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The Chaplin Machine: Slapstick, Fordism and the Communist Avant-Garde: New
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eBay item number:283235972327
Item specifics
- Condition
- Publication Date
- 2016-05-20
- ISBN
- 9780745336015
- Book Title
- Chaplin Machine : Slapstick, Fordism and the International Communist Avantgarde
- Publisher
- Pluto Press
- Item Length
- 7.9 in
- Publication Year
- 2016
- Format
- Library Binding
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.9 in
- Genre
- Art, Political Science, Philosophy, History
- Topic
- History / Modern (Late 19th Century to 1945), Political Ideologies / Communism, Post-Communism & Socialism, Social History, Aesthetics
- Item Weight
- 12 Oz
- Item Width
- 5 in
- Number of Pages
- 240 Pages
About this product
Product Identifiers
Publisher
Pluto Press
ISBN-10
0745336019
ISBN-13
9780745336015
eBay Product ID (ePID)
215356664
Product Key Features
Book Title
Chaplin Machine : Slapstick, Fordism and the International Communist Avantgarde
Number of Pages
240 Pages
Language
English
Topic
History / Modern (Late 19th Century to 1945), Political Ideologies / Communism, Post-Communism & Socialism, Social History, Aesthetics
Publication Year
2016
Illustrator
Yes
Genre
Art, Political Science, Philosophy, History
Format
Library Binding
Dimensions
Item Height
0.9 in
Item Weight
12 Oz
Item Length
7.9 in
Item Width
5 in
Additional Product Features
Intended Audience
Trade
LCCN
2016-591756
Reviews
"The Chaplin Machine traces an enjoyably idiosyncratic path back and forth between film studios and factories on opposing continents. This book was partly developed out of Hatherley's postgraduate research, and so is more academic and less pithy and personal in tone than his previous publications on modernist architecture, austerity nostalgia and Pulp. Nonetheless, its wide embrace of cinema, architecture, politics, design and engineering offers intellectual excitement as well as rigour." , "Puts the Lenin back in Chaplin and the Chaplin back in the pre-Stalinist USSR. Brilliantly conceived, impeccably researched and concisely written. A definitive work." , The Chaplin Machine traces an enjoyably idiosyncratic path back and forth between film studios and factories on opposing continents. This book was partly developed out of Hatherley's postgraduate research, and so is more academic and less pithy and personal in tone than his previous publications on modernist architecture, austerity nostalgia and Pulp. Nonetheless, its wide embrace of cinema, architecture, politics, design and engineering offers intellectual excitement as well as rigour., 'Teems with exciting histories, possibilities, outrages and revelations. This brilliantly researched and beautifully written lightning bolt of a book approaches art and its history from a completely new point of the compass, and its readers will never again see the last century as they once did! An eye-bulging astonishment!', 'Puts the Lenin back in Chaplin and the Chaplin back in the pre-Stalinist USSR. Brilliantly conceived, impeccably researched and concisely written. A definitive work', '[M]akes for captivating reading; The Chaplin Machine is lively, informative and entertaining, if you can keep up.', The Chaplin Machine is a precious and thoroughly researched book, shedding light on a very stimulating chapter of (film) history that saw filmmakers attempting to exceed the rectangular borders of the screen to break into the phenomenal world of the everyday. It tells the happy end-less story of a group of artists and 'politicians' whom after having successfully destroyed the old world tried to create a new, less miserable one., " The Chaplin Machine teems with exciting histories, possibilities, outrages and revelations. This brilliantly researched and beautifully written lightning bolt of a book approaches art and its history from a completely new point of the compass, and its readers will never again see the last century as they once did! An eye-bulging astonishment!" , 'A masterly presentation depicting the parody which existed under a communist regime; and showed how Soviet film, art and arhitecture could not avoid the influence of capitalist Americanism ... It is a pioneering work in the field of early film studies and politics', In The Chaplin Machine Hatherley sets out to demonstrate that the avant-garde-as-demiurge model, in which art and politics sublate into totalitarianism, in no way characterizes the actual practice of Soviet artists of the 1920s and 1930s....One of this book's undoubted strengths is the wealth of detail he offers, all of it marshaled together by a strong line of reasoning. Hatherley aims his argument at those who are accustomed to, and tired of, standard-issue bromides about modernism, both Soviet and otherwise. He shows that the artists of the Soviet avant-garde attempted to bring into being something unique--a modernism for and of the people, as enjoyable as it was rigorous, one which commented on the present circumstances and contained within it an imaginative surplus sufficient to energize revolutionary potential...We might adapt the Soviet avant-garde's practices--as its practitioners themselves adapted Chaplin's--in a new effort to meld egalitarian politics, aesthetic innovation, and public address, so as to imagine, and then build, a new world for everyone., Teems with exciting histories, possibilities, outrages and revelations. This brilliantly researched and beautifully written lightning bolt of a book approaches art and its history from a completely new