City Lights

Informationen zum Autor CHARLES MALAND is a Professor of Cinema Studies, American Studies and English at the University of Tennessee Klappentext In 1967, Charlie Chaplin told, 'I think I like 'City Lights' the best of all my films.' Based on archival research of Chaplin's production records, this work offers a history of the film's production and reception, as well as an examination of the film itself, with special attention to the sources of the final scene's emotional power. Zusammenfassung In 1967, Charlie Chaplin told, 'I think I like 'City Lights' the best of all my films.' Based on archival research of Chaplin's production records, this work offers a history of the film's production and reception, as well as an examination of the film itself, with special attention to the sources of the final scene's emotional power. Inhaltsverzeichnis Acknowledgments1. The Ending2. Chaplin's Hollywood Roots3. Three Preceding Features4. Divorce and Tax Problems5. Hannah6. The Challenge of the Talkies7. Refining a Story8. The Production Record in Perspective9. A Troubled Production: To November 192910. The Production Clarifies: From November 192911. Chaplin, the Jazz Age, and Submerged Autobiography12. The Narrative Structure13. The Opening Scenes: A Closer Look14. Contrasting Moral Universes15. Final Sequence: Part One16. Final Sequence: The Heartbreaking Ending17. Release and Reception18. The Legacy of City Lights NotesCreditsBibliography

Klappentext
In 1967, Charlie Chaplin told, 'I think I like 'City Lights' the best of all my films.' Based on archival research of Chaplin's production records, this work offers a history of the film's production and reception, as well as an examination of the film itself, with special attention to the sources of the final scene's emotional power.

Inhalt
Acknowledgments 1. The Ending 2. Chaplin's Hollywood Roots 3. Three Preceding Features 4. Divorce and Tax Problems 5. Hannah 6. The Challenge of the Talkies 7. Refining a Story 8. The Production Record in Perspective 9. A Troubled Production: To November 1929 10. The Production Clarifies: From November 1929 11. Chaplin, the Jazz Age, and Submerged Autobiography 12. The Narrative Structure 13. The Opening Scenes: A Closer Look 14. Contrasting Moral Universes 15. Final Sequence: Part One 16. Final Sequence: The Heartbreaking Ending 17. Release and Reception 18. The Legacy of City Lights Notes Credits Bibliography

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