https://www.peren-revues.fr/revue-k/505 Numéros fr jeu., 30 nov. 2023 11:58:51 +0100 mar., 30 avril 2024 14:48:45 +0200 https://www.peren-revues.fr/revue-k/505 0 https://www.peren-revues.fr/revue-k/506 jeu., 30 nov. 2023 11:59:15 +0100 https://www.peren-revues.fr/revue-k/506 https://www.peren-revues.fr/revue-k/518 lun., 04 déc. 2023 11:35:38 +0100 https://www.peren-revues.fr/revue-k/518 https://www.peren-revues.fr/revue-k/519 lun., 04 déc. 2023 11:50:15 +0100 https://www.peren-revues.fr/revue-k/519 https://www.peren-revues.fr/revue-k/529 This essay intends to analyze the belonging of the figure of the Tramp/Charlot to the dimension of the destituent power starting from the reference to some of the very first films in which his mask appears. It is about questioning cinema as a form of historical witness. In particular, the essay emphasizes the value of contingency and accidentality for a theory of cinema understood as a “theory of the accident”. mar., 02 janv. 2024 14:06:26 +0100 https://www.peren-revues.fr/revue-k/529 https://www.peren-revues.fr/revue-k/534 Which space does the Tramp live in? The hypothesis underlying this article is that the Tramp, is a figure that (does not) embodies the crowd of millions of poor, migrants, unemployed, homeless (that ‘class’ named the ‘Planetariat’ by the poet Jack Hirschman). A Tramp is nothing more than one of the silhouettes of this innumerable crowd. He moves in a desert which is the result of the “age of catastrophe” (Hobsbawm) we have been living in since 1914. Inside and within the catastrophe, the vagabond’s laugh expresses a way of being in the world, a practice of disaster. mar., 02 janv. 2024 15:12:56 +0100 https://www.peren-revues.fr/revue-k/534 https://www.peren-revues.fr/revue-k/540 It has been said a lot that the character of the Tramp was a dancer, but how could we define his choreographic style more precisely? The Tramp is actually torn between two types of dance: classical dance with a geometric character, and contemporary dance that works more with the laws of mechanics (gravity, inertia,...). Thus, the Tramp’s dancing gesture leads him from academism and a desire for mastery to the elaboration, with a set of physical phenomena, of a more uncontrolled movement. mar., 02 janv. 2024 16:18:24 +0100 https://www.peren-revues.fr/revue-k/540 https://www.peren-revues.fr/revue-k/552 If Charlie is not only a myth but a living myth, then we have to reckon that, as such, he still overhangs and haunts us to such an extent that we repeatedly fail in making of him just an object of research, inert, available, docile. Even his short cut moustache is still alive, as an emblem of what Adorno calls damaged life. As a tramp (indefinite, undefined) rather than the tramp (a symbol or an allegory), Charlie has become the quintessential underdog, the plebs of the world, relentlessly ill-treated but obstinately resilient. He saves us from resignation, submissiveness and despair. mer., 03 janv. 2024 09:46:47 +0100 https://www.peren-revues.fr/revue-k/552 https://www.peren-revues.fr/revue-k/559 Charles Chaplin created his character Charlot, called too The tramp during the 1910s. Vagabond, lonely and unlucky, this character has been placed by Chaplin in several situations which he could not control. By using tragic codes to make some comic dimension in action movies with fast pace, Chaplin, with this unfortunate character, became the most famous burlesques filmmakers. His influence makes itself felt still today. mer., 03 janv. 2024 11:51:33 +0100 https://www.peren-revues.fr/revue-k/559 https://www.peren-revues.fr/revue-k/565 Mime is a central figure in Gilles Deleuze’s Logic of Sense. Starting with a reprise of Deleuzian reference to mime, this essay would try to analyse the re-emergence of mime within the French philosopher's reflection on cinema through the paradigmaticity of the most famous of Charlie Chaplin’s inventions: Charlot. mer., 03 janv. 2024 14:12:20 +0100 https://www.peren-revues.fr/revue-k/565 https://www.peren-revues.fr/revue-k/570 According to Rancière’s lesson on the nature of visibility, cinema’s prerogative to derail the order of discourse is an indication of the aesthetic-political potential of the body-image. In this sense, the erratic movement and