To what extent can this process be seen in Seven Chances (w/Buster Keaton, 1925)? How are the norms of slapstick comedy adapted to the narrative demands of the feature-length format?

It is Steve Neale and Frank Krutnik’s argument that the development of the multiple-reel “feature” film led comic filmmakers to experiment with various combinations of slapstick and genteel components (e.g., the narrative-based “situation slapstick” style in the case of Lloyd, sentiment in the case of Chaplin, etc.). To what extent can this process be seen in Seven Chances (w/Buster Keaton, 1925)? How are the norms of slapstick comedy adapted to the narrative demands of the feature-length format? Be sure to engage ideas from Neale and Krutnik’s “The Case of Silent Slapstick” essay in your argument.