point of the compass, and its readers will never again see the last century as they once did! An eye-bulging astonishment!, "In The Chaplin Machine Hatherley sets out to demonstrate that the avant-garde-as-demiurge model, in which art and politics sublate into totalitarianism, in no way characterizes the actual practice of Soviet artists of the 1920s and 1930s....One of this book's undoubted strengths is the wealth of detail he offers, all of it marshaled together by a strong line of reasoning. Hatherley aims his argument at those who are accustomed to, and tired of, standard-issue bromides about modernism, both Soviet and otherwise. He shows that the artists of the Soviet avant-garde attempted to bring into being something unique--a modernism for and of the people, as enjoyable as it was rigorous, one which commented on the present circumstances and contained within it an imaginative surplus sufficient to energize revolutionary potential...We might adapt the Soviet avant-garde's practices--as its practitioners themselves adapted Chaplin's--in a new effort to meld egalitarian politics, aesthetic innovation, and public address, so as to imagine, and then build, a new world for everyone." , The Chaplin Machine teems with exciting histories, possibilities, outrages and revelations. This brilliantly researched and beautifully written lightning bolt of a book approaches art and its history from a completely new point of the compass, and its readers will never again see the last century as they once did! An eye-bulging astonishment!, 'Traces an enjoyably idiosyncratic path back and forth between film studios and factories on opposing continents ... offers intellectual excitement as well as rigour', Puts the Lenin back in Chaplin and the Chaplin back in the pre-Stalinist USSR. Brilliantly conceived, impeccably researched and concisely written. A definitive work., With Hatherley's typically deft and well-informed prose, The Chaplin Machine reveals how the quasi-mechanical automaton-like performances of Charlie Chaplin or Buster Keaton might be seen as a pastiche mirroring of Fordism, and how this form of slapstick comedy was in turn adopted by the avant-garde in Soviet Russia. Hatherley includes a dizzying array of artworks, films and architecture to weave this astonishingly comedic tale of Soviet Russia., With Hatherley's typically deft and well-informed prose, The Chaplin Machine reveals how the quasi-mechanical automaton-like performances of Charlie Chaplin or Buster Keaton might be seen as a pastiche mirroring of Fordism, and how this form of slapstick comedy was in turn adopted by the avant-garde in Soviet Russia. Hatherley includes a dizzying array of artworks, films and architecture to weave this astonishingly comedic tale of Soviet Russia., The Chaplin Machine is a precious and thoroughly researched book, shedding light on a very stimulating chapter of (film) history that saw filmmakers attempting to exceed the rectangular borders of the screen to break into the phenomenal world of the everyday. It tells the happy end-less story of a group of artists and 'politicians' whom after having successfully destroyed the old world tried to create a new, less miserable one., 'A precious and thoroughly researched book, shedding light on a very stimulating chapter of (film) history'
Dewey Edition
23
TitleLeading
The
Number of Volumes
1 vol.
Dewey Decimal
791.4/3/0947
Table Of Content
Introduction: Americanism and Fordism - and Chaplinism 1. Constructing the Chaplin Machine 2. Red Clowns to the Rescue 3. No Rococo Palace for Buster Keaton 4. The Rhythm of Socialist Construction Conclusion Acknowledgements Notes Index
Synopsis
The tragic-comedic story of the cinema, art and architecture of the early 20th Century, highlighting the unlikely intersections of East and West, There was something uncanny about Charlie Chaplin. His fellow actors spoke of him as inhuman--automaton-like. His stiff, comic movements could be viewed as an attempt to parody the newly developed production lines of Henry Ford's revolutionary factories. As wide-scale application of this technology spread to Soviet Russia, Chaplin's slapstick comedic style also found a following among the artists carving out a new society under communism. In The Chaplin Machine , Owen Hatherley unearths the hidden history of Soviet film, art, and architecture. Turning upside down the common view that the communist avant-garde was austere and humorless, he reveals an unexpected comedic streak that found its inspiration in the slapstick of the American performers Charlie Chaplin and Buster Keaton. What did it mean for socialists to combine the ideas of Chaplin and Ford? Were their experiments indicative of a new future conception of work and leisure? And to what degree was this emphasis on comedy a precursor to the strangely festive despotism of Stalin? By asking these questions, The Chaplin Machine challenges our understanding of twentieth-century art in America and abroad., Could Buster Keaton have starred in Battleship Potemkin? Did Trotsky plan to write the great Soviet comedy? And why did Lenin love circus clowns? The Chaplin Machine reveals the lighter side of the Communist avant-garde and its unlikely passion for American slapstick. Set against the backdrop of the great Russian revolutionary experiment, Owen Hatherley tells the tragic-comedic story of the cinema, art and architecture of the early 20th Century and spotlights the unlikely intersections of East and West.
LC Classification Number
PN1993.5
Item description from the seller
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