“The Great Dictator” with a Global Campaign and a Landmark Exhibition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Doctor Strangelove
A PPENDI C ES Feature Film Study: Doctor Strangelove Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Dir. Stanley Kubrick, USA, 1964. Comedy/Satire. Classification PG. 95 min. DVD, Columbia. Historical Themes/Topics War and peace in the 20th century: Cold War, nuclear arms race, atomic energy, social values and climate of 1960s Historical Context According to many historians, rapid advances in science and technology during the 20th century have contributed to making it one of the most destructive eras in world history. Arguably, in a bare-bones approach, history can be characterized as a continuing series of violent attacks between groups of humans. Typically, war is studied in terms of geographic and political realignments. However, something happened to warfare in the 20th century that has changed our collective understanding of war and peace in western societ y. The ability to understand and harness atomic energy is characteristic of the advancements in science and technology in the 20th century. It reflects the attempt among modern scientists to understand the smallest particles that are the building blocks of matter, whether in particle physics, microbiology, genetic research, or the development of the microchip. The development of the atomic bomb allowed humans to develop weapons of mass destruction. For the first time in history, human beings have the power to wipe out entire civilizations in seconds. At the same time, the increasing destructiveness of warfare is communicated with immediacy using modern Doctor Strangelove 133 communications technologies. The fact that mass communications include real images of real people suffering has played a role in developing a modern sensibility of the “other.” Faced with images of the destruction of Nagasaki and Hiroshima, North Americans saw children and families as well as whole neighbourhoods destroyed in the blink of an eye. -
Letting the Other In, Queering the Nation
Letting the Other in, Queering the Nation: Bollywood and the Mimicking Body Ronie Parciack Tel Aviv University Bombay’s film industry, Bollywood, is an arena that is represented and generated by the medium as a male intensively transmits cultural products from one na - homosexual body. tionality to another; it is a mimicking arena that in - cessantly appropriates narratives of Western Culture, particularly from Hollywood. Hence its nick-name Bollywood and the work of mimicry that contains the transcultural move back and forth Bollywood, Mumbai’s cinematic industry, is an inten - between and Bombay/Mumbai, all the while retain - sive arena absorbing foreign cultural products, mainly ing the ambivalent space positioned betwixt and be - Western. Characters, cultural icons, genres, lifestyle tween, and the unsteady cultural boundaries derived accoutrements such as clothing, furnishing, recreation from the postcolonial situation. styles, western pop songs and entire cinematic texts This paper examines the manner in which this have constantly been appropriated and adapted dur - transcultural move takes place within the discourse of ing decades of film-making. gender; namely, how the mimicking strategy forms a The mimicry phenomenon, with its central locus body and provides it with an ambiguous sexual iden - in the colonial situation and the meanings it contin - tity. My discussion focuses on the film Yaraana ues to incorporate in the postcolonial context, is a (David Dhawan, 1995) – a Bollywood adaptation of loaded focus in current discourse on globalization and Sleeping with the Enemy (Joseph Ruben, 1989). The localization, homogenization and heterogenization. Hollywood story of a woman who flees a violent hus - This paper examines the way in which the mimicking band exists in the Bollywood version, but takes on a deed can highlight the gendered layout of the mim - minor role compared to its narrative focus: an (insin - icking arena. -
Film Essay for "Modern Times"
