Abstract This paper discusses that Buster Keaton and Charlie Chaplin, gifted actors and early producers, made names for themselves and invented many film techniques used today. The author points out that early American films were in the form of comedy; later, films began to become more complex and innovative. The paper relates that Buster Keaton's 1926 film, "The General", was a remarkable movie for its time because most of the movie was filmed outdoors.
From the Paper "The innovative minds behind some of the early greatest movies like "The General" and ?The Gold Rush,? were Buster Keaton and Charlie Chaplin. Charlie Chaplin came into the movie and acting industry at the age of 17, and began to get involved with acting and writing. He muscled his way up the ranks and later began to make movies and star in them as well. One of his clutch performances was his role in "The Gold Rush" as the Lone Prospector. A scene from this 1925 film that stood out was of the cabin scene that the Lone Prospector finds and enters for shelter during the whiteout blizzard."
Abstract This paper examines the dining establishment/entertainment chain named Dave anf Buster's. Initially the concept is outlined. Then the company's training programs and programs to enhance communication will be examined and critically analyzed.
Abstract This paper explores the different techniques and worldviews of the silent era's two favorite comedians, Buster Keaton and Charlie Chaplin. Examining three of each of the comedians' films, the paper explains the differing worlds created by Keaton and Chaplin.
From the Paper "Great comedic actors of today owe a great deal to the silent comedians who came before them, most notably Charles Chaplin and Buster Keaton. While the two comics geniuses of the silent era have totally dissimilar styles, both revolutionized humor as it made the transition from vaudeville stage to the projector screen in a cinema. As moviemakers found new ways of showing comedy in the new era of silent films, Buster Keaton and Charlie Chaplin emerged as the comedians of their era and left a lasting impression on cinematic comedy that lives on today. Whether it be Johnny Depp paying homage to Chaplin's The Gold Rush in Benny and Joon or the Keaton-esque physical humor of Jackie Chan, Hollywood remembers the two film greats and consistently "borrows" from their comedic technique in movie after movie. These two very different actors left two very distinguishable styles behind : Keaton relied on the chaos of life and his surroundings to bring comedy, while Chaplin struck an emotional chord by evoking humor from the plight of modern life and misery of dire situations."
Abstract This paper analyzes and examines the multitude of issues related to self-esteem and stress. The author discusses the effects that stress may have on self-esteem and outlines possible solutions or stress busters that may be used in order to have a higher self-esteem and therefore less stress. This paper concludes with recommendations for keeping the balance between self-esteem and stress.
From the Paper "Life is a continuous journey, one that is filled with a rollercoaster of emotions and learning experiences. Throughout the journey of life, all individuals inevitably encounter potentially stressful situations, i.e., death of a parent, friend, or lover; divorce; drug and/or alcohol abuse; financial difficulties; traumatic breakup; unemployment; etc. Individuals generally react to stressful situations in one of two ways. First, some individuals use stressful situations as a motivator, a catalyst to accomplish their objectives and improve their situation. Next, other individuals use stressful situations as a depressant, a reason (consciously or unconsciously) to become "stuck in the mud" because of their inability to cope."
Abstract This paper examines how both Charlie Chaplin and Buster Keaton are often heralded as cinematic comedic pioneers. It looks at how, in both of their respective short films, entitled "The Tramp" and ?One Week,? each comedian makes use of common stereotypes of women and also the common stereotypes of romantic relationships between men and women, to illustrate their comedic creations? personality deviations from the conventional masculine roles of domestic success. It discusses how the men in the two films function as failures in the domestic realm and how this parallels both their failures in conventional life and successes at comedic life.
From the Paper "The film ?One Week,? like ?The Tramp,? revolves around the theme of domesticity and building a home. However, unlike ?The Tramp,? "One Week" is a parody of modernity, and is not sit in a far-off idyllic landscape of the countryside. The newly married couple, receives, as a wedding present, a supposedly easy-to-assemble mobile home. Keaton's failures to find the home so easy to assemble form the crux of the film. If only Keaton were the stereotypical "male" he should be able to do so in a jiffy, runs the subtext of the film. However, Keaton's failure to do so does not necessarily count against him, as the project seems absurd from the beginning and his rival makes things even more difficult by interfering and switching the labels on the packing crates."
Abstract This paper looks at comedians from the silent era such as Buster Keaton and Charlie Chaplin, the early talkies such as Mae West and the Marx Brothers, as compared to actors such as Jim Carrey in "Dumb and Dumber" and Kevin Spacey in "American Beauty" and attempts to analyze why comedies from a long time ago may not be considered as funny by modern audiences.
From the Paper "In the past hundred years, the comedic motion picture industry has gone through a drastic change in the way movies are written, acted and structured. What began as silent black and white shorts has turned into colored films with sound, lasting up to three hours. While most of these changes came about with improved technology, changes in the way these films have been written have come about with a change in society as a whole. What people found to be funny and comedic in the past has dramatically changed from what people find funny today. Despite this, comedic critics today still consider works of Chaplin and Keaton and such to be masterpieces, even though the majority of "general" audiences today wouldn"t find them as funny as a Jim Carrey. Alas we come across the question of why people have been finding different things funny as the times go by, and the main answer to this is that society's idea of what is funny has changed. However, the critics" idea of "good comedy" has not changed, and thus critics still consider the older silent films masterpieces."
