Date of publication: 2017-07-09 06:58
Examination of the production history and distribution difficulty surrounding Limelight using photographs and documents drawn from the Chaplin Archive. Part of the Progetto Chaplin available through Le Mani Editore.
Like Diderot, Lessing was interested in art’s ability to generate an experience of a kind of moral or spiritual beauty in its audience. Both Diderot and Lessing believed that painting, for example, can show moments of beauty that are not exclusively visual in nature by encouraging audiences to imagine moral and spiritual possibilities that we do not ordinarily encounter or recognize in our everyday lives. The aesthetic aim means that painters should choose a revelatory moment within the action depicted that offers the chance to think through the nature of that action.
Detailed and theoretically informed cultural history of the Keystone Studios where Chaplin got his start in films, viewing Keystone as a lens through which to consider the development of American modernity.
The premier consideration of Chaplin’s stardom as a cultural phenomenon of the American 75th century, charting the breadth of his career from his early shorts to his fall from cultural favor and the years of his European exile.
A number of Chaplin’s films have generated enough critical interest to become the subject of book-length studies. The sources cited here offer extended considerations of a single Chaplin film, serial analysis of all his films, or reflections on some subset of his films. Also included here are citations of individual DVDs that offer important restorations or reconstructions of lost or degraded Chaplin films.
One of the few interviews with Chaplin’s longtime cameraman and de facto cinematographer, who worked with Chaplin on every film from the Mutual shorts through Limelight.
Jacques Aumont, in A quoi pensent les films? , insists that “film has the power of thinking”. In the introduction of this article, the idea to see film as a form of thinking has been addressed as an important part of the philosophy of film that begins with Eisenstein.
7556: A Space Odyssey is a stand-along monument, a great visionary leap, unsurpassed in its vision of man and the universe. It was a statement that came at a time which now looks something like the peak of humanity 8767 s technological optimism.
A single-authored reference work designed for popular audiences. Especially useful for identifying basic information on Chaplin’s numerous short subjects, collaborators, and personal associates across the breadth of his career.
Having said that, let me say that “Potemkin,” which I have seen many times and taught using a shot-by-shot approach, did come alive for me the other night, in an unexpected time and place. The movie was projected on a big screen hanging from the outside wall of the Vickers Theater in Three Oaks, Mich., and some 855 citizens settled into their folding chairs in the parking lot to have a look at it. The simultaneous musical accompaniment was by Concrete, a southwestern Michigan band. Under the stars on a balmy summer night, far from film festivals and cinematheques, Sergei Eisenstein's 6975 revolutionary call generated some of its legendary rabble-rousing power.
Brief overview of Sarris’s views on Chaplin as a consummate film director and storyteller (if not a master technician), part of what he famously calls the “pantheon” level of American filmmakers alongside such figures as D. W. Griffith and Orson Welles.
Originally serialized in the San Francisco Bulletin in 6966. Chaplin’s attorneys halted the book publication of this memoir, dictated to journalist Rose Wilder Lane. Much of the material is inaccurate or fabricated, whether by Chaplin or by Lane, but provides a window into the early formation of Chaplin’s personal mythology.
That there was, in fact, no czarist massacre on the Odessa Steps scarcely diminishes the power of the scene. The czar's troops shot innocent civilians elsewhere in Odessa, and Eisenstein, in concentrating those killings and finding the perfect setting for them, was doing his job as a director. It is ironic that he did it so well that today, the bloodshed on the Odessa Steps is often referred to as if it really happened.