DOCSLIB.ORG

DR594 Slapstick Comedy | University of Kent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DR594 Slapstick Comedy | University of Kent 09/29/21 DR594 Slapstick Comedy | University of Kent DR594 Slapstick Comedy View Online Slapstick Project Reading List for DR594 Popular Performance 1. Allen, Tony: Attitude : wanna make something of it?: the secret of stand-up comedy. Gothic Image, Glastonbury (2002). 2. Barker, C: The ‘Image’ in Show Business. Theatre quarterly. 8,. 3. Bergson, Henri: Laughter: an essay on the meaning of the comic. Macmillan, London (1911). 4. Johnstone, Keith: Impro: improvisation and the theatre. Methuen Drama, London (2007). 5. Staveacre, Tony: Slapstick: the illustrated story of knockabout comedy. Angus & Robertson, North Ryde, NSW (1987). 6. Robinson, Davis Rider: The physical comedy handbook. Heinemann, Portsmouth, N.H. (1999). 1/8 09/29/21 DR594 Slapstick Comedy | University of Kent 7. Wilmut, Roger: Kindly leave the stage!: the story of variety, 1919-1960. Methuen, London (1985). 8. Wright, John: Why is that so funny?: a practical exploration of physical comedy. Nick Hern, London (2006). 9. Bratton, J. S., Featherstone, Ann: The Victorian clown. Cambridge University Press, Cambridge (2006). 10. Clayton, Alex: The body in Hollywood slapstick. McFarland & Co, Jefferson, N.C. (2007). 11. Dale, Alan S.: Comedy is a man in trouble: slapstick in American movies. University of Minnesota Press, Minneapolis (2000). 12. Double, Oliver: Stand-up!: on being a comedian. Methuen, London (1997). 13. Double, Oliver: Getting the joke: the inner workings of stand-up comedy. Methuen, London (2005). 14. Fisher, J.: Funny way to be a hero. Muller, [Place of publication not identified] (1973). 2/8 09/29/21 DR594 Slapstick Comedy | University of Kent 15. Simon, Eli: The art of clowning. Palgrave Macmillan, New York (2009). 16. Orwell, George: Decline of the English murder. Penguin Books, Harmondsworth, Eng.]. 17. Paulus, Tom, King, Rob: Slapstick comedy. Routledge, New York (2010). 18. Gordon, M.: Lazzi: the comic routines of the Commedia dell’ arte. Performing Arts Journal Pubns, [Place of publication not identified] (1983). 19. Pietropaolo, Domenico: The science of buffoonery: theory and history of the commedia dell’arte. Dovehouse Editions Inc, Canada (1989). 20. Richards, Kenneth, Richards, Laura: The commedia dell’arte: a documentary history. Blackwell, Oxford (1990). 21. Rudlin, John: Commedia dell’arte: an actor's handbook. Routledge, London (1994). 22. Hutch, Johnny: Acrobatic and vaudeville routines, (1994). 3/8 09/29/21 DR594 Slapstick Comedy | University of Kent 23. Wolfe, Ronald: Writing comedy: a guide to scriptwriting for TV, radio, film and stage. Robert Hale, London (2003). 24. Chaplin, Charlie: My autobiography. Penguin, London (2003). 25. Knopf, Robert: The theater and cinema of Buster Keaton. Princeton University Press, Princeton, NJ (1999). 26. Louvish, Simon: Keystone, the life and clowns of Mack Sennett. Faber and Faber, London (2003). 27. Louvish, Simon: Monkey business: the lives and legends of the Marx Brothers. Faber and Faber, London (1999). 28. Louvish, Simon: Stan and Ollie: the roots of comedy : the double life of Laurel and Hardy. Faber, London (2001). 29. McPherson, Edward: Buster Keaton: tempest in a flat hat. Faber and Faber, London (2005). 30. Weissman, Stephen M.: Chaplin: a life. JR Books, London (2009). 4/8 09/29/21 DR594 Slapstick Comedy | University of Kent 31. Search Results - kurson stooges - University of Kent Library catalogue, https://catalogue.kent.ac.uk/Search/Results?lookfor=kurson stooges&type=AllFields&submit=Find. 32. Keaton, Buster, Samuels, Charles: My wonderful world of slapstick. Da Capo, New York (1982). 33. White, James Dillon: Born to star: the Lupino Lane story. Heinemann, London. 34. Ross, Robert: The Goodies rule OK. Carlton, London (2006). 