scholarly journals omenaje a Chaplin y al cine burlesco en la trilogía novelesca de Jardiel Poncela

2017 ◽  
Vol 43 ◽  
pp. 167
Author(s):  
Cécile François
Keyword(s):  
Charlie Chaplin ◽  
Enrique Jardiel Poncela

Este artículo analiza la influencia del cine burlesco de los años 20 en la trilogía novelesca de Enrique Jardiel Poncela en la que se multiplican las referencias y alusiones a Charles “Charlie” Chaplin y al personaje mítico creado por él. En esta obra se aprecia el afán del escritor madrileño por adaptar el gag chapliniano al ámbito de la novela e intentar proponer una versión femenina de Charlot. Este homenaje a Chaplin pone de manifiesto el vínculo entre las ideas estéticas de Enrique Jardiel Poncela y las del maestro del cine cómico al que los vanguardistas de principios de siglo consideraban un icono de la modernidad.

A tribute to Charlie Chaplin: How feedback-based learning benefits from watching slapstick comedy (and other dopamine-boosters)

2011 ◽  
Author(s):  
K. R. Ridderinkhof ◽  
N. C. Van Wouwe ◽  
G. P. Band ◽  
I. Van De Vijver ◽  
W. P. Van Den Wildenberg ◽  
...  
Keyword(s):  
Charlie Chaplin ◽  
Slapstick Comedy

Music and Gesture

2017 ◽  
Author(s):  
Lawrence M. Zbikowski
Keyword(s):  
Dynamic Processes ◽  
Thought Processes ◽  
Human Communication ◽  
Charlie Chaplin ◽  
Swing Time ◽  
The Relationship

This chapter explores the relationship between music and physical gesture, drawing on recent research on the spontaneous gestures that accompany speech. Such gestures appear to be motivated by thought processes that are independent from speech and that in many cases offer analogs for dynamic processes. The chapter outlines the infrastructure for human communication that supports language and gesture as well as music. This outline provides a framework for exploring how music and gesture are similar and for how they are different. These comparisons are made through analyses of the movements Fred Astaire makes while accompanying himself at the piano in the 1936 film Swing Time and those Charlie Chaplin makes to Brahms’s Hungarian Dance No. 5 in the 1941 film The Great Dictator. These analyses further explicate the role of syntactic processes and syntactic layers in musical grammar and introduce referential frameworks, which serve as perceptual anchors for syntactic processes.

Machine–Humans and Body-Subjects

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
The Body ◽  
Early Cinema ◽  
Cartesian Dualism ◽  
Charlie Chaplin ◽  
Human Interface ◽  
The World ◽  
Body Subject

This chapter presents an alternative to the popular critical vein that sees Joyce’s Ulysses and early cinema as conveying a mechanical, impersonal view of the world. It is argued that Ulysses and certain genres of early cinema were engaged—naively or otherwise—in a revaluation of Cartesian dualism, involving the reappraisal of mind/body and human/machine binaries. The physical comedy of Bloom and Charlie Chaplin is analysed with reference to phenomenological ideas on prosthesis and the machine–human interface, while other genres of early cinema, such as Irish melodrama and trick films, are considered in the light of phenomenological theories of gesture and embodiment. By comically mocking mind/body separation and depicting the inseparability of subjectivity and corporeality, Joyce and the early film-makers go beyond the ideas of Bergson and anticipate Merleau-Ponty’s later notion of the ‘body-subject’.

The comedy of Charlie Chaplin: artistry in motion

2011 ◽  
Vol 9 (4) ◽  
pp. 367-369
Author(s):  
Stephen Bottomore
Keyword(s):  
Charlie Chaplin

Booting a Tramp: Charlie Chaplin, the FBI, and the Construction of the Subversive Image in Red Scare America

2003 ◽  
Vol 72 (4) ◽  
pp. 495-530 ◽  
Author(s):  
JOHN SBARDELLATI ◽  
TONY SHAW
Keyword(s):  
Popular Culture ◽  
Communist Party ◽  
Red Scare ◽  
Federal Bureau ◽  
American Legion ◽  
Federal Bureau Of Investigation ◽  
Cultural Icon ◽  
Charlie Chaplin

This article examines the battle over popular culture in the age of McCarthyism. The Federal Bureau of Investigation, under J. Edgar Hoover, targeted Charlie Chaplin because of his status as a cultural icon and as part of its broader investigation of Hollywood. Some of Chaplin's films were considered ““communist propaganda,”” but because Chaplin was not a member of the Communist Party, he was not among those investigated by HUAC in 1947. Nevertheless, he was vulnerable to protests by the American Legion and other patriotic groups because of both his sexual and political unorthodoxy. Yet, although countersubversives succeeded in driving Chaplin out of the country, they failed to build a consensus that Chaplin was a threat to the nation. Chaplin's story testifies to both the awesome power of the countersubversive campaign at mid-century and to some of its limitations as well.

Blueprints: Invisible Man and the Great Migration to White Flight

Novel Shocks ◽  
2018 ◽  
pp. 25-45
Author(s):  
Myka Tucker-Abramson
Keyword(s):  
New York ◽  
Jim Crow ◽  
White Flight ◽  
The Novel ◽  
Invisible Man ◽  
Charlie Chaplin ◽  
Racial Liberalism ◽  
Federal Housing ◽  
The Great Migration ◽  
Post War

Shortly after Ralph Ellison’s protagonist arrives in New York, he encounters Peter Wheatstraw, a man wearing Charlie Chaplin pants, “pushing a cart piled high with rolls of blue paper,” and singing a blues song that reminds the protagonist of home. Often read as a carrier of blues and vernacular traditions within the novel, Wheatstraw is also a literal carrier of building plans, all of which point to the ascendancy of Robert Moses and his New York City Slum Clearance Committee under the aegis of the Federal Housing Act of 1949. This chapter reads Ellison in relation to this emergent regime of post-war planning to suggest we think about Invisible Man not as a novel about a Jim Crow system passing into history, but about the tensions between the emergent racial regime of racial liberalism and white flight out of which neoliberalism would emerge.

Chapter 21

2020 ◽  
pp. 280-294
Author(s):  
Mark Glancy
Keyword(s):  
First Amendment ◽  
Place Making ◽  
Charlie Chaplin ◽  
The Press ◽  
Cross Country ◽  
Radio Contact

In 1946, Howard Hughes nearly killed himself testing a new aircraft over Beverly Hills, and he spent weeks in the hospital before convalescing at Grant’s home. In 1947, when Hughes had recovered, he and Grant went on a cross country flight and their plane fell out of radio contact, leading the press to report that they were missing and presumed dead. On his return to Hollywood, Grant was unhappy making The Bishop’s Wife (1947), and he wanted to trade roles with his co-star David Niven, but producer Samuel Goldwyn refused his requests. While Grant hoped to make films in Britain with Alexander Korda, the plans eventually fizzled out. Nevertheless, he enjoyed a trip to London and Bristol, where he visited his mother again. On the voyage home, he met his future wife, the young actress Betsy Drake. The comedy Mr Blandings Builds His Dream House (1948), was made at a time when the House Un-American Activities Committee (HUAC) was investigating communist subversion in Hollywood. Grant’s co-stars, Myrna Loy and Melvyn Douglas, were committed to resisting the investigation and promoting First Amendment rights. Grant, however, was reluctant to take a stand, believing that actors had no place making political pronouncements. It was only when Charlie Chaplin was attacked a few years later that Grant finally spoke out against the investigations.

Sign in / Sign up

Export Citation Format

Share Document