Scarecrow by Buster Keaton

 Buster Keaton's scarecrow, some of the most iconic conventions are used such as props, chase scenes and animals. In the "one room house" sequence, props play a key role in the comedic elements, like in "One Week". As the two men sit down to have breakfast, they begin passing each other props such as salt. yet just as every joke has been made out of everything possible in the framing, Keaton changes the framing so it is more zoomed out and he manages to make another joke from another propane the frame. During this scene, Keaton displays his enthusiasm for modern technology with the props he uses which is why Keaton could be associated with the concept of modernism.

Once again, Keaton exhibits quite a progressive mind-set in relation to the representation of women through a character played by Sibyl Seely. Her character is simply shown dancing for herself and her own enjoyment. Although the men watch her dance, she seems to be in the position of power as the male characters act shy and coy. This power dynamic is effectively portrayed through performance and use of non-verbal communication, however could be undermined by her father's controlling manners.

As per usual, the lighting is bright and natural to ensure the action is clear and visible, and many of the shots are mid shots and especially long shots for the action sequences like the dog chase. Once again, the use of animals stems from Keaton's days in Vaudeville. During this chase scene, effects are used such as sped up footage and as mentioned, long shots and very minimal camera movement. At one point, Keaton uses a symmetrical shot which exhibits the fact that Keaton was quite ahead of his time; he took time and consideration to think about framing when, at the time, most filmmakers were debating what a camera should be used for; telling stories or displaying real life. In addition to inventive framing, Keaton also uses on of his rare close-up's on the dog; presenting him as a significant character in the narrative. 

The final segment of the scarecrow follows yet again another silent comedy convention: another chase scene. This time between Keaton and Seely's father. This is where Keaton explores the romantic suitor persona. Yet he utilises his small stature once again to comment on the equal relationship between men and women.  This idea is reiterated as Keaton is sitting on the back of the horse and his fiancé is guiding them on the front. Here, Keaton flips  and challenges the traditional roles and expectations of masculinity. Keaton also subverts the conventions of marriage and satirises the institution when Keaton and Seely's ceremony takes place partly in a river but mostly in a car. Keaton uses a bolt from the car as a wedding ring, exploring the significance of the wedding ring and it's representation. There is also a close-up of Keaton placing the "ring" on her finger, alluding  furthermore to the commentary. Buster Keaton #4: The Scarecrow (1920) | Quiet Bubble

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