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Constructing the Eternal Present: Chaplin’s Tramp as Lived Principle of Constructivist Organization

Constructing the Eternal Present: Chaplin’s Tramp as Lived Principle of Constructivist... Constructing the Eternal Present: Chaplin’s Tramp as Lived Principle of Constructivist Organization chris bollini [Chaplin] has no pathos, he isn’t monumental—this is his value for the contemporary world—he is momental. —Alexsandr Rodchenko, “Charlot” (147) the iconogr aphy of charlie chaplin’s and his ascension to an auteur filmmaker. My Tramp persona has endured for over a century line of inquiry would account for why Chaplin as an instantly recognizable shorthand for emerged as a figure worthy of idolization for a good-natured perseverance. While aspects of loyal Bolshevik and ideologically driven pho- his appearance such as the cane, bowler hat, tographer, painter, and propagandist such as and mustache reduce the Tramp to an easily im- Alexsandr Rodchenko. In contrast to the readily itated parody of destitution, it is Chaplin’s wad- evident appeal of Chaplin for a Cubist such as dling gait that best exemplifies his creation’s Fernand Léger, whose geometric renderings of ineffable resolve. This “famous clod-hopping the Tramp underscore the paradoxical elegance shuffle” may convey “ungainliness personified” of Chaplin’s contained gestures amid flights of or even give the character “almost the appear- wild slapstick, the connection between Chap- ance of a cripple,” as John Kimber argues (59). lin the movie http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Constructing the Eternal Present: Chaplin’s Tramp as Lived Principle of Constructivist Organization

Journal of Film and Video , Volume 72 (1) – Apr 29, 2020

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Constructing the Eternal Present: Chaplin’s Tramp as Lived Principle of Constructivist Organization chris bollini [Chaplin] has no pathos, he isn’t monumental—this is his value for the contemporary world—he is momental. —Alexsandr Rodchenko, “Charlot” (147) the iconogr aphy of charlie chaplin’s and his ascension to an auteur filmmaker. My Tramp persona has endured for over a century line of inquiry would account for why Chaplin as an instantly recognizable shorthand for emerged as a figure worthy of idolization for a good-natured perseverance. While aspects of loyal Bolshevik and ideologically driven pho- his appearance such as the cane, bowler hat, tographer, painter, and propagandist such as and mustache reduce the Tramp to an easily im- Alexsandr Rodchenko. In contrast to the readily itated parody of destitution, it is Chaplin’s wad- evident appeal of Chaplin for a Cubist such as dling gait that best exemplifies his creation’s Fernand Léger, whose geometric renderings of ineffable resolve. This “famous clod-hopping the Tramp underscore the paradoxical elegance shuffle” may convey “ungainliness personified” of Chaplin’s contained gestures amid flights of or even give the character “almost the appear- wild slapstick, the connection between Chap- ance of a cripple,” as John Kimber argues (59). lin the movie

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 29, 2020

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