Buster Keaton up to provide replacements, as happened to some other late-arriving divisions. During his time in uniform, he suffered an ear infection that permanently impaired his hearing. In February 1917, Keaton met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. Joe Keaton disapproved of films, and Buster also had reservations about the medium. During his first meeting with Arbuckle, he asked to borrow one of the cameras to get a feel for how it worked. He took the camera back to his hotel room and dismantled and reassembled it.
Buster Keaton the United States Post Office, including Rudolph Valentino and Keaton. Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures". In his essay "Film-arte, film-antiartístico", artist Salvador Dalí declared the works of Keaton to be prime examples of "anti-artistic" filmmaking, calling them "pure poetry". In 1925, Dalí produced a collage titled "The Marriage of Buster Keaton" featuring an image of the comedian in a seated pose, staring straight ahead with his trademark boater hat resting in his lap. Film critic Roger Ebert stated, "The