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.
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.
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 ?
This essay analyzes the video dance work of contemporary Jewish performance artist Julie Weitz through analysis of her seven-minute short The Great Dominatrix (2018). Inspired by Charlie Chaplin's ...critique of fascism in The Dictator (1940), Weitz mocks modern-day political power in Hassidic drag with Chaplin-esque physicality and layered cultural reference. Curls unfurl from under the fur of a traditional man's hat as golem enters in white tights and leotard, wrapped unorthodoxly in religious tellilin. She mounts a plastic inflatable globe as quick cuts speed through the myriad ways she sexualizes the prop. In one sequence, the artist gesticulates her white-caked face and body with exaggerated expressions of surprise, disgust, and desire while watching iPhone clips of Trump and Chaplin's Hitler playing with his own oversize globe. Satirizing today's rulers and their greed for world domination while libidinizing the sci-fi figure of Jewish folklore, Weitz embodies an ethnogender drag she describes as curiously empowering, if often misunderstood. Prioritizing these multiple mis/ identifications as contestatory performance plays in porcelain slip, I argue that the artist deploys competing tropes to dethrone dictatorship while exaggerating antisemitic extremes to sculpt the Modern Jewess in bodily negotiation of (her own) power.
Two great masters of silent cinema-Buster Keaton and Charlie Chaplin, although from two different milieus, seem to be aware of the fact that it is the unconscious actions or the coincidences that ...contribute immensely to whatever we become in our lives. Sam Harris, an American philosopher and neuroscientist, in his book Free Will (2012), announces that freedom of choice-making is nothing more than an illusion. It is not only the choices that we make in our lives which are highly constrained, but also the consequences of these choices depend on many other factors-visible or invisible. The present article looks into the coincidences portrayed in the films of Chaplin and Keaton. The article establishes a proposition contrasting with the idea of freedom of choice in Sartre's Existentialism and offers a parallel between the idea propounded by Sam Harris in his book Free Will and the philosophy of these two filmmakers. Buster Keaton's The Navigator (1924) and The General (1926) while Charles Chaplin's The City Lights (1931) and Modern Times (1936) are the films that have been examined in the article as primary texts for drawing the conclusion.
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