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P ERIGEE CINEMA H ISTORY S ESSIONS PHILADELPHIA August 2010 Tomlinson Theater

Chaplin Program

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CHAPLIN IN MODERN TIMESJanuary 18 - 20, 2008, Avalon Theater of the Arts

A retrospective of the artists major works, including The Circus, The Kid, City Lights, Modern Times, The Great Dictator and Limelight. Guest speaker David Robinson will address Chaplin’s development as a social commentator, the development of pathos as a cinematic device and Cold War repercussions. Q&A panels and discussion groups will follow each showing.

INDONESIAN POPULAR CINEMAMarch 14 - 16, 2008, Avalon Theater of the Arts

A look at the short-lived popular cinema movement of the early to mid-eighties, featuring Mystics In Bali, The Warrior, The Hungry Snake Woman, Lady Terminator, The Devil’s Sword and The White Alligator. Guest speaker Ogam Idoniri discusses the social change that brought about the movement and the govern-ment intercession which ended it. Q&A panels and discussion groups.

GERMAN EXPRESSIONIST FILMMay 16 - 18, 2008, Avalon Theater of the Arts

An overview of the genre of German Expressionism, with show-ings of The Cabinet of Dr Caligari, Nosferatu, The Golem, Phan-tom, Metropolis and M. Guest speaker Jerry Sylvania discusses the rise and fall of this art form, and the part the rise of Nazism had in bringing the style to America. Q&A panels and discussion groups will follow each showing.

AKIRA KUROSAWAJuly 18 - 20, 2008, Avalon Theater of the Arts

A retrospective of the artist’s major works, including High and Low, Stray Dog, Seven Samurai, Akiru, Throne of Blood and Ran. Guest speaker Stephen Prince discusses Kurosawa’s develop-ment from pre- through post-war Japan, the eventual dissolution of his individualistic themes and late renaissance. Q&A panels and discussion groups will follow each showing.

INGMAR BERGMANSeptember 19 - 21, 2008, Avalon Theater of the Arts

A retrospective of the artist’s major works, including The Sev-enth Seal, Wild Strawberries, The Virgin Spring, The Magic Flute and Fanny And Alexander. Guest speaker Peter Cowie talks about the development of Bergman’s major themes of death and religion and his eventual abandonment of the film media. Q&A panels and discussion groups will follow each showing.

BROTHERS QUAY AND ŠVANKMAJERNovember 21 - 23, 2008, Avalon Theater of the Arts

A look at the surreal imagery of stop-motion animators Jan Švankmajer and the Brothers Quay, including Alice, Lunacy, Dimensions of Dialogue, Street of Crocodiles, Stille Nacht I-V and The Sandman. Guest speakers Stephen and Timothy Quay discuss their technique and conceptual workflow and major themes. Q&A panels and discussion groups will follow each showing.

For the premiere of City Lights (1931), Chaplin traveled to Lon-don, and stayed there until 1932 before returning to the U.S. His next film was Modern Times (1936), which proved to be one of his greatest successes, followed four years later by The Great Dic-tator (1940), which was an indict-ment of the Nazi regime. Chaplin played a dual role, as a Jewish barber who fought in World War I and as the evil Adenoid Hynkel, dictator of Tomania. In 1945 he started working on a new picture, Monsieur Verdoux (1947), which was based on an idea from Orson Welles; he is thus credited in the film. In 1952 he released what is probably his best-known "talkie", Limelight (1952), which also fea-tured his longtime friend, Buster

Keaton.

That same year he was found himself swept up in the anti-Com-munist hysteria known as the Mc-Carthy Era that was engulfing the U.S., and found himself accused by U.S. authorities of having Com-munist tendencies. Outraged and depressed, he left the U.S. for Switzerland. During his absence from the States he made two more films, A King in New York (1957), released in America 20 years later, and his final film A Countess from Hong Kong (1967), which starred Marlon Brando and Sophia Loren. This last film proved to be Chap-lin's only failure and was a box-

office flop.

