Charlie Chaplin, Director

Index

335 Abel, Richard, 55–56 Adventures of Dollie, The, 35–36, 42, 59, 311n25 After Many Years, 39 Agee, James, 51, 67, 72, 81, 181, 200, 240 Allen, Woody, 296 Altman, Robert, 296 Anderson, Paul Thomas, 296 Anderson, Wes, 296 Andrew, Dudley, 15–16, 294 Antonioni, Michelangelo, 291 Arbuckle, Roscoe “Fatty,” 71, 77, 83, 95, 97–100, 101 Aristophanes, 68, 76 Aristotle, 274 Arliss, George, 138 Arnheim, Rudolf, 117–18, 119 Austin Powers franchise, 251 Backstage, 77 Balázs, Béla, 117–18, 155–56 Balloonatic, The, 122 Bank, The, 176, 177 Barr, Alfred H., Jr., 116 Barrymore, John, 133, 134, 312n40 Bazin, André: on Chaplin as mythologizer, 6, 9, 16, 174; on Chaplin’s directing, 6, 15–16, 146–47, 149; on classical film technique, 11–12, 15, 159, 180, 191, 294; on Limelight, 238; on Monsieur Verdoux, 258–59, 260, 263; on montage, 146–47, 149–50, 153; on the Tramp, 6, 174, 178; on Welles, 294, 324n37 Behind the Screen, 71, 77, 176, 221 Bely, Andrei, 305n11 Ben Hur (1907), 39, 41, 129, 311n25 Benjamin, Walter, 69 Bergson, Henri, 68–69, 95 Betjeman, John, 271 Bevan, Billy, 73 Biograph, 29, 31, 39, 44, 59, 87 Birth of a Nation, The, 44–46, 47, 50, 54, 76, 141, 303nn49–50 Blesh, Rudi, 100–101 Blow-Up, 291 Bogdanovich, Peter, 7, 181, 312n40 Bordwell, David, 10, 13, 115, 182, 253; on framing, 37, 124; on Keaton, 95; on slapstick, 57; on “staging in depth,” 124, 311n34, 324n37; on “Standard Version of stylistic history,” 116–17 Bowser, Eileen, 69–70, 306n24 Brando, Marlon, 269–70, 285 British music hall, 20, 26, 63, 68, 69, 78–79, 121, 147, 230 Brock, Timothy, 213–14 Broken Blossoms, 303n49 Brooks, Mel, 296 Brownlow, Kevin, 277 Bumping into Broadway, 84 Bunny, John, 63, 92 Buñuel, Luis, 108, 109, 138 Burch, Noël, 304n52 Burke, Kenneth, 257 Burke, Thomas, 235 Burlesque on Carmen, 135–36, 137, 176, 242, 310n25 Butcher Boy, 98–99 Cabiria, 47 Cameraman, The, 109–10 Index 336 index Campbell, Eric, 127 Capra, Frank, 71, 74 Cargill, Patrick, 269 Carr, Harry, 270 Carroll, Noël, 62–63, 66 Caught in a Cabaret, 300n4 Caught in the Rain, 299n1 Cavell, Stanley, 50, 51, 116, 134 Chaplin, Charlie: acting abilities, 5, 6–7, 8, 67, 74, 118, 133–34, 138, 147; anti-film aesthetic, 173–74, 179–80, 295; artistic control, 17–18, 111, 272; autobiographical elements in his films, 170, 172, 179–80, 215, 226, 265–66; body and facial movements, 133–40, 146–49, 205, 242; camera placement, 128–32, 134–36, 139–40, 148, 165–67; childhood, 179–80, 315n52; close-ups, 154–59; critical bias against directing abilities, 3–10, 13, 116–18, 236, 269–71; editing technique, 8, 10, 26–27; education and erudition, 235–36, 254–55; framing, 4, 10, 16–18, 20, 27, 52–54, 124–28, 131–40, 143, 145–46, 150–51, 153–57, 159–68, 180; Griffith and, 51–52, 54, 157–58, 254; “happy” endings, 168–73; imitators of Chaplin, 118, 310n22; improvisation, 142–43; influence on later directors, 289–96; influences on directing, 4–5, 18, 20, 26, 82, 119, 128, 147, 220, 310n25; mise-ensc ène constructions, 7, 8, 13, 125, 220, 280; musical abilities, 16–17, 190–95, 213–14, 266; narrative approaches, 120–24, 240–41, 246–47; pantomime, 79, 81, 84, 121–22, 140–41, 161, 182, 209, 219, 220, 237, 238, 243, 317n1; perfectionism, 142–43, 296; philosophical interests and views, 12, 13–14, 18, 20, 21, 149–50, 165, 178–80, 210, 233, 235–37, 254–61, 274, 294; public sentiment shift, 262; quoted, 3, 7, 115, 117, 118, 119–20, 128–29, 134, 135, 145, 159, 176, 178, 179–80, 181, 190, 201, 203, 209, 220, 233, 235–36, 270, 285, 286, 292, 319n26, 322n22; selfreferentiality in late films, 263–67, 272–75; Sennett and, 70–71, 129, 176, 300n1, 300n4; sentimentalist reputation, 168–69; simultaneity, 146–53, 160–65, 183–84, 210, 217, 228–29, 238, 241, 244, 252; slapstick, 57–58, 75, 78, 80, 119, 160, 214, 253; sound techniques, 183–84; spatial techniques, 52–54, 124–32, 139, 150, 153; Tramp character, 6, 18, 21, 25, 52, 83, 120–21, 126–27, 129–32, 134, 136–37, 139, 147–48, 151–52, 156–59, 160, 161–64, 165, 166–67, 168–73, 174–78, 183, 230, 241–42, 251–52, 260, 262–65, 286–87, 296, 300n2; working methods, 141–43...