Charlie Chaplin

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Noun1.Charlie Chaplin - English comedian and film makerCharlie Chaplin - English comedian and film maker; portrayed a downtrodden little man in baggy pants and bowler hat (1889-1977)
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References in periodicals archive ?
We have become used to seeing scratchy, sped-up, black and white footage of soldiers in varying degrees of grey uniforms, zipping around the screen like dull, Chaplinesque warriors, blithely posing for a fixed camera.
Chaplinesque in their animation, these works are visual vaudevilles, and were they to be videotaped, could easily include pantomime, slapstick turns a la Three Stooges, and a song-and-dance routine.
Emma and her adoptive father, a former investigative journalist, roam the streets of Athens together, earning enough to keep body and soul together by performing Chaplinesque sketches.
Chaplinesque "old Frenchman in a black felt hat, a boiled shirt, a
The impeccably dressed Donald Martin adopted a Charlie Chaplinesque approach to the rostrum where he told about the highs and lows of the immigrants passing through Ellis Island on their way to become American citizens.
Fifteen types of film comedies are surveyed, from Chaplinesque slapstick to contemporary mockumentaries.
Black-faced nenes, a species of goose found only in Hawaii and the official state bird, strut on the forest floor with Chaplinesque jerkiness.
En 1959, il joue dans Pour une bouchee de pain de Larbi Bennani, un docu-fiction sur la promotion de la consommation de la sardine et auquel Saddiki donnera une dimension chaplinesque indeniable, faisant preuve d'une aisance dans le jeu et d'une grande maitrise du comique de situation, mettant en œuvre des mouvements agiles et coherents et un jeu facial expressif sans verser dans la bouffonnerie.
Crane's feelings of loneliness got, in time, mixed with feelings of futility, as he makes clear in a letter to Gorham Munson (dated 6 October 1921), in which he explains his emotions behind the poem entitled Chaplinesque:
This sometimes gave him a deceptively jaunty, Chaplinesque look; actually, the cane was a symbol of the cross that Capek had to bear most of his life, the painful spinal disease that made walking difficult, prevented him from turning his head and had a crippling effect on his personal life" [40,41].
With a Chaplinesque sense of comic timing, she mimes imaginary scenarios: A set of simple wooden tablets becomes a path of magical stepping stones; a three-legged stool becomes a dance partner; and, blouse covering her face, Bratescu finally transforms herself into a headless apparition.