35. Wilmut, R.: From fringe to flying circus: celebrating a unique generation of comedy, 1960-1980. Eyre Methuen, [Place of publication not identified] (1980). 36. Wilmut, Roger, Rosengard, Peter: Didn’t you kill my mother-in-law?: the story of alternative comedy in Britain from the Comedy Store to Saturday Live. Methuen, London (1989). 37. Cleese, John, Booth, Connie, Davies, John Howard, Argent, Douglas, Spiers, Bob: Fawlty Towers, (1998). 38. 5/8 09/29/21 DR594 Slapstick Comedy | University of Kent The Goodies: at last a second helping, (1970). 39. Jackson, Paul, Posner, Geoff: Saturday live: the best of series one, (1986). 40. Boden, Richard, British Broadcasting Corporation: Blackadder goes forth, (1998). 41. Elton, Ben, Mayall, Rik, Mayer, Lisa, Jackson, Paul, Posner, Geoff, British Broadcasting Corporation: Young ones: complete series one and two, (1982). 42. dir: Mandie Fletcher: Blackadder Remastered - The Ultimate Edition, (1982). 43. Chaplin, Charlie: Charlie Chaplin: the Mutual films, Vol. 1: Behind the screen ; The rink ; Easy Street ; The cure ; The immigrant ; The adventurer, (1916). 44. Buster Keaton: Vol. 1: Our hospitality ; Sherlock Jnr, (1923). 45. Buster Keaton: Vol. 2: Neighbors ; One week ; The boat ; The electric house, (1920). 46. Our relations and ‘dual roles’ shorts, (1930). 6/8 09/29/21 DR594 Slapstick Comedy | University of Kent 47. Saps at sea and music shorts. 48. A job to do: classic shorts, (1927). 49. More brushes with the law: classic shorts. 50. The art of Harold Lloyd, (1918). 51. The Marx Brothers collection. 52. The Three Stooges : the early years, (1933). 53. The golden years of British comedy, (2005). 54. Sunday night at the London Palladium, (2010). 55. 7/8 09/29/21 DR594 Slapstick Comedy | University of Kent Palmer, Greg: Vaudeville, (1997). 8/8.
Load more

Recommended publications
  • Charlie Chaplin the Mutual Comedies with Music by Carl Davis
    Charlie Chaplin The Mutual Comedies With music by Carl Davis A Limited Edition 2-disc Blu-ray set and a 2- disc DVD set of Charlie Chaplin’s Mutual Comedies will be released by the BFI on 18 May 2015. Previously only available on two DVD volumes from the BFI, the films have been fully restored in High Definition and brought together in a single edition for the first time. The collection features music by acclaimed silent film composer Carl Davis and a raft of special features. Charlie Chaplin entered the film industry in 1914. By 1916 he was the highest paid entertainer in the world after signing a contract with the Mutual Film Corporation for a salary of $670,000. Mutual built Chaplin his very own studio and allowed him total freedom to make 12 two-reel films during a 12-month period. Chaplin subsequently recognized that time as the most inventive and liberating of his career. These 12 films demonstrate the breadth of his abilities as both a physical entertainer and a subtle, endearing character actor. Among the classics included here are The Immigrant, which endures as a comic masterpiece; Easy Street – a watershed moment in Chaplin’s career; The Floorwalker, which shows his inventive and balletic use of mechanical props; The Vagabond, where he successfully combines pathos and comedy to create a lyrical love story and The Pawnshop which is famous for the hilarious routine in which he dissects an alarm clock. Composer Carl Davis is available for interview. The Mutual Comedies The Floorwalker, The Fireman, The Vagabond, One A.M., The
    [Show full text]
  • Charlie Chaplin's
