The birth of the tramp: Chaplin, gesture, and the rhythms of modernity

Sarah Hanks

Abstract


No abstract available.

Keywords


Charlie Chaplin; Film; Photography; Rhythm; Music and Literature;

Full Text:

PDF

References


Abel, R., French Film Theory and Criticism: A History/Anthology 1907-1939 vols. I and II,

(Princeton, New Jersey: Princeton University Press, 1988)

Aragon, L., Du Dcor, (1918), in Abel I, pp. 165-168.

Artaud, A., Cinma et ralit, (1927), in Abel I, pp. 410-412.

---------- The Premature Old Age of the Cinema, (1933), in Abel II, pp. 112-125.

Bergson, H., Laughter: An Essay on the Meaning of the Comic ed. C. Brereton and F.

Rothwell, (London: MacMillan and Co., 1911)

Casseres, B. de, The Hamlet-Like Nature of Charlie Chaplin, New York Times Book Review

and Magazine (12 Dec 1990), p. 5, reprinted in Hayes (ed.), pp. 46-50.

Chaplin, C., My Autobiography (London: The Bodley Head, 1964)

---------- My Life in Pictures (London: Peerage, 1985)

---------- My Trip Abroad (New York and London: Harper and Brothers, 1922)

Clair, R., Reflections on the Cinema trans. V. Traill, (London: William Kimber, 1953)

---------- Rhythm, (1925), in Abel I, pp. 368-370.

De Baroncelli, J., Pantomime, musique, cinma, (1915), in Abel I, pp. 125-128.

Delluc, L., Charlie Chaplin trans. H. Miles, (London: John Lane The Bodley Head Ltd.,

Dulac, G., The Expressive Techniques of the Cinema, (1924), in Abel I, pp. 305-314.

Eliot, T. S., Dramatis Personae, The Criterion Vol. 1, No. 3, (Apr 1923), pp. 303-306.

Fondane, B., From Silent to Talkie: The Rise and Fall of the Cinema, (1930), in Abel II,

pp. 45-55.

Gance, A., Images of Yesterday, Voices of Tomorrow, (1930), in Abel II, pp. 41-42.

Hayes, K. J. (ed.), Charlie Chaplin Interviews (Jackson, Mississippi: The University Press of

Mississippi, 2005)

Kracauer, S., Silent Film Comedy (1951), American Writings: Essays on Film and Popular

Culture ed. J. von Moltke and K. Rawson, (London: University of California Press, 2012),

pp. 213-217.

---------- Why France Liked Our Films in American Writings pp. 33-40.

Nichols, R., Future of the Cinema: Mr. Charles Chaplin, Times (3 Sept 1925), p. 13,

reprinted in Hayes (ed.), pp. 80-83.

Seldes, G., The 7 Lively Arts (Mineola, New York: Dover Publications, 2001)

Soupault, P., Note I sur le cinma (1918), in Abel I, pp. 142-143.

Vogdes, W., Charlie Chaplin: Rather a Quiet Little Guy Who Takes His Pantomimic Art

Seriously, New York Tribune Sunday (30 Dec 1917), p. 8, reprinted in Hayes (ed.), pp. 27-32.

Secondary:

Abel, R., and R. Altman (eds.), The Sounds of Early Cinema (Bloomington and Indianapolis:

Indiana University Press, 2001)

Andrew, D., and H. Joubert-Laurencin (eds.), Opening Bazin: Postwar Film Theory and its

Afterlife (Oxford: Oxford University Press, 2011)

Calhoon, K. S., Blind Gestures: Chaplin, Diderot, Lessing, MLN Vol. 115, No. 3, German

Issue (Apr. 2000), pp. 381-402.

Conrad, P., Modern Times, Modern Places (London: Thames and Hudson, 1999)

Danius, S., The Senses of Modernism: Technology, Perception and Aesthetics (Ithaca and

London: Cornell University Press, 2002)

Delson, S., Dudley Murphy: Hollywood Wild Card (Minneapolis: University of Minnesota

Press, 2006)

Denby, D., Modern Times, Film Comment Vol. 8, No. 3, Chaplin Issue, (Sept/Oct 1972),

pp. 19-20.

Donald, J., Jazz Modernism and Film Art: Dudley Murphy and Ballet mcanique,

Modernism/Modernity Vol. 16, No. 1, (Jan 2009), pp. 25-49.