In 1969 Chaplin began new scores for a number of his films, including "The Kid" and "The Circus". He also planned to make a film called "The Freak" with his daughter Victoria Chaplin in the lead role, wearing the wings her father had worn 50 years earlier in "The Kid". However, by this time Chaplin was already into his 80s, and he retired

to live in Vevey, Switzerland.

In 1975 he was knighted by the queen. He died in his sleep on

Christmas Day, 1977.

Perigee Cinema History sessions

PHILADELPHIA

SESSION ONE

August 2010

Tomlinson Theater

Warren BassWarren Bass is an independent filmmaker and Chair of the De-partment of Film & Media Arts at Temple University. He is also the present chairman of Perigee Cin-ema.

He was trained at the Yale School of Drama in directing and at Co-lumbia University in film and documentary as their School of the Arts Scholar. He has taught at Yale, NYU, the State University of California, and the American Film Institute, has chaired univer-sity departments in Film, Televi-sion, and Theater in New England, served as Vice President of the University Film and Video Associa-tion, editor of The Journal of Film and Video, and for extended peri-ods of time as Director of Temple University’s Graduate Program in Film & Television.

His film and video productions have been aired on PBS, syndicat-ed television and cable in the U.S. and on European, Asian and Aus-tralian Television. His work has received over 100 regional, na-tional and international awards in-cluding the Platinum Award (First Place) Houston Worldfest; First Place Athens International; First Place First Glance; 1st and 2nd Places New Haven International; Canadian International (Toronto); Rochester International; The Brit-ish Animation Awards London; and the UFVA Award of Merit. Of-ficial Selections include Oberhau-sen, Budapest, Liepzig, Montreal, DeReel, Paris, Rio de Janeiro, St. Johns, and Uppsala in a total of 15 countries over the past six years; seven Public Television grants in the past six years, and the Penn-sylvania Council on the Arts Indi-vidual Artist Fellowship in 2003 and 2005.

CHAIRMAN’S WELCOME

As we approach the centenary celebration of the works of Charles Spenser Chaplain, we look back on a man who has become an empty icon. There is no far-flung corner of the globe where a bowler hat, cane and toothbrush moustache will not instantly conjure the ghost of this comedic giant, yet his actual body of work is unknown to the vast majority of film-loving Americans.

Times do change; it's not unreasonable that The Tramp has dis-appeared beneath the CGI filled, Surround-sound spectacles of modern cinema. But at the same time, film enthusiasts must see that Chaplin created the very film structure that every cinema blockbuster enjoys today.

Chaplin was not just a comedian, but a pioneer in visual story-telling. He created the concept of pathos on celluloid, the use of tension and rest onscreen, the small gesture, the effective close-up and the ambiguous ending. To understand the import of Chaplin on the very nature of cinema, one must only consider what modern movie making would look like if it had followed the templates of his contemporaries - the overblown slapstick of Mac Sennett, the bombast of D.W. Griffith, the cement formula of Thomas Ince or the empty spectacle of Cecil B. DeMille.

The French love Chaplin. The reason for this is not only for his comedic brilliance and masterful timing, but also because he of all the American directors was the only one learning from the French art house movement of the early twentieth century. He distilled the subtleties it honed and incorporated them into the larger cinematic language of popular film.

In the popular eye, of course, all of this is secondary to the indis-putable fact that Chalie Chaplin is the most incredible physical comedian ever committed to celluloid. Masters of every age who have proceeded him have credited him as a primary influence, a human textbook of timing, expression, reaction and slapstick. There exists in the realm of comedy film making the concept of “The Chaplin Disease,” an expression meaning a filmmaker has attempted to match Chaplin’s exquisite mix of pathos and com-edy only to tip the film to disaster through his (inevitable) failure to do so.

Matchless. In nearly one hundred years - without equal, without exeption, without argument - the absolute master of his craft. The little fellow continues to best the goliaths. For that, if for no other reason, film fans should turn their heads to see why Charles Spenser Chaplin is a worldwide icon. I welcome you to this session of Perigee Cinema, and implore you to bring a friend. I promise they will not be disappointed.

