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.
Could Buster Keaton have starred in Battleship Potemkin? Did Trotsky plan to write the great Soviet comedy? And why did Lenin love circus clowns? The Chaplin Machine reveals the lighter side of the ...Communist avant-garde and, in particular, its unlikely passion for American slapstick. Set against the backdrop of the great Russian revolutionary experiment, Owen Hatherley tells the tragic-comedic story of the cinema, art and architecture of the early 20th Century and spotlights the unlikely intersections of East and West.
In 1919, Florence Deshon-tall, radical, and charismatic-was well
on her way to becoming one of Hollywood's brightest stars.
Embroiled in a clandestine affair with Charlie Chaplin, she
continued to ...remain romantically involved with the well-known
writer and socialist Max Eastman. By 1922, she was found dead in a
New York apartment, rumored to have committed suicide.
Love and Loss in Hollywood: Florence Deshon, Max Eastman,
and Charlie Chaplin uses previously unpublished letters
between Deshon and Eastman to reconstruct their relationship
against the backdrop of the "golden age" of Hollywood. Deshon's
tragic life and her abuse at the hands of powerful men-including
Chaplin, Eastman, and Samuel Goldwyn-resonate with the concerns of
today's MeToo movement. Above all, though, this is a book about an
extraordinary woman unjustly forgotten: a brilliant writer and
campaigner for women's rights, driven both by her ambition to
succeed and a boundless desire for life.
Rich in tantalizing detail, Love and Loss in Hollywood
chronicles crucial years of American film history, overshadowed by
the pervasive fear of Bolshevism after World War I, the Red Riots,
and the emergence of the big studios in Hollywood. This beautiful
edition features dozens of unpublished photographs, among them six
mesmerizing full-length portraits of Deshon by Adolph de Meyer,
Vogue's first fashion photographer.
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.
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.
The role the machine plays in this production of meaning is to organize content, to delineate the parameters through which perception and engagement must occur; on the larger scale of ideology ...(rather than subjective meaning), the role that Constructivist art should play in producing the new Soviet state is to harness and organize the revolutionary zeitgeist. Given the resonance between the clown's performative function and the Constructivist's social duty, I will assimilate Kimber's discussion into my reading of the ideological framework that Rodchenko brings to bear on the Tramp (or Charlot, as the character was termed among Europeans). ...what could at first seem like one of the more pathetic aspects of his character (the Tramp's poverty forces him to wear clothes more appropriate for a clown, which in turns forces him to waddle about in pants too big for him) becomes one of the aspects that aligns him most with progress and the future. According to Christina Lodder, this article "presents a political interpretation of Chaplin's approach" to his art (380).
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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