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.
An Afternoon Tea at the Eames House Villalobos, Nieves Fernández; del Rio, Alberto López
Revista de arquitectura (Pamplona, Spain),
01/2023, Volume:
25, Issue:
25
Journal Article
Peer reviewed
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 ?
Keywords: Golem, Hasidic, drag, Chaplin, power, dictator, Hitler, Trump INTRODUCTION Natural curls unfurl from under the fur of a Hasidic man s hat as a Jewess cyborg adorned in white tights and lace ...leotard wraps herself unorthodoxly in religious tefillin.1 This is Los Angeles visual artist Julie Weitz in her video short The Great Dominatrix (2018), a silent solo film featuring the artist as updated folk golem dressed in the sexually repurposed Jewish garb of her religious grandfather.2 In white-caked makeup that covers face and exposed skin, Weitz remounts themes from Jewish myth and vaudeville alike for a blackand-white exaggeration of antisemitic extremes, playing with self-objectifying tropes as strategies of social and political critique. Analyzing Weitz's overt political redress through self-conscious racial atonement and ethnic recuperation of a golem's protective/destructive effect, I ask how the short film implicates the artist's creative hand and self-commenting critique as an exaggerated play on the artist's identity and sense of political responsibility. ...as a study in embodied screen performance, my reading of this short film asks how camera and corporeal negotiations undermine political greed and empower artistic license in the same quick cuts. Gaining initial attention from friends and curators for golem's twentyto sixty-second Instagram performances,8 Weitz was commissioned to create one-minute segments introducing the character for a public art project.9 The videos played on two adjacent digital billboards along a highly trafficked section of Sunset Boulevard in West Hollywood. By summer of 2020, appearing in full costume at a Never Again protest and speaking through a megaphone in the voice of the artist herself,13 golem broke her characteristic silence, tying historic Jewish persecution to present-day justice demands with a piercing urgency absent of irony.14 As golem's activism has developed, so has the figure's physical and metaphysical incorporation of symbolism from the Book of Creation {Sefer Yetzirah), a text known to be the earliest book on Jewish mysticism and esotericism appearing sometime between the third and sixth centuries CE.15 The book argues that God created the world with secret paths of wisdom that are composed of the ten sefirot, or godly emanations, and the twenty-two letters of the Hebrew alphabet, both of which inspire costume and movement-based choices Weitz continues to make and adapt for her character.16 Included are instructions for the Jewish mystic on making a golem from clay by breathing it to life, which the artist returns to as Kabbalist inspiration for the project.
Kyp Harness expresses the common view when he writes that Modern Times thematizes the Tramp's triumph over that which ultimately killed him: namely, sound film, which, for Chaplin, represented ...industrial uniformity, dehumanization, and troubling technological progress.4 Sound technology, in Harness's reading, is connected with and symbolized in Modern Times by the technology of mass production; the Tramp's comic victory over the assembly line early in the film mirrors Chaplin's own Pyrrhic victory over sound film. None of these arguments meditates on the contradiction that Chaplin might be offering a critique of technology and modernization through the medium of film, which was itself a symbol of technological modernization in Chaplin's day. ...it is unclear why, in Harness's reading, sound film represents technological progress while silent film does not. Reacting against a tradition of scholarship from the Frankfurt School to Andreas Huyssen emphasizing modernism's hostility to mass culture, recent studies of modernism have emphasized the art form's engagement with and sympathy toward mass culture. Rather, Galsworthy's use of the icon indicates the pervasive and international circulation of a term that was central to political, economic, and social debates throughout the Western world.
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