PLEASE NOTE

Audio and Video recordings of the screenings, speeches and discussion panels at Perigee Cinema Sessions are expressly forbidden; violaters will be expelled without refund or right of re-entry. There are no exceptions - no written permissions have or will be given.

This rule will be enforced!

THEATER ETIQUETTE

The Tomlinson Theater is equipped with a cell blocker in the theater area. You will not be able to make or recieve cell phone calls within ten feet of the theater entrance. Please schedule your attendance or telephone calls with this in mind; the cell blocker will not be disabled under any circumstance.

The Tomlinson Theater is not ordinarily a movie venue, and you won’t find a refreshments stand in the lobby. Further, food and drink are not permitted in the theater area. There are several restaurants and fast food franchises within a two-block walking distance.

Most of our features this session are silent; talk-ing in the theater will be extremely disruptive. We ask you to refrain from comments or conver-sation in the theater area during screenings and guest speaker sessions.

LOBBY ETIQUETTE

Our guest speakers may or may not offer to sign autographs; if they do, the time and place for signing will be announced during their discus-sion groups.

If a specific time and place is not announced, you must assume that they are not interested in signing, and your advances will be unwel-come. Please respect our speaker’s wishes for privacy.

PANEL DISCUSSIONS

FRIDAY

Sound And Silents 5:00PM, Foyer

Guest speakers Carl Davis and Kevin J Hayes discuss the Chaplin Estate mandate that all films scored or narrated by Chaplin are the only cop-ies allowable for public performance.

Moral Issues 6:00PM, Foyer

Chaplin’s continuous run-ins with matters of moral turpritude are discussed frankly by guest speakers Dan Kamen and Lisa Stein.

SATURDAY

Chaplin, Communism, and the Second Front 1:00PM, Foyer

David Robinson, Lisa Stein and Dan Kamn talk about the allegations of communism that led to Chaplin’s American visa revokation.

Chaplin’s Lost Film 2:00PM, Foyer

Linda Wada, author of “The Sea Gull” shares a slide show and a reconstructed storyline of Chaplin’s only missing film.

Purviance and Chaplin 4:00PM, Foyer

Linda Wada, Dan Kamen and Lisa Stein discuss the natue of their 43-year relationship.

SUNDAY

The Body Theft 12:00PM, Foyer

Guest speakers Dan Kamen and Kevin J Hayes unravel the mystery of the theft of Charlie Chap-lin’s corpse in 1978.

Lita Grey’s Gold Rush 4:00PM, Foyer

Lisa Stein and Linda Wada discuss Lita Grey’s motives in relation to her courtship and short marriage to Charlie Chaplin. Wada brings foward the opinion of Chaplin confidante Edna Purvey-ance via family reminiscences.

Perigee Cinema

Perigee Cinema was founded in 1998, as a joint project between Temple's Cinema Arts Depart-ment and interested alumni with the intent to create off-campus film events showcasing the lost, forgotten or unusual works of both American and World cinema.

Eventually working in tandem with the Film departments of Ball State University and UCLA, Peri-gee Cinema was able to create a steady schedule of bimonthy events, with films and speakers that travel to twenty three college campuses across the country.

In 2005, Perigee Cinema was in-corporated as a non-profit entity, with board members composed of the heads of each of our found-ing colleges; event promotion, scheduling, funding and event development are handled through our our offices at 1718 Ritten-house Square Street Philadel-phia, PA 19103.

Perigee Cinema bases its events on a four-year cycle;

The Contemporary Sessions

Featuring the best in new indie film.

The Experimental Sessions

Featuring the works of experi-mental film, installation and new media artists.

The History Sessions

Featuring lost, ignored, or forgot-ten works of American and World cinema.

The Masters Sessions

Featuring the works of undisput-ed masters in the contemporary cinema.

David Robinson (born 1930) is a British film critic and author. He started writing for Sight and Sound and the Monthly Film Bul-letin in the 1950s, becoming As-sistant Editor of Sight and Sound and Editor of the Monthly Film Bulletin in 1957-1958. He was film critic of The Financial Times from 1958 to 1973, before taking up the same post at The Times in 1973. He remained the paper’s main film reviewer until around 1990 and a regular contributor until around 1996.

