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.
preservation, particularly audience preservation of its dignity.
The foregoing examples are in no sense an attempt to encompass the whole technique of variation and inversion for comedy results. In fact it would take a volume or two to appreciate the extent to which that technique has developed. The chief factor in that technique is of course contrast because contrast is the basis for conflict or contrast in action to the same extent that character and role are the basis for charaterization, or character in action.
Positive contrasts are to be found in practically any direction we would care to look. There was Douglas Fairbanks, Sr., when he first came to the screen. Seeing and hearing the name Douglas Fairbanks we expected the matinee idol of that period, the romantic type, and he was that type in appearance. But in action he was an acrobat, and everything he did was the opposite of what his personality led us to expect.
Harold Lloyd is the scholarly appearing young man, one we always associate with browsing among books in a library, yet he is always pictured in action, his chores and adventures physical instead of mental.
In the picture Reducing, in which Marie Dressier and Polly Moran were sisters, wre had several kinds and degrees of contrast. First, Polly lived in New York City and Marie lived in South Bend, small and big town or a contrast in locales. Polly was wrealthy, Marie poor, a social and economic contrast. Marie was a big woman, Polly a little woman, a physical contrast. Marie had an inferiority complex while Polly's was superior, an emotional contrast. Marie and her family got on a train in South Bend, the first time they had ever been on a train, an experience contrast ; that new experience to them was an old experience to the people at the station and to the audience. And those basic contrasts provided the substance for a continuous run of contrasts or conflicts through to the end of the picture.
"Chuck," the name the boys tagged me with in school and the name I earned into vaudeville before my Keystone days provides a contrast the exact opposite of Douglas Fairbanks in action.
With apologies to the many gentlemen by the
124