(Roughly) Daily

Posts Tagged ‘Charlie Chaplin

“I would say lenguage is that we may mis-unda-stend each udda”*…

Long-time readers will know that your correspondent adores George Herriman’s Krazy Kat (c.f., e.g., this post: the remarkable Chris Ware on the modern relevance of the seminal strip). Today, Amber Medland on Krazy Kat‘s huge resonance with Modernists throughout its run…

The Kat had a cult following among the modernists. For Joyce, Fitzgerald, Stein, and Picasso, all of whose work fed on playful energies similar to those unleashed in the strip, he had a double appeal, in being commercially nonviable and carrying the reek of authenticity in seeming to belong to mass culture. By the thirties, strips like Blondie were appearing daily in roughly a thousand newspapers; Krazy appeared in only thirty-five. The Kat was one of those niche-but-not-really phenomena, a darling of critics and artists alike, even after it stopped appearing in newspapers. Since then: Umberto Eco called Herriman’s work “raw poetry”; Kerouac claimed the Kat as “the immediate progenitor” of the beats; Stan Lee (Spider-Man) went with “genius”; Herriman was revered by Charles Schulz and Theodor Geisel alike. But Krazy Kat was never popular. The strip began as a sideline for Herriman, who had been making a name for himself as a cartoonist since 1902. It ran in “the waste space,” literally underfoot the characters of his more conventional 1910 comic strip The Dingbat Family, published in William Randolph Hearst’s New York Evening Journal. Hearst gave Herriman a rare lifetime contract and, with his backing, by 1913 the liminal kreatures had their own strip. Most people disliked not being able to understand it. Soon advertisers worried that formerly loyal readers would skip the strips and miss the ads. Editors were infuriated by devices like Herriman’s “intermission” panel, which disrupted the narrative by stalling the action…

For [E.E.] Cummings, who, with his flagrant anti-intellectual stance, privileged what he called “Aliveness” above all else, Charlie Chaplin was the only artist to rival Herriman. But technology disrupted both Chaplin’s and Herriman’s idiosyncratic work. At the introduction of sound in film in 1927, Chaplin said that the “spontaneity of the gags had been lost,” but what he really lost was his control of time. Sound erases distance; there was no longer a delay in which the incongruity between seeing and comprehending could bloom. In his essay “What People Laugh At” (1918), Chaplin noted “the liking of the average person for contrast and surprise in his entertainment.” Both Herriman and Chaplin orchestrated meticulously timed, silent dialogues between images and words. Slapstick—a word that originally referred to two pieces of wood joined together, used by pantomime clowns to make loud noises—is, in their work, a deliberately clumsy cleaving of the relationship between words and images. If people could explain themselves, there would be no time to revel in ludicrous situations, as when in The Kid, Chaplin, caressing the hand of a policeman’s wife, is accidentally caressed by her husband…

The unsung Modernist: “E. E. Cummings and Krazy Kat,” from @ambermedland in @parisreview.

Enjoy Krazy Kat strips here.

* Krazy, to Ignatz (Herriman one-upping Wittgenstein…)

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As we praise percipience, we might recall that it was on this date in 1948, in the Bugs Bunny cartoon “Haredevil Hare,” that Marvin the Martian made his debut.

“Haredevil Hare”: Bugs Bunny, disguised as a Martian, hands Marvin the Uranium PU-36 Explosive Space Modulator. (Animation by Ken Harris.)

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“A Dictator? Why, he makes love to beautiful women, drinks champagne, enjoys life and never works. He makes speeches to the people promising them plenty, gives them nothing and takes everything. *That’s* a Dictator.”*…

“Larry Pebble,” “Moe Hailstone,” “Miss Pfiffernuss” (Florine Dickson), “Curly Gallstone” in You Nazty Spy!

Hollywood’s relationship to the Third Reich before Pearl Harbor was a complex one. Film producers – particularly Jewish ones – had ample reason to dislike Nazis, but the US was not yet at war with them, and it wasn’t necessarily good for business to lampoon the government of a large foreign market. So, with some exceptions, Hollywood tended to tread carefully in the late 1930s.

Charles Chaplin famously lampooned the Third Reich leader in The Great Dictator, which was released in October 1940. The Three Stooges got the jump on Chaplin by nine months, however, releasing their own quickie Third Reich parody in January that year, although Chaplin’s film had started production first.

In January 1940, the Stooges released a two-reel short called You Nazty Spy! in which they play dimwitted wallpaper hangers who are installed as dictators of the country of Moronica; the businessmen who elevate them think they are stupid enough to be easily controlled.

Moe plays the Hitler-like leader, while Curly plays Field Marshal Gallstone (a mashup of Goering and Mussolini), and Larry is Propaganda Minister Pebble (a spoof of Goebbels). Various comic hijinks ensue, culminating in the dictatorial trio getting deposed and eaten by lions. In 1941, a sequel came out called I’ll Never Heil Again

The first Hollywood film to spoof Hitler: a Three Stooges two-reeler called You Nazty Spy!

See You Nazty Spy! here. More on Chaplin’s rather better-known The Great Dictator here.

* “Mr. Ixnay” (Richard Fiske) in You Nazty Spy!

