In the 1920s, silent film comedy was a major trend in American cinema. The silent film format gave itself to slapstick and gag-based humour because visual gags could be clearly recognized and crossed language barriers. In America in the 1920s films would appeal to the working class and immigrants this was because easily understood by everyone, as it was silent even people who dint speak English would watch it. The cultural contexts in which the four Buster Keaton short films I studied were made reflect the cultural contexts in which these American Silent Film comedies were created. I will be talking about the culture in which American film comedy developed, such as vaudeville, I will also be talking about the imagery and themes in Buster Keaton shorts, the key cultural movements of the 1920s American short films, it also uses surrealism 

firstly, he Buster Keaton shorts represent the silent film comedy cultural movement of the 1920s. The film's running time of about 20 minutes were typical of the famous "two-reelers" of the time, and it was well-suited to the comedy where the plot was secondary to the gags. in the 1920s police were popular with audiences however the silent film Cops mocks police. Mack Sennett's Keystone Studios series, Keystone Cops, which starred comic cops in comedy chase scenes, inspired the mocking of the police. there are uses of long shots, this was usual in 1920s American comedy. When Buster Keaton is pursued by the entire LA police force in Cops, we see this in  a long shot and  focus, which is a common way to show a chase gag in silent cinema to enable the audience to focus on the gag.

Secondly, American silent film comedy grew out of common culture styles like vaudeville, where a number of acts, including comedians and acrobats, would perform for audiences. Buster Keaton began his career as part of a family act in vaudeville, performing comedy acrobatic routines. It was then that he established his ‘stone face' character, as he discovered that a joke worked best when he kept his face expressionless. For example, when the train destroys his flat-pack home in One Week, the camera cuts to Keaton's expressionless face, emphasizing the gag. . This also sets standards for viewers, as Keaton's expressionless face was part of his character, which audiences recognized in all of his short films. The star system in Hollywood emerged in the 1920s, when studios produced promotional materials around stars and established a marketable identity. The impressive silent film while working for the Mack Sennett studios, comedians formed a distinct identity that they developed in their short films. 

Furthermore, surrealism was a cultural artistic trend of the time, is also shown in these short films. Surrealist filmmakers such as Louis Bunuel admired Chaplin and Keaton's comedies for their chaotic gags and use of satire to bend the rules of reality. The High Sign contains many weird gags, such as when Keaton opens a newspaper, which grows extremely large and finally eats him. One Week features surreal imagery, such as a man arriving with a piano on his back for no reason, this random comedy was funny to viewers as it made no sense and was largely enjoyed by audiences. 

Moreover, Buster Keaton's short films show his love with devices and the mechanical age of American comedy. All of the items in Keaton's house in The Scarecrow have a double purpose for comical purposes. The gramophone player, for example, can be used as an oven. Keaton is often depicted as a 'small man' who is often overcome by technology and natural forces. Keaton's films contain culturally humorous references to other common culture texts that would have been familiar to viewers at the time. The Scarecrow's house is based on Robe Goldberg's comic drawings, which were widely distributed in American newspapers in the 1920s. These drawings showed men who were puzzled by new technology. One Week was based on a short film created by Ford for their employees about flat pack houses, a comedic portrayal of increasing consumerism as well as the encouragement of owning a home.

Finally, the four Keaton shorts show the cultural contexts connected with American silent film comedy, including the evolution of comedy from other types of entertainment such as vaudeville, links to modern art such as cubism, the use of technology, and surreal comedy.