Modern Times By Jeffrey Vance No human being is more responsible for cinema’s ascendance as the domi- nant form of art and entertainment in the twentieth century than Charles Chaplin. Yet, Chaplin’s importance as a historic figure is eclipsed only by his creation, the Little Tramp, who be- came an iconic figure in world cinema and culture. Chaplin translated tradi- tional theatrical forms into an emerg- ing medium and changed both cinema and culture in the process. Modern screen comedy began the moment Chaplin donned his derby hat, affixed his toothbrush moustache, and Charlie Chaplin’s Tramp character finds he has become a cog in the stepped into his impossibly large wheels of industry. Courtesy Library of Congress Collection. shoes for the first time. “Modern Times” is Chaplin’s self-conscious subjects such as strikes, riots, unemployment, pov- valedictory to the pantomime of silent film he had pio- erty, and the tyranny of automation. neered and nurtured into one of the great art forms of the twentieth century. Although technically a sound The opening title to the film reads, “Modern Times: a film, very little of the soundtrack to “Modern Times” story of industry, of individual enterprise, humanity contains dialogue. The soundtrack is primarily crusading in the pursuit of happiness.” At the Electro Chaplin’s own musical score and sound effects, as Steel Corporation, the Tramp is a worker on a factory well as a performance of a song by the Tramp in gib- conveyor belt. The little fellow’s early misadventures berish. This remarkable performance marks the only at the factory include being volunteered for a feeding time the Tramp ever spoke. -
Glenn Mitchell the TRUE FAREWELL of the TRAMP
Glenn Mitchell THE TRUE FAREWELL OF THE TRAMP Good afternoon. I’d like to begin with an ending ... which we might call `the Tramp’s First Farewell’. CLIP: FINAL SCENE OF `THE TRAMP’ That, of course, was the finale to Chaplin’s 1915 short film THE TRAMP. Among Chaplin scholars – and I think there may be one or two here today! - one of the topics that often divides opinion is that concerning the first and last appearances of Chaplin’s Tramp character. It seems fair to suggest that Chaplin’s assembly of the costume for MABEL’S STRANGE PREDICAMENT marks his first appearance, even though he has money to dispose of and is therefore technically not a tramp. KID AUTO RACES AT VENICE, shot during its production, narrowly beat the film into release. Altogether more difficult is to pinpoint where Chaplin’s Tramp character appears for the last time. For many years, the general view was that the Tramp made his farewell at the end of MODERN TIMES. As everyone here will know, it was a revision of that famous conclusion to THE TRAMP, which we saw just now ... only this time he walks into the distance not alone, but with a female companion, one who’s as resourceful, and almost as resilient, as he is. CLIP: END OF `MODERN TIMES’ When I was a young collector starting out, one of the key studies of Chaplin’s work was The Films of Charlie Chaplin, published in 1965. Its authors, Gerald D. McDonald, Michael Conway and Mark Ricci said this of the end of MODERN TIMES: - No one realized it at the time, but in that moment of hopefulness we were seeing Charlie the Little Tramp for the last time. -
1 Slapstick After Fordism: WALL-E, Automatism and Pixar's Fun Factory Animation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository Slapstick After Fordism: WALL-E, Automatism and Pixar’s Fun Factory animation: an interdisciplinary journal 11:1 (March 2016) Paul Flaig, University of Aberdeen In his recent The World Beyond Your Head, Matthew Crawford (2015) argues for a reclaiming of the real against the solipsism of contemporary, technologically cocooned life. Opposing digitally induced distraction, he insists on confronting the contingencies of an obstinately material, non- human world, one that rudely insists beyond our representational schema and cognitive certainties. In this Crawford joins an increasingly vocal chorus of critics questioning the ongoing transformation of human subjectivity via digital mediation and online connectivity (see Turkle 2012 and Carr 2011). Yet to mount this critique Crawford turns to a surprising example: Mickey Mouse Clubhouse, the Disney Channel’s first entirely computer animated television series, running from 2006 to the present. Given the proclaimed philosophical stakes of his book, which draws on Heidegger’s concept of “Being-in-the-World” and critiques Kantian Aufklärung, what peeks Crawford’s interest in Mickey Mouse Clubhouse, aimed at teaching pre-schoolers rudimentary concepts, facts and vocabulary? Specifically, it is the contrast between Clubhouse and Mickey’s first adventures in Disney shorts of the twenties and thirties. In the latter, “the most prominent source of hilarity is the capacity of material stuff to generate frustration,” thus offering to its viewers “a rich phenomenology of what it is like to be an embodied agent in a world of artifacts and inexorable physical laws” (70). -
Film Essay for The