His books include Hollywood in the Twenties (1968) and World Cinema (1973), but he is probably best-known as the official biogra-pher of Charlie Chaplin. Chaplin: His Life and Art, first published in 1985, and revised for a second edition in 2001, is regarded as the definitive book on the subject, and Robinson has become a sort of unofficial spokesman for Chaplin in the media in recent years. He has also written a book on Buster Keaton. He is the Director of The Pordenone Silent Film Festival, which takes place in Italy every October.

Robinson played a significant part in the creation of the award win-ning Museum of the Moving Image on London’s South Bank (opened 1988)

DaviD roBinson

FRIDAY SCREENINGS

David Robinson, author of “Chaplin, His Life and Art” begins the session with an overview of Chaplin’s early life. The poverty, difficulty and isolation that shaped his early years became a template from which he drew countless themes; life as the underdog, fear of authority and anger at the upper classes. Most importantly, the melancholy he carried developed into the use of pathos for the first time on screen.

7:00 PM : KEYNOTE ADDRESS

Kid Auto Races at Venice 11 Minutes

Apart from the frst appearance of Chaplin’s classic “Tramp” character, Kid Auto Races is so far outside of Keystone convention - or any cinematic convention of the time - that it enters the realm of experimental cinema.

The Masquerader 16 Minutes

One of the more common Keystone troupe comedies co-starring Roscoe “Fatty” Arbuckle. Noteworthy for only the first several minutes of Chaplin completely out of costume clowning with Arbuckle in a dressing room skit.

The Rounders 16 Minutes

The best of Chaplin’s Keystone shorts ususally involved Roscoe “Fatty” Arbuckle; both shared a relatively controlled performance style that belied the wide Sennett style of gesticulation.

8:00 PM : KEYSTONE TRILOGY

MK2 presents a fully restored, 35mm print 87 Minutes

Presented to the public three years after the ad-vent of talking pictures, author David Robinson introduces Chaplin masterpiece, “City Lights.”

The first of the triad of Chaplin’s great films, “City Lights” was the culmination of the themes and techniques explored during his Mutual contract, and polished during his time aat First National. The Tramp had grown past being simply a baggy-pants comic and had developed into a fully-formed persona with an entire range of emotion.

9:00 PM : CITY LIGHTS

We are fortunate to have with us Carl Davis, whose recent revision of the film scores of Chaplin’s Mu-tual shorts will be featured in our Saturday Mutual sessions.

“Chaplin enthusiasts regard the Mutual films as the peak of his career... there is something very special about them,” Davis says.

“It was the first time that he had artistic control over his work... these are really the films where he found his own voice, and they were highly successful in his day.”

Davis, 70, discovered recurring themes as he began writing the individual scores.

“There’s a unity about the whole thing, some of it is very autobio-graphical. I wondered if I could put together a story if I wasn’t locked into doing them in the or-der in which he made them.”

The result is that the films will not be performed in chronological or-der but in an order “suggestive of Chaplin’s own life, like a miniature biography”.

For example, the first screening is actually the 10th Chaplin made in the series.

“Easy Street is a portrait of life in a terrible slum, which I think was like Lambeth in the 1880s, refer-ring to his early childhood,” says Davis.

Carl Davis

SATURDAY SCREENINGS

Composer Carl Davis discusses his work on Chaplin’s Mutual Films and City Lights, the score of which was used in the print shown Friday night and in screenings that follow his discus-sion.

12:00 PM: CARL DAVIS

David Robinson, author of “Chaplin: His Life And Art” and “Discoveries: Chaplin” takes questions on all aspects of the artists life. Robinson is the only author who has ever been given permission to study Chaplin’s private archives in Switzer-land by his wife, Lady Oona O’Neill.

3:00 PM: DAVID ROBINSON

Easy Street 24 Minutes Chaplin’s tenth Mutual short, selected by Davis as the first in the series to represent Chaplin’s Lambeth upbringing.

