Film star Charlie Chaplin spent February 1931 through June 1932 touring Europe, during which time he wrote a travel memoir entitled "A Comedian Sees the World." This memoir was published as a set of ...five articles in Women's Home Companion from September 1933 to January 1934 but until now had never been published as a book in the U.S. In presenting the first edition of Chaplin's full memoir, Lisa Stein Haven provides her own introduction and notes to supplement Chaplin's writing and enhance the narrative. Haven's research revealed that "A Comedian Sees the World" may very well have been Chaplin's first published composition, and that it was definitely the beginning of his writing career. It also marked a transition into becoming more vocally political for Chaplin, as his subsequent writings and films started to take on more noticeably political stances following his European tour. During his tour, Chaplin spent time with numerous politicians, celebrities, and world leaders, ranging from Winston Churchill and Mahatma Gandhi to Albert Einstein and many others, all of whom inspired his next feature films, Modern Times (1936), The Great Dictator (1940), Monsieur Verdoux (1947), and A King in New York (1957). His excellent depiction of his experiences, coupled with Haven's added insights, makes for a brilliant account of Chaplin's travels and shows another side to the man whom most know only from his roles on the silver screen. Historians, travelers, and those with any bit of curiosity about one of America's most beloved celebrities will all want to have A Comedian Sees the World in their collections.Available only in the USA and Canada.
Charles Maland focuses on the cultural sources of the on-and-off, love-hate affair between Chaplin and the American public that was perhaps the stormiest in American stardom.
The quantitive revolution in geography was the methodological expression of a shift in paradigm. Nomological thinking took over from the idiographic approach of classic geography. The classic ...paradigm had been that of a desirable identity of concrete working, active humans with their concrete natural surroundings: landscape was imagined as Lebensraum. The logic of industrial production processes contrasts with this; it creates an identity of scientifically analysed human work sequences with machines, and it thus represents a form of adapting to nature by abstracting holistically integrated ways of carrying out work. The geographical paradigm had no theoretical tools with which to approach this relationship between humans and nature. With regard to the theoretical ideas underlying it, this methodological change corresponds, on the one hand, to the transition from following a humanist concept of the individual, which guides idiographic thinking, to using a democratic concept of the individual, which correlates with the principles of experiment-based empirical sciences. On the other hand, geography's move towards an abstract concept of space reflects the degree to which industrial production methods are abstracted. The “spatial approach”, the “behavioural approach”, and “humanistic geography” are interpreted and contrasted with the idiographic paradigm within this coordinate system.
Charles Spencer Chaplin has made his appearance in a good number of his movies as a screen persona called The Little Tramp. It was in 1914 that The Little Tramp was seen on screen for the first time ...in the movie The Kid Auto Races in Venice. The Tramp that acted first on the stage was not the same who made its first glimpse on the screen in the eyes of the world. It was perhaps a coincidence that supported Chaplin's vision of the world with no order. The very first movie in which he acted in the costume of The Little Tramp was Mabel's Strange Predicament. The Kid Auto Races in Venice was premiered on Feb 7, 1914, two days prior to the release of Mabel's Strange Predicament.
What it perhaps resembled most was an out-of-control conveyor belt, of the kind used to tragicomic effect by Charlie Chaplin in the 1936 film Modern Times.1 This one wasn’t carrying parts needing ...screws, however, but sick, frightened, or confused patients and their worried relatives. Data on hospital attendances and admissions tell us that none of these pressures is unique to winter, and numbers rise yearly.2 But a slowdown in community health and care services over Christmas and New Year can mean even more beds being taken out of commission by stranded patients,3 with backlogs taking weeks to clear. BMJ 2019; 367: l5870. 10.1136/bmj.l5870 31597635 4 Berg LM Källberg A-S Göransson KE Östergren J Florin J Ehrenberg A. Interruptions in emergency department work: an observational and interview study.
W komiksach publikowanych w polskiej prasie dwudziestolecia międzywojennego wyraźny nurt stanowiły humorystyczne historyjki o filmowych komikach. W artykule są omawiane „filmy rysunkowe” (jak wówczas ...nazywano prasowe komiksy) poświęcone Charliemu Chaplinowi, Patowi i Patachonowi, oraz komiksowe wcielenia gwiazd kina i kabaretu – Kazimierza „Lopka” Krukowskiego i Adolfa „Dodka” Dymszy. Większość tych utworów podkreśla sowizdrzalskie rysy ekranowych komików, co zwłaszcza w przypadku Chaplina stanowiło powrót do jego filmowych początków. W niektórych z komiksów można dopatrzyć się też reminiscencji konkretnych filmów, jak również – zwłaszcza w przypadku Dodka – próby adaptacji specyficznego języka postaci. Trudno określić, na ile owo drugie życie gwiazd ekranu na łamach prasy komponowało się z odbiorem ich filmów. Z pewnością jednak potęgowało popularność, minimalizując bariery między idolami kina a publicznością, która w wyobraźni przenosiła ich przygody w swojskie realia.
An Afternoon Tea at the Eames House Villalobos, Nieves Fernández; del Rio, Alberto López
Revista de arquitectura (Pamplona, Spain),
01/2023, Letnik:
25, Številka:
25
Journal Article
Recenzirano
In 2012, a tea ceremony was held at the Charles and Ray Eames House, attended by a shy number of guests. The event was intended to recall another that had taken place in the same space sixty years ...ago, when the Eameses had received distinguished guests such as Charlie Chaplin and Isamu Noguchi. On both occasions, the Eameses' 'select and arrange' aesthetics, together with the artistic interventions of their guests, created a bare scenography, rather Westernised, that served as the basis for the celebration. These events, as well as the elements and guests who gathered there, represent but a small sample of Eames' link with Japanese design and architecture, and particularly the embodiment of some common ideals manifested in their own iconic Californian home, becoming essential chapters in the unique story of this building.
Inter-subject correlations (ISCs) of physiological data can reveal common stimulus-driven processing across subjects. ISC has been applied to passive video viewing in small samples to measure common ...engagement and emotional processing. Here, in a large sample study of healthy adults (
N
= 163) who watched an emotional film (The Lion Cage by Charlie Chaplin), we recorded electroencephalography (EEG) across participants and measured ISC in theta, alpha and beta frequency bands. Peak ISC on the emotionally engaging video was observed three-quarters into the film clip, during a time period which potentially elicited a positive emotion of relief. Peak ISC in all frequency bands was focused over centro-parietal electrodes localizing to superior parietal cortex. ISC in both alpha and beta frequencies had a significant inverse relationship with anxiety symptoms. Our study suggests that ISC measured during continuous non-event-locked passive viewing may serve as a useful marker for anxious mood.
15 octobre 1940. L’Europe est en guerre et les États-Unis affichent leur volonté de rester en dehors du conflit. Charlie Chaplin lance alors sa bombe : Le Dictateur. S’appuyant sur une peinture à la ...fois burlesque et terrifiante du nazisme et de son incarnation, Adolf Hitler, le film en est une dénonciation explicite, au moment même où les troupes allemandes envahissent l’Europe. Un tour de force rendu possible par l’indépendance artistique et financière de Chaplin, qui lui a permis de ne pas plier malgré les pressions. C’est à travers l’analyse de scènes clés et des partis pris cinématographiques de Chaplin, l’étude des personnages et de leur évolution, ainsi que par l’examen des différents niveaux de discours que l’auteur répond à la question essentielle et toujours vive : comment, en tant qu’artiste, dénonce-t-on une situation intolérable ? Comment réalise-t-on un film politique, notamment dans un contexte brûlant ?
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