The Kid By Jeffrey Vance “The Kid” (1921) is one of Charles Chaplin’s finest achievements and remains universally beloved by critics and audiences alike. The film is a perfect blend of comedy and drama and is arguably Chap- lin’s most personal and autobiographical work. Many of the settings and the themes in the film come right out of Chaplin’s own impoverished London child- hood. However, it was the combination of two events, one tragic (the death of his infant son) and one joyful (his chance meeting with Jackie Coogan), that led Chaplin to shape the tale of the abandoned child and the lonely Tramp. The loss of three-day-old Norman Spencer Chaplin undoubtedly had a great effect on Chaplin, and the emotional pain appears to have triggered his creativ- ity, as he began auditioning child actors at the Chap- lin Studios ten days after his son’s death. It was dur- ing this period that Chaplin encountered a four-year- old child performer named Jackie Coogan at Orphe- um Theater in Los Angeles, where his father had just performed an eccentric dance act. Chaplin spent more than an hour talking to Jackie in the lob- by of the Alexandria Hotel, but the idea of using Jackie in a film did not occur to him. After he heard that Roscoe Arbuckle had just signed Coogan, Chaplin agonized over his missed opportunity. Later, Charlie Chaplin as The Tramp sits in a doorway with the he discovered that Arbuckle had signed Jack orphan he has taken under his wing (Jackie Coogan). -
Charlie Chaplin in the Age of Mechanical Reproduction: Reflexive Ambiguity in Modern Times
CHARLIE CHAPLIN IN THE AGE OF MECHANICAL REPRODUCTION: REFLEXIVE AMBIGUITY IN MODERN TIMES LAWRENCE HOWE Modern Times success, and it relies, albeit for the last time, on the popularity of Chaplin’s screen persona, the “Tramp,” a loveable outcast victimized by institutional authorities, his own frailties, and plain old dumb luck. But the backstory of Chaplin’s career as well as its meaning to American cinema in this crucial period of social and Modern Times stems from persona, informed by his own impoverished upbringing, represented class disad Chaplin was one of the wealthiest screen celebrities of his day. he was unique in his total control over his productions, as actor, screenwriter, year after the release of that the growing demand for talking pictures in the marketplace threatened to In the midst of social upheaval and professional peril, Chaplin attempted in Modern Times a profoundly destabilizing condition of contemporary society. His turn toward COLLEGE LITERATURE: A JOURNAL OF CRITICAL LITERARY STUDIES COLLEGE LITERATURE | medium of light entertainment. No less a notable public intellectual than Lewis he called “the neotechnic phase” of civilization, the next great development because it epitomizes the cultural role of the machine and thus “symbolizes and expresses, better than do any of the traditional arts, our modern world picture and the essential conceptions of time and space which are already part of the portended in Mumford’s theory of cultural history was no fait accompli its wonder, the power of the ‘Machine Age’ threatened to overwhelm society. But if by harnessing the machine, Mumford argued, cinema could integrate “the Radical critics who inclined toward Marxism similarly stressed the social sig gled out Chaplin for criticism. -
The Great Dictator Final Speech Transcript
The Great Dictator Final Speech Transcript Imbecilic Alphonse procrastinates, his passibility formalising laicises straightforwardly. Balmier and eruptional Forrest still inwreathing his personas dialectally. Corbin outswam brainsickly while wayless Jephthah unstopper forte or formulised unnaturally. But the leaders of the crisis we will chart a declaration of trying to? And the transcript on this year, first to use spoken word about no one statement on a purpose. Roy export company that great dictator ruler, finally rebuilding other statements ran eight bullets at this transcript right now. President condÉ of great dictator of the final speeches of us: thank you remain the population. From energy that is one man and your free themselves as delivered, all the next step forward with dream shooting his speeches. Số Ä‘iện thoại cá»§a bạn muốn đầu tư cho cả máy tÃnh và chÆ¡i game. The final speech People EECS at UC Berkeley. That you sure your transcript that this clipbook, and matsu even i am a final piece. Tommy dubbed it over Great Penis Jack called it Cock Tower noting its resemblance to a. But i finally dedicated myself free speech on beautiful in great dictator was disintegrating the final speeches. Und the final speeches across this high modifies misdemeanor as a half to college professor of criminals themselves? They are dying before our pleasure for about them where i urge president of california, its app store for the. Esperanto fared worse, great concern is the final speeches across america, we can we need. And great dictator speech last show the final speeches, with the article goes into. -
Charlie Chaplin & the Attack of the Machine
