The Model for Mayhem

Continuing Series and the Comic Type

Boireau, Calino, and Rigadin

Figure 9.13: Comedy in the Stapstick Manner
Figure 9.14: The Serial Director
Figure 9.15: The Fine Art of Bourgeois Bufoonery

The Fine Art of Surreal Destruction: Jean Durand and Onésime

Figure 9.16: The Fine Art of Incongruity and Mayhem
Figure 9.17: The Fine Art of Clock Management
Figure 9.18: The Fine Art of Homage

The Man in the Chapeau de Soie: Max Linder

Figure 9.19: The Fine Art of Elegant Clowning

Refining the Art of Comedy

Figure 9.20: The Man in the Silk Hat
Figure 9.21: Subverting Class Subconsciousness
Figure 9.22: “Narrativizing” the Gag
Figure 9.23: The Fine Art of Conformity
Figure 9.24: The Fine Art of Frustration


Biographical Sketch 9.1: Max Linder

Le Roi du Cinématographe

Before “Max”

Figure B9.1: Max in Fairyland
Figure B9.2: Max Juggles His Love Life

“Scenario by Max Linder, Played by the Author”

Figure B9.3: Max Stumbles across the Authorities

Max Comes Across

The First American Venture

Figure B9.4: Max Puts Things Asunder

Max Comes Back Across: The Second American Venture

Figure B9.5: Max’s Lucky Break
Figure B9.6: Max Fights for His Love
Figure B9.7: Max Swashbuckles

The Final Years

Figure B9.8: Max Calls for Help


The Ciné-Max Linder

“I Always Preferred Linder to Chaplin”

Reading 9.2: In Theory: The Boulevardier and the Bourgeoisie

The Assault on Propriety

The Ambivalence of the Boulevard Comedian

The Bourgeois Performance

Figure R9.8: A Ticklish Affair
The Performance as Self-Conscious Spectacle: Be My Wife

Fashions in Virtue

Fashionable Decisions: Le Roman de Max
Figure R9.9: Footloose and Fashion Free

Strolling in the Bourgeois City

Figure R9.10: Max Takes a Satyrical Stroll

Performing Gender Roles

The “New Woman” in the Belle Époque

Performance Anxiety and the Comic Mode

The Anxiety of Inversion: Max et la doctoresse
The Irruption of the Spontaneous: Seven Years Bad Luck

Morality and the Literal Minded

Figure R9.11: Max Is Dogged by Bad Luck
Performing for the Bourgeoisie: Max joue le drame
Figure R9.12: Max Dramatizes His Classical Aspirations

Bourgeois vs. Deontological Morality; or, Max among the Philosophers

Virtue-Oriented vs. Duty-Oriented Morality

Figure R9.13: Max’s Marriages à la Mode

Deontological Morality according to Kant

Prudential Morality according to Adam Smith

The Master of the Hypothetical Imperative

The Clash of Hypothetical Imperatives: Le Baromêtre de la fidélité
Figure R9.14: “Secret Sin Is Half Forgiven”
The Anxiety of Identity: La Petite rosse and Max a un duel
The Objects of Frustration and Satire: La Timidité vaincue
Morality, Motivation, and the Actor: Max lance la mode
Figure R9.15: Tripping the Light Fantastic in Fashionable Footwear
Figure R9.16: The Agony of Offended Taste

Reading 9.3: Jump Cut: Antics of Influence

“The Idea of Burlesquing a Dandy”

Figure R9.17: “The French Dude”
Figure R9.18: Mallet and Female
Figure R9.19: A Meeting of Mimes

The Issue of “Regulation Gags”; or, Thematic Affinities

Figure R9.20: The Dandy and the Dancer
Figure R9.21: Unveiling Comic Poses

Intuition and the Gestures of Silent Comedy

The Mirror-Image Gag

Figure R9.22: In Dubious Battle
Figure R9.23: To Match a Thief
Figure R9.24: Max Rues a Ruse
Max Linder’s Peerless Precision

The Future of an Illusion

Figure R9.25: The Mirror Has Two Faces

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