While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. The films are deemed microcosmic representatives of the comic world and discussed in this context. Each merits an individual chapter, in which it is critiqued. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. This work examines the Depression decadeвЂ™s most popular type of comedy-the clown, or personality comedian. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. The 1930s are routinely considered sound filmвЂ™s greatest comedy era. Charlie Chaplin in ВЎ93ВЎВЎ While this chapter on Chaplin's City Lights opens the text for strictly chronological reasons, being the first film released ofВ . By considering factions of America as diverse as 8mm film collectors, Beat poets and writers and readers of Chaplin biographies, this cultural study determines conclusively that ChaplinвЂ™s Little Tramp never died, but in fact experienced a resurgence, which began slowly even before 1950 and was wholly in effect by 1965 and then confirmed by 1972, the year in which Chaplin returned to the United States for the final time, to receive accolades in both New York and Los Angeles, where he received an Oscar for a lifetime of achievement in film. This book focuses on the re-invigoration of Charlie ChaplinвЂ™s Little Tramp persona in America from the point at which Chaplin reached the acme of his disfavor in the States, promoted by the media, through his departure from America forever in 1952, and ending with his death in Switzerland in 1977. Pauline Kael, вЂњSome Notes on Chaplin's LimelightВ . Evelyn Hickey, вЂњA Probing of Identity.,вЂќ City Lights 3 (Spring 1953), 55.

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