Fack, R., Bazins Chaplin Myth and the Corrosive Lettrists in Andrew and JoubertLaurencin (eds.), pp. 246-253.

Flom, E., Chaplin in the Sound Era: An Analysis of the Seven Talkies (Jefferson, North

Carolina and London: McFarland, 1997)

Freeman, J., Bridging Purism and Surrealism: The Origins and Production of Fernand

Lgers Ballet Mcanique, in Dada and Surrealist Film ed. R. E. Kuenzli, (New York:

Willis Locker & Owens, 1987), pp. 28-45.

Gordon, R. B., From Charcot to Charlot: Unconscious Imitation and Spectatorship in French

Cabaret and Early Cinema, Critical Inquiry Vol. 27, No. 3, (Spring 2001), pp. 515-549.

Gunning, T., Chaplin and the Body of Modernity, available at

http://chaplin.bfi.org.uk/programme/conference/pdf/tom-gunning.pdf

Kamin, D., Who is This Man? (Who Looks Like Charlie Chaplin) in Chaplin: The Dictator

and the Tramp ed. D. Kamin, H. Mehran and F. Scheide, (London: BFI, 2004), pp. 5-12.

Kerr, W., The Silent Clowns (New York: Alfred A. Knopf, 1975)

Kosinski, D., Lger, 1911-1924: A Language for the Modern World in Fernand Lger,

-1924: The Rhythm of Modern Life (Munich and New York: Prestel, 1994), pp. 17-27.

Kuriyama, C. Brown, Chaplins Impure Comedy: The Art of Survival, Film Quarterly Vol.

, No. 3, (Spring 1992), pp. 26-38.

Lawder, S. D., The Cubist Cinema (New York: New York University Press, 1975)

Louvish, S., Chaplin: The Tramps Odyssey (London: Faber and Faber, 2009)

---------- Keystone: The Life and Clowns of Mack Sennett (London: Faber and Faber,

Maland, C. J., Chaplin and American Culture: The Evolution of a Star Image (Princeton,

New Jersey: Princeton University Press, 1989)

Mast, G., The Comic Mind: Comedy at the Movies (London: New English Library, 1973)

McCabe, S., Cinematic Modernism: Modernist Poetry and Film (Cambridge: Cambridge

University Press, 2005)

Mellen, J., Modern Times (London: BFI Publishing, 2006)

Neibaur, J. L., Chaplin at Essanay: Artist in Transition, Film Quarterly Vol. 54, No. 1,

(Autumn 2000), pp. 23-25.

North, M., Machine-Age Comedy (Oxford: Oxford University Press, 2009)

---------- Reading 1922: A Return to the Scene of the Modern (Oxford: Oxford University

Press, 1999)

Paraskeva, A., Wyndham Lewis vs Charlie Chaplin, Forum for Modern Language Studies

Vol. 43, No. 3, (July 2007), pp. 223-234.

Raynauld, I., Dialogues in Early Silent Screenplays: What Actors Really Said, in Abel and

Altman (eds.), pp. 69-78.

Robinson, D., Charlie Chaplin: The Art of Comedy (London: Thames and Hudson, 1996)

---------- Chaplin: The Mirror of Opinion (Bloomington: Indiana University Press,

Sarris, A., The American Cinema: Directors and Directions, 1929-1968 (New York: Da Capo

Press, 1996)

Saunders, T., Hollywood in Berlin: American Cinema and Weimar Germany (California:

University of California Press, 1994)

Simmons, S., Chaplin Smiles on the Wall: Berlin Dada and Wish-Images of Popular

Culture, New German Critique No. 84 (Autumn 2001), pp. 3-34.

Stewart, G., Modern Hard Times: Chaplin and the Cinema of Self-Reflection, Critical

Inquiry Vol. 3, No. 2, (Winter 1976), pp. 295-314.

Trotter, D., Cinema and Modernism (Oxford: Blackwell, 2007)

Vance, J., Chaplin: Genius of the Cinema (New York: Harry N. Abrams, 2003)


Refbacks

  • There are currently no refbacks.


Copyright (c)



Postgraduate English is hosted by Durham University, Department of English Studies, UK. Unless otherwise specified, all articles published from 2000-2011 inclusive are copyright Durham University. All articles published from 2012 onwards are copyright of the author(s). All articles from 2012 onwards are published under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 licence.

Please view the privacy notice for details on how we process your personal data: Privacy Notice.

ISSN: 1756-9761

Durham University