Table of Contents
Frontmatter Acknowledgements to/ Remerciements à. Illustrations. We acknowledge / nous remercions: Preface / Préface Table of contents / Table des matières I. Charles Chaplin: The man, his work and his time / L’homme, l’œuvre et son temps Chaplin and the resistance to “talkies” Pretending the world is funny: Charlie Chaplin's job as the prototype comic personality Charles Chaplin and the Jewish world The Chaplin reception in Germany (Brilliant comedian and “Jewish film clown”) Charles Chaplin en compagnie de Schopenhauer Les implications de la technique chaplinesque du gag Molière, Chaplin: structures comiques Chaplin, la matière et l’allégement Charles Chaplin: an embodiment of paradox (le comique et la terreur) II. Charles Chaplin: His films / Etude de ses films Charlie Chaplin or the “vaudeville dispossessed” Chaplin’s short films: between narration and monstration Gag and narration in Chaplin's cinema at the transition from short to full-length movies (1918–1923) Charlie in the Far North: the tall tale element in The Gold Rush Comedy and Pathos in City Lights Modem Times and the American culture of the 1930's Modem Times in the light of Adorno and Beckett The social function of humor in Charles Chaplin’s movies Chaplin’s film pioneer status in black or macabre humor Les films “mineurs” de Chaplin III. Charles Chaplin: The myth / Le mythe Charlie Chaplin and the comic strips La représentation de Chariot dans deux magazines pour enfant: Mon Journal (1881–1925) et le Cri-Cri (1911–1937) Le dernier gag de Charles Chaplin Chaplin et Chariot Chariot et son double Chariot syllepse: éléments pour une théorie du gag Le point de vue de Gulliver La Ruée vers l’or Charles Chaplin, poète comique Postscript Postface IV. Bibliography/Bibliographie Books on and by Chaplin An international bibliography V. Appendices / Annexes Abstracts / Résumés Contributors / Signatures VI. Charles Chaplin: Filmography/Filmographie VII. Index VIII. Illustrations