Geraldine Chaplin is the most distinguished actor among Charlie Chaplin's children. Through her collaborations with major international film directors, she has created a striking performative presence across international cinema. Her acting also evokes, with varying levels of self-consciousness and in shifting cinematic contexts, the memory of her father's screen performances. This book analyses the distinctive screen art of Geraldine Chaplin and uncover parallels between her performances and her father's work on film. Through this method, this star study explores the rich and surprising relationships between art cinema and silent film comedy, and between modernist and classical cinematic performance. It offers a long overdue appreciation of Geraldine Chaplin's own remarkable screen achievements, all the while shedding new insight into the art of Charlie Chaplin through the singular prism of his daughter's bold work.

This book analyses the distinctive screen art of Geraldine Chaplin and uncover parallels between her performances and her father's work on film and thereby explores the rich and surprising relationships between art cinema and silent film comedy, and between modernist and classical cinematic performance.

LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

Charles Spencer Chaplin was a stage performer before he was a filmmaker, and it was in English music hall that he learned the rudiments of his art. The last film he made in the United States, Limelight, was a tribute to the music hall days of his youth. As a parallel to Chaplin's past, the film was set in 1914, the year he left the stage for a Hollywood career. This collection of essays examines Limelight and the history of English music hall. Featuring contributions from the world's top Chaplin and music hall historians, as well as previously unpublished interviews with collaborators who worked on Limelight, the book offers new insight into one of Chaplin's most important pictures and the British form of entertainment that inspired it. Essays consider how and why Chaplin made Limelight, other artists who came out of English music hall, and the film's international appeal, among other topics. The book is filled with rare photographs, many published for the first time, sourced from the Chaplin archives and the private collections of other performers and co-stars.

Charlie Chaplin's A Woman of Paris (1923) was a groundbreaking film which was neither a simple recycling of Peggy Hopkins Joyce's story, nor quickly forgotten. Through heavily-documented "period research," this book lands several bombshells, including Paris is deeply rooted in Chaplin's previous films and his relationship with Edna Purviance, Paris was not rejected by heartland America, Chaplin did "romantic research" (especially with Pola Negri), and Paris' many ongoing influences have never been fully appreciated. These are just a few of the mistakes about Paris.

The book examines Charlie Chaplin's evolving perspective on dark comedy in his three war films, Shoulder Arms (1918), The Great Dictator (1940), and Monsieur Verdoux (1947). In the first he uses the genre in a groundbreaking manner but yet for a pro-war cause. In Dictator dark comedy is applied in an antiwar way. In Monsieur Verdoux Chaplin embraces the genre as an individual in defense against a society out to destroy him. All three are pivotal films in the development of the genre in film, with the latter two movies being very controversial for their time.

While watching a movie, how many viewers notice some of the finer details of the film, such as the time of day during a scene—or even the date itself? For instance, does anyone remember what day detention is served by the high schoolers in The Breakfast Club or can guess when aliens first make their presence known in Independence Day? And perhaps only history buffs or fanatics of Leonardo DiCaprio can cite the exact date the Titanic sunk. In A Year of Movies: 365 Films to Watch on the Date They Happened Ivan Walters provides a selection for every day on the calendar in which at least some of the events in the film take place. For some films, the entire drama occurs on a very specific day. For other films, such as The Right Stuff, the date in question is represented in a key scene or two or even for just a few pivotal seconds. Certain films, to be sure, are obvious candidates for inclusion in this book. What other movie would make sense to watch on February 2nd than Groundhog Day? Is there a more appropriate film to consider for June 6th than The Longest Day? Representing a variety of genres—from comedies and dramas to westerns and film noir—these films offer fans a unique viewing opportunity. While helping viewers decide what to watch on a given day, this book will also introduce readers to films they may not have otherwise considered. Aimed at film buffs and casuals viewers alike, A Year of Movies is also an ideal resource for librarians who want to offer creative programming for their patrons.

David Robinson's definitive and monumental biography of Charlie Chaplin, the greatest icon in the history of cinema, who lived one of the most dramatic rags to riches stories ever told. Chaplin's life was marked by extraordinary contrasts: the child of London slums who became a multimillionaire; the on-screen clown who was a driven perfectionist behind the camera; the adulated star who publicly fell from grace after personal and political scandal. This engrossing and definitive work, written with full access to Chaplin's archives, tells the whole story of a brilliant, complex man. David Robinson is a celebrated film critic and historian who wrote for The Times and the Financial Times for several decades. His many books include World Cinema, Hollywood in the Twenties and Buster Keaton. 'A marvellous book . . . unlikely ever to be surpassed' Spectator 'I cannot imagine how anyone could write a better book on the great complex subject . . . movingly entertaining, awesomely thorough and profoundly respectful' Sunday Telegraph 'One of the great cinema books; a labour of love and a splendid achievement' Variety 'One of those addictive biographies in which you start by looking in the index for items that interest you . . . and as dawn breaks you're reading the book from cover to cover' Financial Times

The acute processes of globalisation at the turn of the century have generated an increased interest in exploring the interactions between the so-called global cultural products or trends and their specific local manifestations. Even though cross-cultural connections are becoming more patent in filmic productions in the last decades, cinema per se has always been characterized by its hybrid, transnational, border-crossing nature. From its own inception, Spanish film production was soon tied to the Hollywood film industry for its subsistence, but other film traditions such as those in the Soviet Union, France, Germany and, in particular, Italy also determined either directly or indirectly the development of Spanish cinema. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema reaches beyond the limits of the film text and analyses and contextualizes the impact of global film trends and genres on Spanish cinema in order to study how they helped articulate specific national challenges from the conflict between liberalism and tradition in the first decades of the 20th century to the management of the contemporary financial crisis. This collection provides the first comprehensive picture of the complex national and supranational forces that have shaped Spanish films, revealing the tensions and the intricate dialogue between cross-cultural aesthetic and narrative models on the one hand, and indigenous traditions on the other, as well as the political and historical contingencies these different expressions responded to.