    Goodwins, F and James, D and Kamin, D (2017) Charlie Chaplin’s Red Letter Days: At Work with the Comic Genius. Rowman & Littlefield. ISBN 1442278099 Downloaded from: https://e-space.mmu.ac.uk/618556/ Version: Submitted Version Publisher: Rowman & Littlefield Please cite the published version https://e-space.mmu.ac.uk Charlie Chaplin’s Red Letter Days At Work with the Comic Genius By Fred Goodwins Edited by Dr. David James Annotated by Dan Kamin Table of Contents Introduction: Red Letter Days 1. Charlie’s “Last” Film 2. Charlie has to “Flit” from his Studio 3. Charlie Chaplin Sends His Famous Moustache to the Red Letter 4. Charlie Chaplin’s ‘Lost Sheep’ 5. How Charlie Chaplin Got His £300 a Week Salary 6. A Straw Hat and a Puff of Wind 7. A bombshell that put Charlie Chaplin ‘on his back’ 8. When Charlie Chaplin Cried Like a Kid 9. Excitement Runs High When Charlie Chaplin “Comes Home.” 10. Charlie “On the Job” Again 11. Rehearsing for “The Floor-Walker” 12. Charlie Chaplin Talks of Other Days 13. Celebrating Charlie Chaplin’s Birthday 14. Charlie’s Wireless Message to Edna 15. Charlie Poses for “The Fireman.” 16. Charlie Chaplin’s Love for His Mother 17. Chaplin’s Success in “The Floorwalker” 18. A Chaplin Rehearsal Isn’t All Fun 19. Billy Helps to Entertain the Ladies 20. “Do I Look Worried?” 21. Playing the Part of Half a Cow! 22. “Twelve O’clock”—Charlie’s One-Man Show 23. “Speak Out Your Parts,” Says Charlie 24. Charlie’s Doings Up to Date 25.
    [Show full text]
  • When Film Was Deaf (1895-1927) • THINGS MOVING WITHOUT NOISE
    ... Warning Concerning Copyrisht Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. • FILM, • • A SOUND ART • • ffllCHEL CHIOI • ·• TRANSLATED ev cL1uo,1 GDRBmAn • COLUMBIA UNIVERSITY PRESS ~ New York COLUMBIA UNIVERSITY PRESS Publishers Si?ce 1893 New York Chichester, West Sussex Copyright © 2003 !es Editions de l'Etoile Translation © 2009 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Chion, Michel, 1947- [Art son ore, le cinema. English] Film, a sound art/ Michel Chion ; translated by Claudia Gorbman. p. cm.-(Film and culture) Includes bibliographical references and index. ISBN 978-0-231-13776-8 (cloth: alk. paper)-ISBN 978-0-231-13777-5 (pbk. : alk. paper) 1. Sound motion pictures. 2. Motion pictures-sound effects. 3, Motion pictures-Aesthetics. I. Title. I!. Series. PN1995.7C4513 zoo9 791.4302'4-dc22 2008054795 e Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America C 10 9 8 7 6 5 4 3 p 10 9 8 7 6 5 4 References to Internet Web sites (URLs) were accurate at the time of writing.
    [Show full text]
  • An In-Depth Look at Chaplin's Mutual Comedies by Jeffrey
    An In-Depth Look at Chaplin’s Mutual Comedies By Jeffrey Vance, film historian The Floorwalker (Released: May 15, 1916) Embezzlement is the subject of The Floorwalker, Chaplin’s first film under his landmark contract with Lone Star-Mutual. Chaplin’s inspiration for the film came while he and his brother Sydney were in New York City negotiating his contract with Mutual. While walking up Sixth Avenue at Thirty-third Street, Chaplin saw a man fall down an escalator serving the adjacent elevated train station and at once realized the comic possibilities of a moving staircase. He asked his technical director, Ed Brewer, to design and construct an escalator in a department store set designed by art director and master of properties George “Scotty” Cleethorpe (who had worked for Chaplin at Essanay). “With a bare notion I would order sets, and during the building of them the art director would come to me for details, and I would bluff and give them particulars about where I wanted doors and archways.” Chaplin wrote in his autobiography, “In this desperate way I started many a comedy.” (18) After seeing The Floorwalker, Mack Sennett commented, “Why the hell didn’t we ever think of a running staircase?” (19) The Floorwalker has none of the pathos, romance, or irony of the best Chaplin Mutuals. The crudeness and cruelty of his earlier films is still evident in The Floorwalker, although the film contains a stronger plot than most of his previous films, and the moving-staircase chase was novel for 1916. A glimpse of Chaplin’s evolution to a more graceful type of screen comedy is evident in Charlie’s dance when he discovers the valise of stolen money and dives into the bag.