One AM 34 Minutes

Representative of Chaplin’s Karno character, One AM features Chaplin in his “Swell” persona in a solo turn.

The Immigrant 24 Minutes

One of his finest shorts, The Immigrant carries a complete storyline and range of emotions.

1:00 PM: DAVIS’ MUTUAL FILMS

MK2 presents a fully restored, 35mm print 71 Minutes

Created during an extremely difficult time in Chaplin’s life - his bitter divorce from actress Lita Grey - The Circus is the only Chaplin feature not mentioned in his own autobiography. Inter-estingly, Chaplin does his own tightrope walking - the monkey scene is shot on an actual wire 40 feet in the air.

4:00 PM: THE CIRCUS

SATURDAY SCREENINGS

Kevin J. Hayes is Professor of English at the University of Cen-tral Oklahoma, where he teaches courses in film and literature. He has published essays on film in Cinema Journal, Film Criticism, Interdisciplinary Literary Studies, Literature/Film Quarterly, Quarter-ly Review of Film and Video, Stud-ies in French Cinema, and Visible Language.

In 2005 he released “Charlie Chaplin: Interviews,” a carefully selected complilation of inter-views Chaplin gave to the press between 1915 and 1967. The in-terviews were selected for the worthiness of insight Chaplin ac-tually provided in the text towards his aesthetic.

The collection opens with a 1915 Motion Picture Magazine article that details his move to Essanay studio in order to write, direct and star, and ends with Chaplin’s com-ments on his 1967 critical failure, The Countess from Hong Kong.

Kevin J Hayes

7:00 PM: KEVIN J HAYES

Author Kevin J. Hayes discusses Chaplin’s relationship with the press and his reticence of disclosure, even in autobiographical form. In Hayes’ research, he found four Chaplin inter-views that seemed actually to cut to the heart of Chaplin’s actual aesthetic - one from each of his major periods.

8:00 PM: THE GOLD RUSH

MK2 presents a fully restored, 35mm print 96 Minutes

One of his most revered films, this 1926 classic is the quintessential Tramp film. Chaplin’s per-sonal favorite, it features the Tramp character as a romantic idealist and lone gold prospector at the turn of the century.

10:00 PM: MODERN TIMES

MK2 presents a fully restored, 35mm print 87 Minutes

The final film to feature The Tramp. Despite the film’s status as one of the greatest comedies of all time, it is hard to ignore the political compo-nent.

6:00 PM: ESSANAY SHORTS

The Tramp 32 Minutes

Chaplin took refuge at Essanay Studios in Chi-cago, where he created what is considered his first masterwork, “The Tramp.”

A Night Out 33 Minutes

The first Chaplin film to feature Edna Purviance, Chaplin Troupe stallwart who remained on his payroll until the day she died in 1958.

Triple Trouble 23 Minutes

An “unofficial” Chaplin Essanay film, included here because it includes the earliest known work Chaplin did with soon-to-be regular Chaplin troupe member Albert Austin.

SUNDAY SCREENINGS

1:00PM: THE KID

MK2 presents a fully restored, 35mm print 50 Minutes

Far and away the most endearing Chaplin film, and for some, his most perfect emotionally. This is Chaplin at his most perfectionist, throwing away 52 feet of film for each foot printed. His hand-picked co-star, Jackie Coogan, rose to international stardom on the strength of his perfoemance.

2:00PM: THE GREAT DICTATOR

MK2 presents a fully restored, 35mm print 124 Minutes

Chaplin takes on Der Führer, a political turn that would ultimately lead to the end his Hollywood career. It has been said that Chaplin’s downfall was, in finding his voice, he felt the responsibility to use it. Nowhere is that theory more apparent than in the ending monologue of this film.

5:00PM: LIMELIGHT

MK2 presents a fully restored, 35mm print 137 Minutes

The film that seems to most embody the personal aspects of the artist, “Limelight” is a look into the heart of Charles Spenser Chaplin. As Chaplin grew older and more reflective, he sought meaning - first in politics and war, and fi-nally within himself with this, his official passing of the torch to the next generation.

