Refocusing Chaplin: a screen icon through critical lenses

Preface: Why Refocus Chaplin? Lawrence Howe, James E. Caron, and Benjamin ClickAcknowledgementsIntroduction: The Persisting Appeal of Chaplin and CharlieCharles MalandChapter 1: Chaplin's "Charlie" as Merleau-Ponty's Phenomenological Everyman or, How Bodily Intelligence Manifests the Personae, Styles, and Fable of SlapstickJames E. CaronChapter 2: Chaplin and the Static Image: A Barthesian Analysis of the Visual in My Trip Abroad and "A Comedian Sees the World"Lisa Stein HavenChapter 3: A Heart of Gold: Charlie and the Dance Hall GirlsCynthia J. MillerChapter 4: American Masculinity and The Gendered Humor of Chaplin's Little TrampLawrence HoweChapter 5: In the Shadow of Machines: Modern Times and the Iconography of TechnologyA. Bowdoin Van RiperChapter 6: Deconstruction and the Tramp: Marxism, Capitalism, and the TraceRandall GannChapter 7: Chaplin's Presence Rachel JosephChapter 8: The Paradox of the "Dictactor": Mimesis, Logic of Paradox, and the Reinstatement of Catharsis in The Great Dictator, Monsieur Verdoux, and LimelightMarco GrosoliChapter 9: Charles Chaplin Sings a Silent Requiem: Chaplin's Films from 1928-1952 as Cinematic Statement on the Transition from Silent Cinema to the TalkiesAner PremingerChapter 10: Chaplin's Sound Statement on Silence: The Great Dictator as Rhetorical EncomiumBenjamin ClickBibliographyIndexAbout the ContributorsAbout the Editors