    [Show full text]
  • 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism
    Notes 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism 1. This speech has often been erroneously quoted (not least by Adam Curtis in his 2002 documentary The Century of the Self ) as ‘You have taken over the job of creating desire and transformed people into constantly moving happi- ness machines’ – a tremendously resonant phrase, but not one which actually appears in the text of Hoover’s speech. Spencer Howard of the Herbert Hoover Presidential Library attributes the corrupted version to a mis-transcription several decades later. 2. The title of his 1947 essay. His key writings in the 1920s were Crystallizing Public Opinion (1923) and Propaganda (1928). 3. Of course, not all responded sympathetically to the film’s vicious racist message. The NAACP mounted a particularly effective campaign against the film, which was banned in several states and sparked mass protests in others. For the full story see Melvyn Stoke, D.W. Griffith’s ‘The Birth a Nation’, Oxford: Oxford University Press, 2008. 4. CPI titles made in 1917/18 include America’s Answer, Under Four Flags and Pershing’s Crusaders – distributors who wanted the new Fairbanks or Pickford picture would be forced to take a CPI release as well. 2 A Convention of Crazy Bugs: Mack Sennett and the US’s Immigrant Unconscious 1. The temptation, here, is to regard Sennett’s name and the Keystone brand as being broadly synonymous, but one should remember that Sennett started off, first, as an actor and then, as a director at Biograph in 1909; the Key- stone Company was set up by Adam Kessel and Charles Baumann in 1912 (Sennett was never the owner).
    [Show full text]
  • Chaplin Film Series
    /' \9ti\ * ' * / ; MUSEUM OF MODERN ART MEW YORK 19 ?? WEST 53rd STREET TElEPHONEt CIRCLE 5-8900 CABLES, MODERNART, NEW.YORK For release* Tuesday, Seetesfeer £^, 19^7 So. 96 IARLY C1TAPIX? FILMS AS «Ua3UM 0? MCBSHI? AHS ffet MUSSMSJI of Modern Art, 11 Nta* 53 Street, will, present three vaakg of the. early fi&BS of Charles Chaylia, October 5 - £3* Tvrenty-five film vill too sbcnm in 6 seai-veefcly program* Beginning with selected Keystone ecrasdles of 191k, mads before 12M tossy charaetarisation ves entirely evelred, the ffiogrsas proceed through the transitional Ksaany Fi3ns of 1913 to the couplets eerier of Mutual WlsWj 1916 - lrf# in vhich Chaplin achieved full mastery of hi 3 Bedim* Included vill be Chaplin's first filsa, Uaklaa a llvinflj in vhich fas sppeari in a frock coat, high silk hat, walrus Buutaah* and monocle; his first classic, ffha Treapj and the celebrated r^yGtreet, Asjsasj featured players are Fatty Arbtte&a» Kibel Wmnismlj Ben. furs-ist* Idas Purviaaoei siin Bunaarville end the Koystoae Cops. Music for the series will bo arranged and played by Arthur Kleiner. £here vill be t^o showings dailyj at 3 end 3*30. Malsftlon to the Haseua, 75 cents for adults icd 2!) eeats for cMiSroa incier 16, ineluae.3 the fil-is. A ccaplete schedule is attached* For additional infornation please contact Herbert Broasteinj Assistant Publicity ilreotor, Museum of raflem Art, 11 Vest 53 Street, K. Y. CI-3-8200. THE EARLY FILMS OF CHARLES CHAPLIN presented at the Museum of Modern Art, 11 W, 53 Street, New York, N.
