Thematische Bibliographien / Monsieur Verdoux

Auswahl der wissenschaftlichen Literatur zum Thema „Monsieur Verdoux“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Monsieur Verdoux"

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Nieland, Justus. „Killing Time: Charlie Chaplin and the Comic Passion of Monsieur Verdoux“. Modernist Cultures 2, Nr. 2 (Oktober 2006): 189–208. http://dx.doi.org/10.3366/e2041102209000276.

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Justus Nieland (Michigan State University) offers a reading of the domestication and death of Chaplin's silent persona in his 1947 sound comedy, “Monsieur Verdoux”, and its consequent refashioning of comic feeling. In the film, the Tramp, modernity's most public person, is killed by satire, polished smooth and supplanted by an inhuman character - both a dandy and a serial killer of women. Nieland offers a reading of the transition between the silent, universal Tramp and noisy and particular Verdoux.
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Chen, Yihan, Furui Zhou und Chenyu Zhu. „On the Semiotic Embodiment of British Satirical Drama Films Take Chaplins Monsieur Verdoux and The Gold Rush as an Example“. Communications in Humanities Research 16, Nr. 1 (28.11.2023): 235–42. http://dx.doi.org/10.54254/2753-7064/16/20230712.

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Film semiotics is a theory within the professional discipline of film and television that is rich in meaning. The works of many playwrights can be referred to as textbooks for the application of film semiotics analysis. This paper focuses on two works of drama legend Chaplins The Gold Rush and Monsieur Verdoux to compare and analyze the meaning of film semiotics. The Gold Rush, with The Gold Rush as the background and money as the symbol, satirizes human greed and unlimited pursuit of money and power, describes the weakness of human nature and the flaws of society, and reminds people to cherish the present moment. Monsieur Verdoux, with love as the clue and emotion as the symbol, embodies modern peoples pursuit of love and marriage, reflecting the changes and diversification of the concepts of marriage and love in contemporary society, and the pursuit of freedom and independence, reminding people to cherish freedom and independence, and the pursuit of true happiness. According to the research findings, the future research on movie semiotics still needs to be studied in depth.
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Núñez Carpizo, Elssié. „Derechos Humanos y pena de muerte“. Revista de la Facultad de Derecho de México 70, Nr. 276-2 (04.03.2020): 689. http://dx.doi.org/10.22201/fder.24488933e.2020.276-2.75102.

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<br /><p class="p2"><span class="s1">La</span> autora realiza un repaso sobre las tensiones del discurso de los derechos humanos y el derecho penal, particularmente lo relativo de la sanción de pena de muerte. Para ello, analiza las siguientes películas: Monsieur Verdoux, La mujer que no quería morir, A sangre fría, Pena de muerte y Sacco y Vanzetti. Estas piezas cinematográficas producen la reflexión y la interrogante ¿Quién tiene la autoridad para decidir la muerte de otro ser humano: el Estado, la sociedad o el individuo? Sobre este y otros tópicos se desarrolla el presente ensayo.</p>
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Bláhová, Jindřiška. „No place for Peace-Mongers: Charlie Chaplin,Monsieur Verdoux(1947) and Czechoslovak Communist Propaganda“. Historical Journal of Film, Radio and Television 29, Nr. 3 (September 2009): 321–42. http://dx.doi.org/10.1080/01439680903145546.

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Breitman, Anastasia V., und Alexander S. Breitman. „The Tradition of Literary Classics and Twentieth Century Cinema: Dickens and Chaplin“. Observatory of Culture 20, Nr. 3 (14.07.2023): 314–24. http://dx.doi.org/10.25281/2072-3156-2023-20-3-314-324.

