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Charlie Chaplin in the vagabond / Greenwich Litho. Co. N.Y.

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Charlie Chaplin in the vagabond / Greenwich Litho. Co. N.Y.

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Motion picture poster for "The Vagabond" starring Charlie Chaplin, showing him playing a fiddle for a woman washing clothes in a washtub.
Title from item.
"Mutual Chaplin Specials."
Copyright 1916 by Lone Star Corporation.
Purchase; Guernsey's Auction; (DLC/PP-1989:136).

Both Chaplin and Hitler were born in April 1889. Chaplin’s mother, was a singer, a soubrette, a mender of old clothes. She was incarcerated in asylums, put in a padded cell and given shock treatments. All the flower-sellers and wistful prostitutes in Chaplin’s films represent the doomed love he’d experienced as a child. His father died of drink. Chaplin was despatched to the Southwark workhouse, then to a school for orphans. Vladimir Lenin said that ‘Chaplin is the only man in the world I want to meet.’ Chaplin stayed with Churchill at Chartwell and at Nancy Astor’s house. He met Bernard Shaw and Keynes. H.G. Hitler watched Сhaplin’s The Great Dictator at a private screening — twice. Both were short and sported an identical mustache. Each man ‘appealing to millions of people with an almost mesmeric magic’. His assistant director called him a ‘tyrannical, wounding, authoritative, mean, despotic man’. ‘The violence of his anger was always so out of proportion to the object that had stirred him that I couldn’t help being frightened of it,’ said one of his sons. Offered numerous prizes and awards, he once said: ‘I don’t think you are qualified to judge my work,’ returning a trophy. His political beliefs were branded as a communist. His sexual scandals upset morality. In 1952, his re-entry visa to the United States was rescinded, so he moved to a villa in Switzerland. He died on Christmas day 1977. His coffin was stolen by grave robbers, who phoned one of his wives and the co-star of The Gold Rush, hoping they could make a ransom demand. ‘We’ve got Chaplin,’ they announced. ‘So what?’ she said, slamming down the phone.

Movie posters and movie theaters.

Alois Senefelder, the inventor of lithography, introduced the subject of colored lithography in 1818. Printers in other countries, such as France and England, were also started producing color prints. The first American chromolithograph—a portrait of Reverend F. W. P. Greenwood—was created by William Sharp in 1840. Chromolithographs became so popular in American culture that the era has been labeled as "chromo civilization". During the Victorian times, chromolithographs populated children's and fine arts publications, as well as advertising art, in trade cards, labels, and posters. They were also used for advertisements, popular prints, and medical or scientific books.

The popularity of “moving pictures” grew in the 1920s. Movie "palaces" sprang up in all major cities. For a quarter or 25 cents, Americans escaped their problems and lose themselves in another era or world. People of all ages attended the movies with far more regularity than today, often going more than once per week. By the end of the decade, weekly movie attendance swelled to 90 million people. The silent movies gave rise to the first generation of movie stars. At the end of the decade, the dominance of silent movies began to wane with the advance of sound technology.

By 1908 there were 10,000 permanent movie theaters in the U.S. alone. For the first thirty years, movies were silent, accompanied by live musicians, sound effects, and narration. Until World War I, movie screens were dominated by French and Italian studios. During Great War, the American movie industry center, "Hollywood," became the number one in the world. By the 1920s, the U.S. was producing an average of 800 feature films annually, or 82% of the global total. Hollywood's system and its publicity method, the glamourous star system provided models for all movie industries. Efficient production organization enabled mass movie production and technical sophistication but not artistic expression. In 1915, in France, a group of filmmakers began experimenting with optical and pictorial effects as well as rhythmic editing which became known as French Impressionist Cinema. In Germany, dark, hallucinatory German Expressionism put internal states of mind onscreen and influenced the emerging horror genre. The Soviet cinema was the most radically innovative. In Spain, Luis Buñuel embraced abstract surrealism and pure aestheticism. And, just like that, at about its peak time, the silent cinema era ended in 1926-1928.

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01/01/1916
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Source

Library of Congress
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