We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
the motion picture industry, December 1913, and Mack Sennett 27
aster. Sennett had filled them out with the enormous new powers of the screen — the fast motion of the "undercranked" camera, the fantasy made possible by trick cutting, double printing, and the like.
Though serving different ends, Sennett made good use of what he had learned from Griffith. He adopted the Griffith camera technique and editing, known to the trade then as "Biograph editing." This called for frequent changes of angle, inserted close-ups of people and objects, for emphasis and expression, short scenes, cutbacks, and parallel action. This last device was not limited to horsemen rescuing a damsel. In ordinary action, editing it to essentials and cross-cutting, a simultaneous effect was created wTith a resulting heightening of tempo. Though many of the Keystones lacked story or logic, they at least had beauty of pace. Sometimes they had technical brilliance.
In his best comedies, the gags were thrown at the audience at race-track tempo, one nudging the other, leaving no time or space for analysis or second impressions. The Sennett style was a blend of lunatic fantasy, preposterous physical types, exaggerated costumes and make-up, whirlwind pace, violent action, and zany gags. His films were improvisations — "shot on the cuff," and on the spot — a laundry, a restaurant, the park, anywhere. Chaplin was to adopt many of his methods.
After violent action, a comedy would be resolved by and culminate in a wild chase. This often resembled ballet in its movements and staging, though, of course, a cinematic chase had qualities impossible in any other medium. Sennett's chase as an end in itself was borrowed by the English comedian after he left Keystone. From the Sennett bag of tricks Chaplin also borrowed the "breakaway" bottles and vases (made of resin and plaster), the custard pie (usually made of blackberries for photographic reasons), and other slapstick devices.