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Charlie Chaplin, Director, by Donna Kornhaber
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Charlie Chaplin was one of the cinema’s consummate comic performers, yet he has long been criticized as a lackluster film director. In this groundbreaking work—the first to analyze Chaplin’s directorial style—Donna Kornhaber radically recasts his status as a filmmaker. Spanning Chaplin’s career, Kornhaber discovers a sophisticated "Chaplinesque" visual style that draws from early cinema and slapstick and stands markedly apart from later, "classical" stylistic conventions. His is a manner of filmmaking that values space over time and simultaneity over sequence, crafting narrative and meaning through careful arrangement within the frame rather than cuts between frames. Opening up aesthetic possibilities beyond the typical boundaries of the classical Hollywood film, Chaplin’s filmmaking would profoundly influence directors from Fellini to Truffaut. To view Chaplin seriously as a director is to re-understand him as an artist and to reconsider the nature and breadth of his legacy.
- Sales Rank: #1358973 in Books
- Published on: 2014-03-05
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.10" w x 6.00" l, .0 pounds
- Binding: Paperback
- 374 pages
About the Author
Donna Kornhaber is an assistant professor in the Department of English at the University of Texas at Austin.
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0 of 0 people found the following review helpful.
A Pioneering Study of Chaplin's Directing is a Must-Own
By Robert Blenheim
Donna Kornhaber, Assistant Professor who teaches film at the University of Texas, has rectified a long-existing deficiency in film scholarship with the publication of this valuable book. Here she finally provides a thorough examination of Charlie Chaplin's directorial style, a style long-considered by aesthetes and film critics to be conservative, old-fashioned and aesthetically unworthy despite the acclamation of his films as masterpieces.
Well written while employing heavy academic jargon, Kornhaber structures this study in logical and utilitarian sections, her goal to validate Chaplin's primitive 'pre-classical-era' techniques now taken as pass� (e.g., his consistent immobile camera, wide framing, infrequent cutting) and see them as functionally active cinematic acts of modernity. It's a tall order but she does it by scrutinizing the compositional arrangements within the frame of many of Chaplin's most popular shorts, breaking down scenes that convey narrative in the placement and simultaneous movement of different characters and objects. Part of Chaplin's style is to encourage freer and more varied concurrent interpretations of meaning -- something that would be lost with conventional cuts to close-ups, or by juxtaposing subjective shots from different points of view.
In Part I ("Chaplin in Context") she examines his directorial beginnings at Keystone in 1914 with a detailed and valuable close study of how narrative developed in the early days of the cinema, particularly through the characteristics of contiguous visual space. This is something Chaplin would quickly master and bring it to the forefront of his own personal technique the rest of his career. Kornhaber explores 'spatial unity' and other elements of the pre-classical style throughout this period in Hollywood, from Porter and Griffith's innovations to the works of Sennett and Langdon, winding up with a concise analysis of both Keaton and Lloyd's particular and different filmmaking styles. On the way, she explains what she calls "the Slapstick Exemption" which allows comedy films involving slapstick to "escape from narrative demands [of classical Hollywood]," something to which Chaplin would subscribe and utilize in the formation of his style. No previous study that I'm aware of has covered similar ground so clearly and astutely.
In Part II ("The Silent Era"), Kornhaber delves deep into Chaplin's filming technique by examining its relationship to narrative and, most importantly, the placement of his camera which utilized spacial composition. In a sophisticated way, he subtly managed to direct attention of the viewer through the alignment of the frame's components (characters, objects, set decoration) while eschewing camera movement and montage elements, things which were developing into the very foundational stable of classical era techniques around him. In several chapters, the author gives us extraordinary new ways to see and evaluate Chaplin's accomplishment in putting his filmmaking philosophy into the execution of his directorial technique, and she reveals the great paradox in Chaplin's style: How, by adhering to the very static and 'non-cinematic' shooting methods of Hollywood's 'pre-classical era', he became a radical exponent of ambiguity by both preempting the viewer from making conventional moral judgments as well as his achieving simultaneous multi-subjective viewpoints from his static, wide screen frame compositions. Ironically, in one sense, this places him alongside the Italian Neo-Realists and the filmmakers of the French New Wave.
Part II ends with a less detailed study of "City Lights", generally considered Chaplin's most incomparable masterpiece. And while Kornhaber does examine the compositional artistry of the film's main sequences (especially the final scene ending with what is arguably the most heartrending fadeout of any film in history) her main focus of the chapter is on Chaplin's slow, reluctant negotiation of (and ultimately victory over) the coming of talking pictures.
Part III, "The Sound Era", deals with his final six films (along with his own sad reworking of "The Gold Rush" for a sound film reissue). She traverses through both successes and modified failures revealing Chaplin's own inability to, in the author's words, "fully reconcile [his main visual style] to new elements that were entering his filmmaking" as sound came in. Chaplin began to reveal a growing dissolution of narrative structure, a lack of stylistic determinacy along with a reaching back to more innocent times. He was showing evidence of losing his grasp even as he kept hold of his own personal independence, and Kornhaber does a consummate job of detailing this period while still validating Chaplin's composure as an artist trying to further his art in a changing medium.
It is in the book's penultimate chapter that most Chaplin critics and admirers will have their main quarrel with the author. Kornhaber makes a case for his last film, "A Countess from Hong Kong," as not only being a "return to form" but "one of the strongest films of Chaplin's career"; moreover, as "a culmination of everything he [has] done since 'City Lights'." And the author really puts on her fighting gloves to defend her position, maybe as much from desiring a happy ending for an artist to go out on a triumphal note as she sincerely believes it. But even while she won't convince many "Countess from Hong Kong" naysayers to embrace it, she does manage to help viewers approach the film in a new light to find a modicum amount of delight in it. It is nowhere near as bad as some thought it was, if nowhere near as accomplished as Kornhaber finds it to be. A rewatch shows it to be a worthy and entertaining film, its second half less clumsy than the first, and an ultimately moving experience, one able to stand in Chaplin's oeuvre without shame.
In the book's epilogue, the author ties everything together nicely, encapsulating Chaplin's importance as a cinematic visionary artist. I daresay no one who reads this book will ever view Chaplin's films the same again. Kornhaber has made her case that Chaplin the film director has been undervalued since he first put life into his "little man", the tramp character, that was, in fact, Chaplin himself.
This book demands to be in the library of not only every Chaplin fan but every serious scholar of the cinema as well, especially one who wishes to explore how the art of cinema developed into the modern era where directors are regarded as the authors of their films. In Charlie Chaplin, Director, Kornhaber shows both why and how Charlie Chaplin's films affect us so much today, and why he is still of prime importance in the 21st century. This book is one of the best directorial studies published in recent years.
3 of 4 people found the following review helpful.
... solely as a director and this text does a great job giving that information
By Heather Degeyter
There is so little scholarship about Chaplin solely as a director and this text does a great job giving that information!
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