Portal de Periódicos da CAPES

Art et censure chez Chaplin

1992; Éditions Belin; Volume: 52; Issue: 1 Linguagem: Inglês

10.3406/rfea.1992.1467

1776-3061

Francis Bordat,

French Historical and Cultural Studies

In one shot from The Face on the Bar Room Floor (1914), observance of the proprieties is shown to have stimulated the director's art of composition and staging, and to have served rather than stifled his eroticism : Chaplin's side-stepping leads him to enrich his mise en scène, and to give expression to even more subtle and secret layers of Charlie's libido. Further analysis of a sequence from A Woman of Paris (1923), whose theme and visual motifs echo the scene from The Face, shows découpage and elliptic editing identically spurred by the pressures of (self) censorship.