Titlebook: Charlie Chaplin’s Little Tramp in America, 1947–77; Lisa Stein Haven Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Charli

Grandstand

Paolo P. Pescarmona,Thomas Maschmeyeraries. Along with the aforementioned Bohemian and Beat artists, these groups of people played their parts in keeping Chaplin alive in America, for it was through his films and filmmaking that his reputation here slowly began to be restored. By the early 1960s, the talk in American filmgoing circles

NATAL

https://doi.org/10.1007/978-0-387-79240-8 documentary films. This chapter surveys the Chaplin books for the period, from Parker Tyler’s quirky . (1947) and Theodore Huff’s very popular . (1951) to Chaplin’s own . (1964), coupling descriptions of these books with their reviews and the way they were received by both Chaplin enthusiasts and t

Archipelago

Bruce Fegley Jr.,Laura Schaeferd wonders in terms of keeping Chaplin’s name and work alive in America. As a subsidiary to this discussion, then, is an investigation of the vehicle through which these parties communicated—the film fan magazine. Later in the chapter, the investigation of Chaplin merchandising, in the form of clothi

intimate

https://doi.org/10.1007/978-3-319-40478-3Charlie Chaplin; Beat Movement; Chaplin and America; Celebrity and Stardom; Audience Reception

Ambulatory

SPURN

Book 2016ly 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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偶然

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