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Essay / Research Paper Abstract
A 18 page paper discussing these two pre-Surrealist writers' use of black humor as an anti-war technique. The paper focuses on two of their works, Apollinaire's Le Poete Assassine and Lautreamont's Les Chants de Maldoror. It also features an extended analysis on the changing conception of the function and techniques of comedy through the ages. Bibliography lists 12 sources.
Page Count:
18 pages (~225 words per page)
File: D0_Comedy.rtf
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Unformatted sample text from the term paper:
to supplement the story line. Visual effects alone had to be relied upon. Slapstick comedy quickly found its way to America, and when Canadian-born director Mack Sennett was
introduced to slapstick, what had begun as video pantomime became a respected art form. Sennetts Keystone Kops films were popular crowd pleasers, and most of the actors were former vaudevillians
who were experienced in the rigorous physical techniques required of slapstick comedy. An early Sennett discovery and frequent Keystone Kops co-star was a young British-born aspiring comic actor named
Charles Chaplin. Chaplin eventually went on to make 35 Keystone Kops features, and during this time, perfected the character which was to become his trademark, the Little Tramp.
With his derby hat, his Hitleresque mustache, his distinctive walk which more resembled a shuffle, and his always resourceful cane, out of simplicity, Chaplin created and honed one of the
most complex characters in cinematic history. The Little Tramp is shines to perfection in the 1925 silent classic, The Gold Rush. He, as always, endearingly represents Everyman, struggling through
an unending series of trials and tribulations, but refuses to give up. The most memorable sequence of The Gold Rush occurs when a starving Little Tramp gets the brainstorm
idea of cooking his shoe, which he proceeds to each with the gusto that would befit a culinary masterpiece. Chaplins mastery of pantomime is evident in this scene, when
he sticks two forks into a pair of dinner rolls to transform them into elegant dancing feet. Chaplin never employed slapstick to get an easy laugh. The scenes
were always carefully crafted so as highlight the action taking place, not to divert the audiences attention away from it. Film critics generally agree that Charles Chaplins genius was forever
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