    [Show full text]
  • Download Catalogue
    Charlie Chaplin Filmography, Films and TV Programmes in the National Film and Television Archive This filmography includes all fiction and non-fiction material held in the NFTVA relating to Charlie Chaplin. There are six main sections: 1) FICTION....................................................................................................... 2 2) OTHER FICTION MATERIAL HELD BY THE NFTVA ................................................ 6 3) UNIDENTIFIED MATERIAL ............................................................................... 9 4) COMPILATIONS ........................................................................................... 10 5) NON-FICTION FOOTAGE RELATING TO CHARLES CHAPLIN ................................ 11 6) DOCUMENTARIES ON CHAPLIN...................................................................... 15 The fiction material is arranged chronologically (information taken from Chaplin by David Robinson, the bfi index The Early Work of Charles Chaplin by Theodore Huff, Film Dope 6 and Film Dope 28) and divided up into the various production companies Chaplin worked under. Note is made on those items not held in the NFTVA. Other fiction material held in the NFTVA refers to fragments, Chaplin imitators, cartoons etc. Compilations are given with their contents where known. The non-fiction material covers newsreels, amateur footage and those documentaries that are not simply compilations, and is arranged chronologically by release date. A short description is given. Lengths of non-fiction items are given
    [Show full text]
  • Chaplin Shorts
    Chaplin Shorts 20 Newly-restored films showcasing the evolution of “the little tramp” 1914-1917 Now Available on DCP Presented by Flicker Alley, LLC THE MAKING OF A LEGEND 12 Chaplin Mutual films and 8 Keystones are available on DCP from Flicker Alley. Chaplin’s maturation as an artist is seen in these films, many of which are considered his best works. In the Keystone comedies, we see the birth of the Tramp. In the Mutuals, we see Chaplin further explor and develop his celebrated Little Tramp character that would soon join Falstaff and Don Quixote in the pantheon of immortal comic characters. His inventiveness shines as he stretches himself to take on new characters. In addition to playing his ‘Little Tramp’ character, he portrays a fireman, a police officer, a prisoner, and more. These shorts make an excellent program on their own or as a companion piece to the screening of a full-length film. [email protected] (323) 851-1905 HIGHLY-ACCLAIMED RELEASES Named one of “The Best “Watching Chaplin's Mutual DVDs and Blu-rays of 2014.” Comedies is a revelation because - Michael Atkinson, BFI’s one can witness a master Sight & Sound magazine filmmaker coming of age.” - Susan King, Los Angeles Times “The transfers of these films are among the most “Gorgeous presentations of stunningly clear I’ve seen the most breathtakingly of films from this era.” stunt-filled and funny - Jef Burnham, pictures from what some Film Monthly consider Charlie Chaplin's most free-wheelingly creative period; from The “These new digital reissues of Immigrant to The Rink and Chaplin’s Mutual films aren’t just beyond, these movies are labors of love.
    [Show full text]
  • January 29, 2013 (XXVI:3) Charles Chaplin, the GREAT DICTATOR (1940, 125 Min.)
    January 29, 2013 (XXVI:3) Charles Chaplin, THE GREAT DICTATOR (1940, 125 min.) National Film Registry – 1997 Directed, written and produced by Charles Chaplin Original Music by Charles Chaplin and Meredith Willson Cinematography by Karl Struss and Roland Totheroh Film Editing by Willard Nico and Harold Rice Art Direction by J. Russell Spencer Set Decoration by Edward G. Boyle Special Effects by Ralph Hammeras Special Photographic Effects by Jack Cosgrove Stunts by Buster Wiles Meredith Willson…musical director Carmen Dragon…orchestrator Meredith Willson…conductor Charles Chaplin…Hynkel - Dictator of Tomania / A Jewish Barber Jack Oakie…Napaloni - Dictator of Bacteria Reginald Gardiner…Schultz Henry Daniell…Garbitsch Billy Gilbert…Herring Academy Awards Grace Hayle…Madame Napaloni 1973 Best Music, Original Dramatic Score – Limelight (1952) Carter DeHaven…Bacterian Ambassador Shared with: Ray Rasch, Larry Russell Paulette Goddard…Hannah (The film was not released in Los Angeles until 1972. Maurice Moscovitch…Mr. Jaeckel Under the Academy rules at the time, this permitted it to Emma Dunn…Mrs. Jaeckel be eligible despite being 20 years old.) Bernard Gorcey…Mr. Mann Paul Weigel… Mr. Agar 1972 Honorary Award – For the incalculable effect he has had Chester Conklin…Barber's Customer in making motion pictures the art form of this century. Esther Michelson…Jewish Woman Hank Mann…Storm Trooper Stealing Fruit 1929 Honorary Award – The Circus (1928) Florence Wright…Blonde Secretary For versatility and genius in acting, writing, directing and Eddie Gribbon…Tomanian Storm Trooper producing The Circus. Though nominated for best actor, Rudolph Anders…Tomanian Commandant at Osterlich (as the academy decided to remove Chaplin's name from the Robert O.
