Titlebook: Silent Film Comedy and American Culture; Alan Bilton Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 clown.c

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,Nobody Loves a Fat Man: Roscoe ‘Fatty’ Arbuckle and Conspicuous Consumption in the US of the 1920s,lindly mouthing experience’, its ‘infantile desires […] soothed by sweet things, falling exhausted into stupor’ (Bordo, 1993, p. 2). The power of Schwarz’s image, Bordo believes, derives from Western culture’s drive to separate body and spirit, the corporeal and the intellectual; clumsy, gross and d

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Exhilarate

Consumerism and Its Discontents: Harold Lloyd and the Anxieties of Capitalism,ably leads one to Harold Lloyd, the archetypal boy next door, fresh-faced, neat, bespectacled — in Lloyd’s words, ‘a(chǎn) regular fellow’, and certainly the least grotesque or transgressive of the great screen clowns.’ The very normality of Lloyd’s persona allows his movies to deploy romance not as farce

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Conclusion, bodies, .. The more pungent or base this materiality is, the more authentic, Kracauer believes; it is little wonder, then, that he adored Chaplin, delighting in the unwashed grubbery (dirty clothes, stinking cheese, filthy ash pails) discussed in Chapter 3. For Kracauer, slapstick’s stock in trade

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