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The article deals with the dialogue between literature and cinema, namely the phenomenon of mutual reflection of the holistic artistic worlds of Chaplin and Dickens. Significant similarity of the facts of biography, artistic method, problems, the general direction of the evolution, certain images and techniques, the nature of the representation of the author’s origin allow us to view the work of film director as a kind of reincarnation of the writer. The aim of the article — to demonstrate the proximity of the artistic worlds of Dickens and Chaplin in their main qualitative characteristics — in the transformation of Dickensian literary images in Chaplin’s cinematic. This transformation is explored through the example of the pairs of analogues: Oliver Twist (1838) — The Kid (1921), Hard Times (1854) — New Times (1936), Cold House (1852) — Monsieur Verdoux (1947).Both writer and director, who received worldwide fame during his lifetime, in his later works are deeply immersed in the awareness of the causes of world evil, hence the new and in the strategy of communication with the reader, and in the nature of the narrative.In the later novels of Dickens (“Bleak House”, “Hard Times”, “Little Dorrit”, “Great Expectations”) the image of the hero loses its single identity, opening the way to the duplicity as an expression of the deformation of the human personality. The detective element strengthens as a quest to understand the mystery and origins of social evil. Chaplin’s films from the 1940s onwards are marked by an increasingly grim social diagnosis of modernity as the usual contours of good and evil become blurred. The image of the little vagabond is gone from Chaplin’s sound films: The Great Dictator (1940), Monsieur Verdoux (1947), Limelight (1952), The King in New York (1957). While clowning did not disappear, it was relegated to the periphery and ceased to be the principal means of grasping reality.A comparative analysis of the work of the two geniuses leads to the conclusion that their art, humanistic in its orientation, contains an enormous charge of love for people all over the world, beyond national, religious and other boundaries.
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Powell, Julie M. „Dead but Not Buried“. French Historical Studies 47, Nr. 2 (01.05.2024): 319–43. http://dx.doi.org/10.1215/00161071-11025087.

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Abstract On April 12, 1919, Paris police arrested Henri Désiré Landru, a man who had spent the last four years of war luring women into engagements and confiscating their assets. Many of them were never seen again. Landru, charged with their murders, became an international media sensation—the inspiration for popular crime stories, including books, articles, films, television and radio programs, and theatrical performances, from his execution in 1922 to 2020. This article examines these stories for the revealing ways they bring together conceptions of war and violent crime. It considers a 1926 nonfiction account of Landru by the South African journalist and military veteran William Bolitho, the film Monsieur Verdoux (1947) written by Charlie Chaplin, Claude Chabrol's film Landru (1963), and a 2006 graphic novel by Christophe Chabouté. These narratives suggest, and this article argues, that stories about Landru—and the multiple murders he committed for profit—have served, at various times and in various places, as vehicles for critiquing warfare and the societies that embrace it.
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Garcia Landa, Jose Angel. „'Monsieur Verdoux': Notes on an Ambiguous Case“. SSRN Electronic Journal, 2010. http://dx.doi.org/10.2139/ssrn.1734979.

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Bücher zum Thema "Monsieur Verdoux"

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Chaplin, Charlie. Monsieur Verdoux. New York, NY: Criterion Collection, 2013.

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2

Chaplin, Charlie. Monsieur Verdoux: A comedy of murders. [New York]: Criterion Collection, 2013.

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3

37652, Chaplin Ddwa. Monsieur Verdoux. WARNER HOME VIDEO, 2004.

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4

Gehring, Wes D., und Foreword by Conrad Lane. Chaplin's War Trilogy: An Evolving Lens in Three Dark Comedies, 1918-1947. McFarland, 2014.

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Chaplin's War Trilogy: An Evolving Lens in Three Dark Comedies, 1918-1947. McFarland & Company, Incorporated Publishers, 2014.

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Buchteile zum Thema "Monsieur Verdoux"

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„Doux Monsieur Verdoux [1947]“. In Schriften zu Kunst und Film, herausgegeben von Guenther Anders, Reinhard Ellensohn und Kerstin Putz, 83–86. Verlag C.H.BECK oHG, 2020. http://dx.doi.org/10.17104/9783406747724-83.

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„THE MYTH OF MONSIEUR VERDOUX“. In What Is Cinema? Volume II, 102–23. University of California Press, 2019. http://dx.doi.org/10.1525/9780520931268-010.

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„Monsieur Verdoux and the Cold War:“. In Chaplin and American Culture, 221–52. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv18zhd2r.14.

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