By Jennifer Echols
Marching to the beat of a unique drum...
uninterested in the beauty-pagean circuit, Virginia Sauter tosses her tiara, pierces her nostril, and auditions for the main not likely of roles -- drum significant of the highschool marching band.
Virginia wins, yet is compelled to percentage the identify with Drew, whose family members has held the placement for generations. certain, Drew is sizzling, yet due to his more advantageous angle, he and Virginia are always arguing. that's, until eventually they percentage greater than simply their half-time salute...
yet because the drum major's heated pageant turns to hot romance, explosive rumors threaten every little thing -- together with the band's luck. Love appeared to be a definite hit, yet Virginia and Drew might be marching immediately into catastrophe.
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Extra resources for Major Crush
Rather than any kind of narrative arc, with Sennett, one has the sense of atoms in a state of great agitation, eventually leading, inexorably, to a critical explosion, whereupon the ﬁlm ends, irrespective of whether the various love affairs or the matter of stolen goods is settled or not. The anarchist’s union This combination of senseless violence and narrative deconstruction (although, given that Sennett’s studio was knocking out two or three of these pictures a week, it is probably fair to credit rude necessity rather than theoretical sophistication) inevitably gives rise to a second critical truism regarding such comedies: their inherently anarchic, politically subversive nature.
Many of the early attempts to curb the mesmeric licentiousness of early cinema are 26 Silent Film Comedy and American Culture now seen as comically absurd – in 1908 the Massachusetts Film Board passed a law necessitating that all ﬁlms must be suspended and the house lights switched on every 15 minutes in order to prevent blindness and allow enﬂamed passions to cool – but as Ian Christie notes, this wave of condemnation directed towards early ﬁlm parlours (insalubrious dens of illicit lovemaking and ﬁlthy foreign practices) actively threatened the continuation of the industry as the Nickelodeon boom began to wind down around 1908 (Christie, 1994, p.
Hammond, 1978, p. 4). In his seminal essay, ‘The Work of Art in the Age of Mechanical Reproduction’ (1914), Walter Benjamin sees the Little Tramp’s antics as ‘the natural achievement of what the Dadaists tried to do with performance’, slapstick comedy the apotheosis of all that Dada’s anti-art stood for: ‘extravagances, crudities, barbarisms’ (Benjamin, 1992, pp. 242, 230). The shock strategies of Dada – the calculated outrages, meaningless surprises, sudden jolts – all ﬁnd their corollary in silent ﬁlm, which likewise ‘hits the viewer like a bullet’, tactile, immediate: ﬁlm is something that happens to you (Benjamin, 1992, p.