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As we ridicule the ridiculous, we might recall that it was on this date in 1976 that Sesame Street aired episode #847, featuring Margaret Hamilton reprising her role as the Wicked Witch of the West from the 1939 film The Wizard of Oz.  It scared children so badly that the episode has never been re-aired. (This, after she had appeared as herself in three episodes of Mister Rogers’ Neighborhood, between 1975 and 1976– because Fred Rogers wanted his young viewers to recognize the Wicked Witch was just a character and not something to fear.)

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“Strong minds discuss ideas, average minds discuss events, weak minds discuss people”*…

 

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Interior of a London Coffee-house, 17th century

 

Picture someone who spends hours each day debating politics, indiscriminately consuming serious news and dubiously sourced gossip, yet takes no part in actual political action. That might describe many twenty-first-century Twitter users. As philosopher Uriel Heyd writes, it’s also how satirists depicted obsessed news consumers in eighteenth-century Britain.

The turn of the century brought a flourishing of print media, Heyd writes. By the 1710s, artisans and shopkeepers filled coffeehouses, discussing and debating the events in political and foreign affairs that they had read about in the day’s papers.

Soon, satires appeared in theaters, depicting regular citizens absurdly focused on the political sphere, to the detriment of their personal lives. In the 1711 play The Generous Husband, a woman dismisses a news-obsessed man as “a walking News-paper: his Head is the very Emblem of the dirty Houses he frequents, full of foul Pipes, News, and Coffee—Foh, methinks I smell him hither; he stinks of Tabacco like an old Gazette.” In the 1769 comedy The School for Rakes, a female character asks to have newspapers and magazines sent to her: “My mental faculties are quite at a stand—I have not had the least political information, these four days.”…

Hooked on viral news (or is it gossip?), today’s Twitter hordes owe a lot to history’s coffeehouses: “The News Junkies of the Eighteenth Century.”

* Socrates

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As we watch what went around come around, we might send insinuating birthday greetings to Louella Parsons; she was born on this date in 1881.  In the movie business from its earliest days (she supplied a script to the Eassanay Company before they discovered Charlie Chaplin), she became a film columnist in 1914– and a few years later, became the lead gossip columnist for the Hearst papers.

There was persistent speculation that Parsons was elevated to her position as the Hearst chain’s lead gossip columnist because of a scandal she did not write about. In 1924, director Thomas Ince died after being carried off Hearst’s yacht, allegedly to be hospitalized for indigestion. Many Hearst newspapers falsely claimed that Ince had not been aboard the boat at all and had fallen ill at the newspaper mogul’s home. Charlie Chaplin‘s secretary reported seeing a bullet hole in Ince’s head when he was removed from the yacht. Rumors proliferated that Chaplin was having an affair with Hearst’s mistress Marion Davies, and that an attempt to shoot Chaplin may have caused Ince’s death. Allegedly, Parsons was also aboard the yacht that night but she ignored the story in her columns. The official cause of death was listed as heart failure…   – source

In any event, Parsons became an influential figure in Hollywood; at her peak, her columns were read by 20 million people in 400 newspapers worldwide.  She was the unchallenged “Queen of Hollywood gossip”… until the arrival of the flamboyant Hedda Hopper, with whom she feuded for years.

LouellaParsons source

 

 

 

“Life is a tragedy when seen in close-up, but a comedy in long-shot”*…

 

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Before Edgar Wright and Wes Anderson, before Chuck Jones and Jackie Chan, there was Buster Keaton, one of the founding fathers of visual comedy. And nearly 100 years after he first appeared onscreen, we’re still learning from him…

 

 

Lessons from the best: “Buster Keaton- The Art of the Gag.”

* Charlie Chaplin

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As we mix marvel with mirth, we might recall that it was on this date in 1850 that photographer Frederick Langenheim was issued U.S. Patent #7,784 for “Improvement in photographic pictures on glass,” a process of rendering photographic images on glass plates– magic lantern slides.

Prior to 1850, most magic lantern slides were hand-painted on glass, or created using a transfer method to reproduce many copies of a single etching or print; the development of photographic slides created entirely new uses for the magic lantern, from university lectures to amateur family photo shows… to “Coming Attractions” advertisements in theaters in the silent film era.

Lang source

 

Written by (Roughly) Daily

November 19, 2019 at 1:01 am

“Not too big, not too small… just right”*…

 

dimensions

Dimensions.Guide is a comprehensive [and free]reference database of [thousands of] dimensioned drawings documenting the standard measurements and sizes of the everyday objects and spaces that make up our world. We offer our resources to professional designers, students, and the public alike as a way to enhance our global collective awareness of the parameters and dimensions of the things around us…

For example…

Screen Shot 2019-02-02 at 3.24.06 PM

Browse at Dimensions.Guide.

* The Goldilocks Principle

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As we size it up, we might recall that it was on this date in 1921 that Charlie Chaplin released the first feature-length film in which he both starred (as “The Tramp”) and directed, The Kid.  Chaplin also wrote and produced the film.

Widely considered one of the greatest films of the silent era, it was selected for preservation in the United States National Film Registry by the Library of Congress.

 

Written by (Roughly) Daily

February 7, 2019 at 1:01 am

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