7:30PM: DAVID ROBINSON

Our keynote speaker returns to sum the life, work and legacy of the artist.

lisa stein

Dan Kamen

Dr. Lisa Stein, Assistant Profes-sor of English at Ohio University is the editor of the latest release of "A Comedian Sees The World," Chaplin's memoir of his 1931-32 world tour. Sein's release brings the memoir to light for the first time since it's initial publication in 1933.

Stein is also the creator and web-master of www.sydchaplin.com, a website devoted to Charlie’s half brother. Her book on the subject, “Syd Chaplin: Charlie’s Brother” is due to be published in the 4th quarter of this year.

Dan Kamin is one of the country's most popular mime artists.

Kamin's art studies at Carnegie-Mellon University in Pittsburgh were interrupted when he saw Chaplin's films, which inspired him to begin his mime career. His world touring since 1970 has con-tributed to the current popular-ity of mankind's oldest art, and Kamin remains in demand at the-atres and college campuses with his one-man shows.

In writing “Charlie Chaplin's One-Man Show,” Kamin brings to bear his deep understanding of the crafts of mime and comedy, and his long study of Chaplin's films.

HISTORY SESSIONS 2010

CHARLIE CHAPLINJanuary 18 - 20, Tomlinson Theater

A retrospective of the artists major works and short features. Guest speakers David Robinson, Carl Davis, Kevin J Hayes, Lisa Stein and Linda Wada

INDONESIAN MODERN CINEMAMarch 14 - 16,Tomlinson Theater

A look at the short-lived popular cinema move-ment of the early to mid-eighties, with selected features. Guest speakers Ogam Idoniri, Suz-zanna, Barry Prima.

GERMAN EXPRESSIONIST FILMMay 16 - 18, 2008, Avalon Theater of the Arts

An overview of the genre of German Expressionism, with show-ings of The Cabinet of Dr Caligari, Nosferatu, The Golem, Phan-tom, Metropolis and M. Guest speaker Jerry Sylvania discusses the rise and fall of this art form, and the part the rise of Nazism had in bringing the style to America. Q&A panels and discussion groups will follow each showing.

AKIRA KUROSAWAJuly 18 - 20, 2008, Avalon Theater of the Arts

A retrospective of the artist’s major works, including High and Low, Stray Dog, Seven Samurai, Akiru, Throne of Blood and Ran. Guest speaker Stephen Prince discusses Kurosawa’s development from pre- through post-war Japan, the eventual dissolution of his individualistic themes and late renaissance. Q&A panels and discussion groups will follow each showing.

INGMAR BERGMANSeptember 19 - 21, 2008, Avalon Theater of the Arts

A retrospective of the artist’s major works, including The Seventh Seal, Wild Strawberries, The Virgin Spring, The Magic Flute and Fanny And Alexander. Guest speaker Peter Cowie talks about the development of Bergman’s major themes of death and religion and his eventual abandonment of the film

BROTHERS QUAY AND ŠVANKMAJERNovember 21 - 23, 2008, Avalon Theater of the Arts

A look at the surreal imagery of stop-motion animators Jan Švankmajer and the Brothers Quay, including Alice, Lunacy, Dimensions of Dialogue, Street of Crocodiles, Stille Nacht I-V and The Sandman. Guest speakers Stephen and Timothy Quay discuss their technique and conceptual workflow and major themes. Q&A panels and discussion groups will follow each showing.