    [Show full text]
  • Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
    Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative
    [Show full text]
  • Artistry in Motion
    Artistry in Motion Charlie Chaplin’s Comedies in Historical Perspective Lecturer: PD Dr. Stefan L. Brandt, Guest Professor Winter term 2011/12 Charlie Chaplin – Select Filmography (in chronological order) Making A Living. Dir. Henry Lehrman. Perf. Charles Chaplin, Virginia Kirtley and Alice Davenport. Keystone Film Company, 1914. Kid Auto Races at Venice. Dir. Henry Lehrman. Perf. Charles Chaplin and Henry Lehrman. Keystone Film Company, 1914. The Tramp. Dir. Charlie Chaplin. Perf. Charlie Chaplin, Edna Purviance, Lloyd Bacon. Essanay Studios, 1915. The Immigrant. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Eric Campbell. Mutual Film, 1917. A Dog’s Life. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Dave Anderson. First National Pictures, 1918. The Kid. Dir. Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Jackie Coogan, Carl Miller. First National Pictures, 1921. Safety Last. Dir. Fred C. Newmeyer and sam Taylor. Perf. Harold Lloyd, Mildred Davis, Bill Strother, Noah Young. Hal Roach Studios, 1923. The Gold Rush. Dir. Charles Chaplin. Perf. Charles Chaplin, Mack Swain, Tom Murray, Henry Bergman. United Artists, 1925. The Circus. Dir. Charles Chaplin. Perf. Charles Chaplin, Merna Kennedy, Al Ernest Garcia, Harry Crocker. United Artists, 1928. City Lights. Dir. Charles Chaplin. Perf. Charles Chaplin, Virginia Cherrill, Florence Lee, Harry Myers. United Artists, 1931. Modern Times. Dir. Charles Chaplin. Perf. Charles Chaplin, Paulette Goddard, Herny Bergman. , 1936. The Great Dictator. Dir. Charles Chaplin. Perf. Charles Chaplin, Paulette Goddard, Jack Oakie, Reginald Gardiner, Billy Gilbert. United Artists, 1940. Monsieur Verdoux. Dir. Charles Chaplin. Perf. Charles Chaplin, Mady Correll, Allison Roddan, Robert Lewis. United Artists, 1947. A King in New York.
    [Show full text]
  • The Chaplin Craze: Charlie Chaplin and the Emergence of Mass-Amusement Culture
    THE CHAPLIN CRAZE: CHARLIE CHAPLIN AND THE EMERGENCE OF MASS-AMUSEMENT CULTURE JACK RUNDELL PhD UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE AUGUST 2014 Abstract This thesis explores the relationship between Charlie Chaplin’s early career and films (1914-1916) and the emergent mass-amusement culture of the late nineteenth and early twentieth centuries in America. It combines empirical research into mass- amusement history with close readings of Chaplin’s early films in order to illuminate the close and previously minimally explored relationship between Chaplin’s film- making and popularity on the one hand, and the broader early twentieth-century history of mass-amusement culture on the other. The thesis approaches its subject through the specific phenomenon of amusement ‘crazes’. It takes three selectively illustrative examples – roller skating, popular dance forms and moving pictures – through which to explore the specific debates and controversies these amusements generated and the social and cultural aspirations and concerns that drove them. This cultural-historical research is used to re-read Chaplin films, enabling topical allusions and cultural subtexts to come newly into focus. It also provides the context for a fresh interpretation of Chaplin’s sensational rise to fame in the mid-1910s as a cultural phenomenon symptomatic of a wider landscape of contemporary frenetic and popular crazes. The thesis challenges two principal assumptions that underlie prevailing critical approaches to Chaplin’s early career, unquestioningly grounded, as they are, in the privileged status conventionally ascribed to his later, and better-known feature films. These assumptions are: (1) that Chaplin’s early films are chiefly of interest for the ways in which they teleologically anticipate later developments in his film- making; and (2) that Chaplin’s distinctive qualities and cultural value are always to be understood in qualitative contrast to the dominant imperatives of contemporary slapstick and the larger mass-amusement culture to which slapstick belonged.
    [Show full text]