In which the camera should be unconsciously present. During the period of 1913 – 1935 Keystone produced a great number of “two reelers” (short films) and features films that were responsible for the birth and consolidation of slapstick comedy that often worked as a parody of more “serious” films such as Griffith’s. @media (max-width: 1171px) { .sidead300 { margin-left: -20px; } } All this he learned from experience, and mostly, by himself.

Since Chaplin improvised a lot, editing was more than just the moment where the film was put together, it was the moment where all the apparent loose scenes he had shot were assembled into one piece – a film. Names (with the exception of Fatty) that later diverge their own ways into the major studios. Also noted is the introduction of morality in comedy of which “The Tramp” is also a pioneer at, since in this film the little tramp returns the stolen money to its rightful owner, thus, showing moral integrity.

During his teenage years, Chaplin worked for several travelling vaudeville shows and managed to participate in theatre productions that toured all over the country, as well as, abroad. Contrary to Buster Keaton, Chaplin worked around unscripted stories and, thus, his storytelling process was based solely on improvisation. Therefore, one must assume Chaplin’s visual style as coherent, simple and sharp. Buster acted in films that had more violence whereas Charlie produced laughter with his situational comedy in daily life situations. These films, borrowing techniques from vaudeville and musical hall numbers, exaggerated in physical comedy and frequently used a number of recognizable elements such as throwing pies, poking the eyes, falling, chasing, etc. (adsbygoogle = window.adsbygoogle || []).push({}); Copyright © 2010-2018 Difference Between. Keystone was owned by Mack Sennett, to many unknown, to others known as the father of silent comedy. Buster relied more on physical comedy whereas Charlie Chaplin’s films had a storyline and it is his emotions that made people laugh. This was the state of the film industry when Chaplin and Keaton began their careers somewhat around the 1910s. Not to move around it or capture the action from different angles just capture it. The paranoia that followed WWII, caused troubles to Chaplin in America, particularly with the FBI and the House of Un-American Activities Committee (HUAC), ultimately leading to his exile in Switzerland where he lived until his death in 1977. On this subject PBS describes Chaplin’s shooting process writing: “He shot and printed hundreds of takes when making a movie, each one a little experimental variation. Since Chaplin improvised in many of his films, the adding of unexpected elements such as a fall or a gag with an object of some kind had to assume that the camera should be there to capture it. In 1912, “Inceville” was the first studio to test the following filmmaking method: a number of production units, each headed by a director, who had the responsibility of supervising a team of writers who delivered shooting scripts to their boss – Ince – and upon his approval, worked in collaboration with him to lay out the film shot by shot.

Chaplin had an intricate knowledge of how to express himself through body motion and the importance of the body in performance.

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