From the Paper "Buster Keaton was one of the two great film comedians and comedy film directors of the silent era. His reputation has suffered by the greater accord given to the other silent film comic, Charlie Chaplin, and Chaplin's reputation remained greater because Chaplin continued to work as a leading player well into the 1950s and also remained a controversial figure at the same time. Keaton, on the other hand, was considered finished by Hollywood when sound came in, though he did continue to make films until the end of his life, more often as a supporting player than a star in later years. A myth developed that Keaton could not make the transition from silent to sound because of his voice or for some similar reason, but in fact, Keaton's problems derived first from an unhappy experience at Metro-Goldwyn-Mayer at the end of the silent era and second from.."
Abstract The famous battle of the American Civil War, Gettysburg, is the subject of Michael Shaara's book, "The Killer Angels". This paper shows how Shaara guides the reader through three days of battle in which many American lives were lost. He portrays the war through the eyes of those who fought in it, and in doing so, sends us a message about the horror of war and the bravery of the men who fought in this one.
From the Paper "The personal and professional relationship between Lee and Longstreet was depicted as being a bittersweet one. The two were polar opposites, each representing the past and future of war. Lee seemed bent on an offensive campaign, while Longstreet believed in a defensive strategy. I sometimes wonder if Lee knew that he would be "untouchable" when it came to responsibility for a defeat, thus was more likely to take the long shot, and take the offensive."
Abstract An analysis of three pieces: Margaret Walker's "Jubilee", Langston Hughes' "Not Without Laughter" and James Weldon Johnson's "The Autobiography of an Ex-Coloured Man". Through their work we see that Walker and Hughes' perspective of race is pure. However, Johnson's view is focused on the individual and not necessarily on a person's racial background. This paper compares the two perspectives: If one is proud to be of a mixed race, is this breaking away from either his "white" or "black" race, or is it simply becoming a proud individual?
From the Paper "After examining the texts in relation to race and one's identity, one can see that in both Margaret Walker's Jubilee and Langston Hughes' Not Without Laughter, the idea of race is conveyed as fixed, whereas James Weldon Johnson's The Autobiography of an Ex-Couloured Man deals with race as a changing. The almost-too-optimistic portrayals of the mulatto clearly separate this mixed breed from the "hybrid" African American, putting the mulatto on a pedestal, superior to all other non-whites. Therefore, I believe that the idea of race, in agreement with Johnson, should be recognized as a constantly changing identity for a person of multiple backgrounds."
Abstract This paper discusses the movie "The Sixth Sense" by M. Night Shyamalan. It explains that the movie was very popular because people are generally obsessed with the occult and the afterlife and that most movies on this theme are block-busters.
From the Paper "Many people claim to have communicated with those who have passed over to the other side. They will tell you that they have felt the presence of their deceased friend or family member. Others have experienced contact with the dead through dreams or objects they
have left behind. These encounters are mysterious-defying both reason and explanation. But to those who have been blessed by them, they are real as rain and just as refreshing. Sometimes, however, people need a little help dealing with such phenomena. And, as many of the world's religions acknowledge, there are things the living can do for the dead. These are the themes of The Sixth Sense, one of the most heartfelt and deeply provocative films of 1999."
Abstract This paper makes a persuasive case to vote for one of the four candidates for President in 1912 namely, Roosevelt, Taft, Wilson and Debs. The paper not only focuses on the reasons for a particular candidate, but also provides a brief argument on why each of the other candidates is not the preferred choice.
From the Paper "In the upcoming General Election for President of the United States we are given a choice of four candidates. They are Wilson, Taft, Roosevelt and Debs. Of the four the obvious and clear choice for President is William Howard Taft. As we know from the popular ..."
Abstract This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper "These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
Tags: ridiculous, characters, Hepburn, Cary, Grant, silent, movies
Abstract In this article, the writer notes that jazz combined elements of blues with the swept up emotional roller coaster of a post depression country whose hard luck was translated by such artists as Coleman Hawkins, Buster Bailey, Kid Ory, Pee Wee Russell, and Henry 'Red' Allen. The writer discusses that defined by the wide range of notes, the call and response of musicians on stage and the presto tempo, Allen found his niche in music. The writer notes that although he began as a swing artist it is with jazz that he is most notably remembered. The writer concludes that while similar to Louis Armstrong in the beginning stages of his career, Allen quickly made a name for himself with his breaks and his incorporation of axe, or using only his voice or his trumpet to introduce a song.
A copy of the reference used is attached to this paper.
From the Paper "Jazz is defined in its early stages by this presto tempo and the call and response of the singer or musician to the rest of the instrumental ensemble. In pitch and tone the musicians do not give up their pace but keep a steady sometimes harmonious sometimes dissonant rhythm especially among the horns in the middle of the song before the string comes into play. The instruments combine in this song to give a classical altered scale in turn giving the audience a slide with which to dance.
"The song Red Red Ride is pristine in its delivering of the axe. While at times some of the instruments share the stage to give a presto tempo and bombardment for the audience to get excited about it also delivers on allowing the stage to be taken over by one instrument, or sometimes only one musician's voice. This allows the audience to better identify with that instrument and what it is saying."
