HI, I need 2 more pages, if you can expand on itLength: 4 6 pages, typewritten and double-spaced. You may use the citation style of your choice. If you wish to supply a shot-by-shot analysis to support your observations, you should add it as an appendix to your essay.Weight: 15%This assignment aims to provide students with the opportunity for a close engagement with silent slapstick comedy through an analysis of the elements of a) physical performance and b) cinematic style that converge in the creation of the cinematic sight gag. You are further asked to employ your understanding of laughter theory as an interpretive tool.In the Assignment 1 folder in MyLearningSpace, youll find clips of extended gag sequences from the feature-film output of the three major comedians of the silent film period: Charlie Chaplin, Buster Keaton, and Harold Lloyd. [All of these films are available on short-term loan at the Laurier library should you choose to view the entire film from which each sequence is excerpted.] From these, you should select the sequence youd most like to work on. Before sitting down to do your analysis, you should make note of what about it particularly appeals to your sense of funniness (this may change after repeated viewings). Each sequence is an elaboration of one principal gag, into which a number of smaller gags have been inserted. Decide what the central organizing gag of the entire sequence is. You should then watch the clip several times, making note of whether, and how, your response to it changes.Some questions you might ask yourself:How is the sequence organized around the central gag?What is the relationship between narrative (story) and spectacle (the gag) in the sequence? To what extent does the story stop in order to allow us to enjoy the gag, and to what extent is the story elaborated through the gag?Having given these questions some provisional answers, you should start carrying out a more in-depth analysis. First you should distinguish how much of the dominant effect is due to the comedians performance alone. You should then consider how much is due to the medium-specific properties of film style mise-en-scne, camera work, editing and sound. Finally, ask yourself what is the role of each element of film style in presenting the comedians performance to best advantage. To give an idea of what form a shot-by-shot analysis might take to those members of the class who are not from a Film Studies background, Ive also posted a sample analysis of a slapstick film from the 1920s featuring a minor comedian named Monty Banks. (This example is a little misleading in that it doesnt provide a written account of the shot compositions or the mise-en-scne, but takes a shortcut by supplying screen grabs. Nevertheless, it may be useful to you in conveying how detailed a thorough shot-by-shot analysis strives to be in giving an exhaustive account of the function of every element of film style before concentrating on those that are dominant.) Although you are not required to perform a shot-by-shot analysis for the purposes of this assignment, this example may be helpful to you in suggesting to you the form that your breakdown of the sequence should take. Note that shot scales are abbreviated as LS, MS, CU, etc., and that the angle of the shot as well as its scale have been indicated in each entry. The shot durations are noted to indicate the tempo of the editing rhythms. The goal here is to distinguish with absolute clarity between what you see and what it signifies to you.Some more questions you might ask yourself:Which elements of film style support the spectacular impact of the gag? Which elements of film style, on the other hand, support its narrative function?Which elements of film style are most heavily relied upon in producing the sequences comic effect?Using the data yielded by your analysis, Id then like you to try to reach at least a tentative conclusion on how the gag works. How do the various elements of style mark it as a funny experience? Of the three major kinds of laughter theory Superiority Theory, Incongruity Theory, or Relief Theory which theory, or which combination of theories, can best be used to account for the special quality of laughter that your chosen sequence provokes (or is intended to provoke)?To assist you in your analysis, a reference reading has been provided. Nol Carrolls Notes on the Sight Gag, which has been taken from Andrew S. Horton, ed. Comedy/Cinema/Theory (Berkeley: University of California Press, 1991), pages 25 to 42. Should you choose to consult this essay, you should include it in your Bibliography or Works Cited page. You should likewise include citations for your selected film. The citation information for the sequences is as follows.Chaplin, Charles, perf. City Lights, dir. Charles Chaplin. United Artists, 1936.Keaton, Buster, perf. Sherlock Junior, dir. Buster Keaton. Metro, 1924.Lloyd, Harold, perf. Safety Last, dir. Fred Newmeyer and Sam Taylor, Path Exchange Inc., 1923You may wish in the course of your discussion to identify specific moments within each film. You may do so in brackets using the format hh:mm:ss hh:mm:ss (you need not reference specific frames). For example, in citing the opening moment of the selection from Safety Last, you should write: Harolds girlfriend arrives on the scene and looks around for him (01:03:03 01:03:07). For your convenience, you may use the interior timings within the clips rather than the timings from the original DVDs.Ive selected four sequences for you to choose from. To give you enough context to follow the clips as you sample them:The first is from Charlie Chaplins 1917 short film, A Dogs Life, which was re-released in 1959 as part of a trilogy of silent films, set to music composed by Chaplin himself, entitled The Chaplin Review. In this film, the Tramp is unemployed and has been befriended by a little dog, who has brought him a wallet stolen from a drunken rich man by two thieves. The thieves, however, spot the wallet when Charlie goes into a local dance hall to show it to his girlfriend Edna, and they take it away from him. Charlies goal in this sequence is to get the wallet, and all the money, back, so he can marry Edna.The second is from Buster Keatons 1923 feature, Sherlock Junior. Buster is the projectionist at a local movie house, and he longs to be a successful and brilliant detective like the ones in the movies he shows.The third clip is also from Sherlock Junior. The heroine has been kidnapped, and Buster, in the persona of the famous detective, Sherlock Junior, has to find and rescue her.The fourth clip is a famous sequence from the 1923 Harold Lloyd feature, Safety Last. Harold is a low-level clerk in a department store who wants to be promoted to manager so that he can marry his sweetheart. A friend of his is a notorious human fly: he can climb buildings just using his hands and feet. Harold proposes that he climb the store as a publicity stunt; but at the last moment, the friend gets in trouble with a policeman and Harold has to do the stunt himself.Remember that your ultimate goal is not so much to explain why the gag is funny, but rather to speculate on how it is intended to be funny or was, at a particular point in time. Your focus should be on the cinematic techniques that are employed to create a particular kind of comic effect for particular audiences.Your essay will be due at the beginning of class on Tuesday, February 1. Late assignments (without accompanying medical documentation) will be penalized, at a rate of 3% per working day. Hardcopies of assignments will be accepted additionally if you wish to receive a detailed response to your work; otherwise a general rubric with limited individual comments will be supplied.: