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Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

other comics including Art Spiegelman's Maus (referenced obliquely by the cats that stalk through the narrative) and Horst Rosenthal's Mickey au camp de Gurs , and evocations of films by Roberto Benigni and Charlie Chaplin. The resolute non-realism of

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

tension may be manifested in what he calls the “comic twinkle” and the “deliberate accident” (51–54). As an example of the latter, he demonstrates how, in The Circus (Charlie Chaplin, 1928), Charlie Chaplin’s flexible and imaginative execution make the

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

to the medium's popular, modern essence and, in particular, Spiegelman's Maus ; film, especially Charlie Chaplin's works, which tap into a network of media and cultural references related to the two aforementioned media memories. I will focus here

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Michael K. Bess, David Lipset, Kudzai Matereke, Stève Bernardin, Katharine Bartsch, Harry Oosterhuis, Samuel Müller, Frank Schipper, Benjamin D’Harlingue, and Katherine Roeder

influences that inform its outlook, from George Orwell and Aldous Huxley to Charlie Chaplin’s Modern Times (1936). J.G. Ballard’s High-Rise (1975) is seemingly relevant as well. Ware astutely compares Pushwagner to director Stanley Kubrick, because of his

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Melenia Arouh

relevant to each case. Klevan, for instance, engages in aesthetic appreciation by observing the lighting, blocking, and overall synthesis in Citizen Kane (Orson Welles, 1941); explains constraint and inventiveness in The Gold Rush (Charlie Chaplin

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Education, Entertainment, and Indoctrination

Educational Film in Interwar China

Kaiyi Li

titled “Chinese Youth,” a second Eastman Kodak Company film, Teeth Protection , was shown. After the film, the two educators played a song encouraging frugality. The event concluded with the screening of two films by Charlie Chaplin. 51 The above

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Leyla Neyzi, Nida Alahmad, Nina Gren, Martha Lagace, Chelsey Ancliffe, and Susanne Bregnbæk

). While Jackson skillfully draws on his ethnographic work in Sierra Leone, Australia, and Europe, the impact of his everyday context of living in the United States under Trump, who on one occasion is ironically compared with Charlie Chaplin's The Great

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When Jackie Coogan Had His Hair Cut

Masculinity, Maturity, and the Movies in the 1920s

Peter W. Lee

by tramping alongside Charlie Chaplin in The Kid (1921) , Coogan’s screen persona of a pitiful vagabond waif depended upon a projection of extreme youth to signify his vulnerable innocence in a cold, cruel, urbanized world. Five years later, at the