SELECTED FILMOGRAPHY

KEYSTONE STUDIOS 1914

• Kid Auto Races• Between Showers• A Film Johnnie• The Knockout• Dough And Dynamite

ESSANAY STUDIOS 1915 - 1916

• The Champion• The Tramp• Work• The Bank• A Night Out

MUTUAL FILMS 1916 - 1917

• The Floorwalker• Easy Street• The Pawnshop• The Cure• The Immigrant

FIRST NATIONAL 1918 - 1923

• The Pilgrim• A Dogs Life• Shoulder Arms• Sunnyside• The Kid

UNITED ARTISTS 1923 - 1952

• The Gold Rush• City Lights• Modern Times• The Great Dictator• Limelight

CHarles sPenCerCHaPlin

Thought of by many as the great-est comedian of all time, Charles Spencer Chaplin was born in Lon-don, England on 16 April 1889. In 1908 he joined Fred Karno's tour-ing stage company with his broth-er Sydney; Stan Laurel was also a member of the same company. In 1912 the troupe went to perform in America, and Chaplin decided to stay. The following year, pro-ducer Mack Sennett saw him per-form and decided to take him on at the Keystone Studio.

His first movie was Making a Liv-ing (1914); however, his next film, Kid Auto Races at Venice (1914), was destined to change his en-tire career. This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and Mack Swain's mustache trimmed down to toothbrush size.

From 1915 onwards Chap-lin wrote, directed, produced, scored and, of course, starred in all his movies. He joined the Essanay Company the following year and in 1917, The Immigrant (1917) and Easy Street (1917) were both released. In 1918 he and his brother opened their own studio in Los Angeles, and in 1919 he teamed up with Douglas Fair-banks, Mary Pickford and D.W. Griffith to form a joint venture they named United Artists, for produc-tion of their own films. However, Chaplin did not make a film for the company until 1923 when A Woman of Paris: A Drama of Fate (1923) was released; this was fol-lowed in 1925 by the classic The Gold Rush (1925) and in 1927 by The Circus (1928), for which he received an Academy Award.

PROGRAM NOTES

Sadly, this program does not exist. As such.

Its intent is simply an exercise in design and the use of Photoshop and InDesign to create a cogherent multipage design which is consistent with the subject matter.

All of the programs content is accurate in itself; the films, background, guest speakers are all actual and true. With five years experience in film genre conventions, this relatively simple program would be easy to arrange.

That’s all I have to say, so now for some Lorem Ipsum, for your visual pleasure.

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For the premiere of City Lights (1931), Chaplin traveled to Lon-don, and stayed there until 1932 before returning to the U.S. His next film was Modern Times (1936), which proved to be one of his greatest successes, followed four years later by The Great Dic-tator (1940), which was an indict-ment of the Nazi regime. Chaplin played a dual role, as a Jewish barber who fought in World War I and as the evil Adenoid Hynkel, dictator of Tomania. In 1945 he started working on a new picture, Monsieur Verdoux (1947), which was based on an idea from Orson Welles; he is thus credited in the film. In 1952 he released what is probably his best-known "talkie", Limelight (1952), which also fea-tured his longtime friend, Buster Keaton.

That same year he was found himself swept up in the anti-Com-munist hysteria known as the Mc-Carthy Era that was engulfing the U.S., and found himself accused by U.S. authorities of having Com-munist tendencies. Outraged and depressed, he left the U.S. for Switzerland. During his absence from the States he made two more films, A King in New York (1957), released in America 20 years later, and his final film A Countess from Hong Kong (1967), which starred Marlon Brando and Sophia Loren. This last film proved to be Chap-lin's only failure and was a box-office flop.

In 1969 Chaplin began new scores for a number of his films, including "The Kid" and "The Circus". He also planned to make a film called "The Freak" with his daughter Victoria Chaplin in the lead role, wearing the wings her father had worn 50 years earlier in "The Kid". However, by this time Chaplin was already into his 80s, and he retired to live in Vevey, Switzerland.

In 1975 he was knighted by the queen. He died in his sleep on Christmas Day, 1977.

Perigee Cinema History sessions

http://www.mk2.com/

Permission to screen these films has been kindly provid-ed by MK2, the holders of all worldwide distribution rights

to the Chaplin films.

Fundng for the Perigee Cin-ema History Sessions has been partially provided through a grant from The Na-tional Endowment of the Arts.

http://www.pewtrusts.org/

Funding for the Perigee Cin-ema History Sessions has been partially provided by a grant from The PEW Charita-

ble Trusts Fund.