year: 2013