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Figure 1. A confrontation between the Tramp and the lovers in Chaplin’s directorial debut, Twenty Minutes of Love (1914). Figure 2. Disruptive audience members in D. W. Griffith’s early Biograph short Those Awful Hats (1909). Figure 3. Iconic imagery of the body in peril from Buster Keaton’s Steamboat Bill Jr. (1928), top; and Harold Lloyd’s Safety Last (1923), bottom. Copyright © United Artists/The Kobal Collection (top); copyright © Harold Lloyd Entertainment, Inc. (bottom). Figure 4. The climax of the building climb in Harold Lloyd’s Safety Last (1923). Copyright © Harold Lloyd Entertainment, Inc. Figure 5. The cannon sequence in Buster Keaton’s The General (1926). Figure 6. The neighborhood ruffian (Eric Campbell) in Easy Street (1917). Figure 7. Spatial motifs in The Vagabond (1916). Figure 8. The restaurant scene from The Immigrant (1917). Figure 9. The dance hall sequence from The Gold Rush (1925). Copyright © Roy Export S.A.S. All rights reserved. Figure 10. Displacing the protagonist within the frame in A Woman of Paris (1923), top left; The Gold Rush (1925), top right; and Monsieur Verdoux (1947), bottom left and bottom right. Copyright © Roy Export S.A.S. All rights reserved. Figure 11. Troublesome endings in The Kid (1921), top; and The Circus (1928), bottom. Copyright © Roy Export S.A.S. All rights reserved. Figure 12. Framing shots within shots in The Gold Rush (1925), top; and City Lights (1931), bottom. Copyright © Roy Export S.A.S. All rights reserved. Figure 13. Shot/reaction-shot sequences in the conclusion of City Lights (1931). Copyright© Roy Export S.A.S. All rights reserved. Figure 14. “Ballet” sequences from City Lights (1931), top; and Modern Times (1936), bottom. Copyright © Roy Export S.A.S. All rights reserved. Figure 15. Problems of speech in Modern Times (1936), top; and The Great Dictator (1940), bottom. Copyright © Roy Export S.A.S. All rights reserved. Figure 16. Thereza’s audition sequence from Limelight (1952). Copyright © Roy Export S.A.S. All rights reserved. Figure 17. Chaplin getting tangled up with himself, literally and figuratively , in Limelight (1952), top; and A King in New York (1957), bottom. Copyright © Roy Export S.A.S. All rights reserved. Figure 18. The return to simultaneous action in A Countess from Hong Kong (1967). Courtesy of Universal Studios Licensing, LLC. ...

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Additional Information

ISBN
9780810167513
Related ISBN
9780810129528
MARC Record
OCLC
879352110
Pages
373
Launched on MUSE
2014-05-07
Language
English
Open Access
No
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