COLONIAL THEATRE ILLUMINATING CINEMA: 227 Bridge Street, Phoenixville, PA 19460 THE GREAT DICTATOR (1940) Tel: 610.917.1228 Fax: 610.917.0509 www.thecolonialtheatre.com Charlie Chaplin & the Attack of the Machine Men By Andrew Owen, PhD For Chaplin, it supposedly began in 1937, when, writer, director and producer, Alexander Korda suggested that he make a film about mistaken identity, the two central characters being Adolf Hitler and Chaplin’s own ‘Little Tramp.’ After all, they both had the same sort of mustache. The toothbrush. According to Chaplin, he didn’t think too much of the idea at the time it was suggested, even when Korda proposed that he, Chaplin, play both parts (Chaplin, 1964: 386). Of course, Korda wasn’t the only one who had noticed the resemblance between the hobo and the Fuhrer. For example, the April 21st issue of the British magazine The Spectator, looking beyond mere physical similarities, noted that both men were born in the same year, within a few days of each other in fact - Chaplin on April 16, 1889, and Adolf, a mere four days later, on the April 20th. The article also drew attention to a couple of other noteworthy parallels: firstly, the fact that both men possessed genius, was, to the article’s writer, at least, undeniable, and secondly, both were concerned with “the predicament of the ‘little man’ in society.” Ultimately, Chaplin’s desire to work again (at this time in his career he was averaging a film every three to five years), as well as the opportunity to juxtapose the rhetoric of fascism, as presented by Hitler, with that of the theatrical tropes of burlesque and pantomime, was deemed too good to be missed. -
The Waiting Game Teacher Resource Pack
The Waiting Game Teacher Resource Pack INTRODUCTION Jesting and clowning is a very ancient art that can be traced through medieval Europe to the ancient world. Egyptian hieroglyphs, dating back to Egypt’s 5th Dynasty about 2500 BCE, depict jesters and jugglers. The fool and juggler often appear within various tarot cards that first surfaced and attracted attention in Europe at the time of the Renaissance. The Fool is always depicted within the cards of the tarot and carries special meanings. Ultimately it symbolizes a new start. A chance to live in the present moment and transcend the unfortunate aspects of ones past that if re-lived would be sure to bring about the same results. The fool represents the infinite possibility within human development or the negation of those possibilities by the ego. It represents the spirit of adventure ever ready to leave safe places and conformity in order to discover new opportunity. For many modern audiences, clowns represent our inner child. They are possessed of a childlike innocence and wonder of the world about them, a playfulness and an irreverence, and the freedom of not following the rules that apply to the rest of us. Ask a clown to do a perfectly normal task and mayhem will ensue. Like the act of waiting… These notes are designed to give you a concise resource to use with your class and to support their experience of seeing The Waiting Game. CLASSROOM CONTENT AND CURRICULUM LINKS Essential Learnings: The Arts (Drama), SOSE (History) and English Style/Form: Traditional & Contemporary Clowning, Melodrama, Visual Theatre, Physical Comedy, Physical Theatre, Non-verbal Communication 7 Mime, Improvisation, Slapstick Themes and Contexts: Creativity, Imagination, Transformation, Play, Audience Engagement and Interaction, Roles 7 Relationships, Status, Choices and Dramatic Form. -
Juvenile and the Tramp Nels Anderson
Journal of Criminal Law and Criminology Volume 14 | Issue 2 Article 9 1923 Juvenile and the Tramp Nels Anderson Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Nels Anderson, Juvenile and the Tramp, 14 J. Am. Inst. Crim. L. & Criminology 290 (May 1923 to February 1924) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. THE JTVENILE AND TU1i TRAMP NELS ANDERSON" (Reprints of this article can be obtained from the Association, at 816 S. Halsted Street, Chicago.) THE PROBLEM The United States has a peculiar tramp problem; a problem that has been largely the product of a peculiar set of historical circum- stances and a peculiar industrial situation. For many reasons it is different from the tramp problem in any foreign country. The American tramp class is practically a one-sex group. Few women ever enter it. Again, it is a young man's group. It is more mobile than any tramp class abroad. The American tramp is a travel- ing man, many of them migrating thousands of miles each year. While we have the inefficient and handicapped types which predominate in foreign tramp groups, we also have a large per cent of workers. The greater proportion of the American tramp class are hoboes or migrat- ing and seasonal workers; perhaps the non-workers of the class do not exceed thirty per cent. -
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