the unpredictability of the ironic gesture find in Charlot an impressive incarnation, in the name of the incomparability between situations revealed by the “burlesque” action through the expression of infinitely small differences. mer., 03 janv. 2024 15:07:59 +0100 https://www.peren-revues.fr/revue-k/570 https://www.peren-revues.fr/revue-k/573 mer., 03 janv. 2024 15:22:43 +0100 https://www.peren-revues.fr/revue-k/573 https://www.peren-revues.fr/revue-k/575 mer., 03 janv. 2024 16:20:24 +0100 https://www.peren-revues.fr/revue-k/575 https://www.peren-revues.fr/revue-k/577 The Tramp, through his usual grace and clumsiness, unintentionally takes on the role of father, that someone else chose to abandon. He therefore gives us to see a way to be a father after, in Lacan’s words, “the evaporation of the father”, by tinkering with rather than overhanging the situation, by floating rather than slowing people and things, as well as by reinventing himself rather than sticking to an ideal. He also conveys to today’s spectators the image of their own malaise while comforting them. jeu., 04 janv. 2024 10:48:56 +0100 https://www.peren-revues.fr/revue-k/577 https://www.peren-revues.fr/revue-k/582 The paper questions the paradoxical political significance of the figure of the Chaplinesque tramp; in particular, it hypothesises that this significance can be approached from a reading of "Modern Times", starting from certain central aesthetic-political categories elaborated by Walter Benjamin from the 1930s onwards. To this end, an attempt will be made to understand if and how Chaplin’s use of (cinematic) images manages to elude the phantasmagorical universe of the society of “advanced capitalism”. jeu., 04 janv. 2024 11:08:21 +0100 https://www.peren-revues.fr/revue-k/582 https://www.peren-revues.fr/revue-k/587 While analysing Monsieur Verdoux by Charlie Chaplin, this essay argues that a limit is the actual link between Verdoux and Charlot. Both, in other words, share a limit beyond which the transcendence of death can be glimpsed. As their borders get blurred until they become one, their reciprocal differences becoming indifferent, both Verdoux and Charlot are swallowed in the abyss of the transcendence of death – the same abyss swallowing the very distinction between comedy and noir. jeu., 04 janv. 2024 11:48:08 +0100 https://www.peren-revues.fr/revue-k/587 https://www.peren-revues.fr/revue-k/593 This article shows how romantic idyll and desertion resonate together to highlight the defective being of Charlot. From the saucy seducer of the beginnings, passing through the sentimentalism of the years 1915-1916, Chaplin experiments with the constant shaping of the character of the vagabond until he captures the singular expression of a being who creates his own love score within modern society. jeu., 04 janv. 2024 14:47:47 +0100 https://www.peren-revues.fr/revue-k/593 https://www.peren-revues.fr/revue-k/600 The Tramp has inspired many artists since the beginning of the 20th century. Extremely popular, the character created by Chaplin carries a subversive charge while being the protagonist of universally understandable stories. This article aims to highlight a filiation between Valéry’s M. Teste (1946), Henri Michaux’s Un certain Plume (1938), Italo Calvino’s Marcovaldo (1963) and Éric Chevillard’s La Nébuleuse du crabe (1993), four collections of short fictions, gathered around an eponymous figure reminiscent in some respects of the Tramp. jeu., 04 janv. 2024 15:19:18 +0100 https://www.peren-revues.fr/revue-k/600 https://www.peren-revues.fr/revue-k/1325 This article proposes to consider the appearances of Charlot on the circus ring as so many reflexive moments on the powers of gesticulation. Gesticulation is often considered a degraded version of gesture, to which modernity would be condemned. Or, it is a ridiculous version of it that clowns use to mock human pretensions. None of this in The Circus. The gesticulation does not testify to a failure, and moreover the movie is not interested in causes or intentions. It highlights what happens through gesticulation, the defeat of the order of the world, and what it allows: surviving the catastrophe. lun., 13 mai 2024 15:16:59 +0200 https://www.peren-revues.fr/revue-k/1325