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Charlie Chaplin’s career has been described, critiqued, and
scrutinized. There are book-length studies on Chaplin’s music
hall career, his career at Keystone Studios and the Mutual Studios.
Somehow, his tenure with First National studios, however, has been
largely neglected, even though it was during this several-year
contractual time period that Chaplin built and occupied his own
studio for the first time, that he attempted and succeeded in
filming a comedy feature (The Kid) and that he helped to set up
United Artists, an organization that protected the salaries and
creative freedom of actors in Hollywood. This period in Chaplin’s
story is especially interesting because such landmark moments are
accompanied by Chaplin’s first marriage and divorce, the death of
his first child, his friendship with French silent film comedian
Max Linder, World War I and the role he would play in it, and the
production and release of several unsuccessful films that marked
Chaplin’s first creative blockage - one that threatened his
future career. This book will discuss the transitional periods just
before and after the First National contract, as well as the
all-important period satisfying it. Archival evidence provides most
of the support for the book’s assertions, from the Chaplin
archive (property of Roy Export, digitised by Cineteca di Bologna,
Italy), and the personal archives of other individuals or
institutions discussed. Rare photos will illustrate the story.
This book focuses on the re-invigoration of Charlie Chaplin's
Little Tramp persona in America from the point at which Chaplin
reached the acme of his disfavor in the States, promoted by the
media, through his departure from America forever in 1952, and
ending with his death in Switzerland in 1977. By considering
factions of America as diverse as 8mm film collectors, Beat poets
and writers and readers of Chaplin biographies, this cultural study
determines conclusively that Chaplin's Little Tramp never died, but
in fact experienced a resurgence, which began slowly even before
1950 and was wholly in effect by 1965 and then confirmed by 1972,
the year in which Chaplin returned to the United States for the
final time, to receive accolades in both New York and Los Angeles,
where he received an Oscar for a lifetime of achievement in film.
This book focuses on the re-invigoration of Charlie Chaplin's
Little Tramp persona in America from the point at which Chaplin
reached the acme of his disfavor in the States, promoted by the
media, through his departure from America forever in 1952, and
ending with his death in Switzerland in 1977. By considering
factions of America as diverse as 8mm film collectors, Beat poets
and writers and readers of Chaplin biographies, this cultural study
determines conclusively that Chaplin's Little Tramp never died, but
in fact experienced a resurgence, which began slowly even before
1950 and was wholly in effect by 1965 and then confirmed by 1972,
the year in which Chaplin returned to the United States for the
final time, to receive accolades in both New York and Los Angeles,
where he received an Oscar for a lifetime of achievement in film.
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