Charlie Chaplin and A Woman of Paris

Wes D. Gehring is a distinguished professor of film at Ball State University and associate media editor for USA Today magazine, for which he also writes the column “Reel World.” He is the author of 40 film books, including biographies of James Dean, Carole Lombard, Steve McQueen, Robert Wise, Red Skelton and Charlie Chaplin.

“Gehring remains supreme in film comedy scholarship”—Choice

• Table of ContentsForeword by Anthony SlidePreface and AcknowledgmentsPrologue: Searching for an Artist’s Lost Shadow1. Chaplin’s Biography Prior to A Woman of Paris: (A Darkly Farcical Perspective) (1889–1923)2. “Chaplinitis”: The Initial Fame Factor and Early Chaplin Films with Tangential Ties to A Woman of Paris3. The Messiah-like World War I Bond Tour: “Chaplinitis” in Overdrive4. Further Glass Ceiling Breaking: The Precedent Shattering Dark Comedy Shoulder Arms (1918)5. Edna Purviance: A Less Than “Sunnyside” (1919) March to The Kid (1921) and A Woman of Paris (1923)6. More Revisionism: A Short Subject and The Kid (1921) Continue to Anticipate A Woman of Paris (1923)7. The Kid (1921) More Than Fulfills the “Letter to a Genius” Opening to Chapter 68. Charlie Chaplin Goes to Europe (1921)9. Continuing the Path to A Woman of Paris (1923): A Unique Literary Year and Two Seminal Shorter Works10. Prologue to A Woman of Paris (1923): The Pilgrim (1923), and the Women Impacting Paris11. Making A Woman of Paris (1923) and Its Response12. Correcting More Errors About Both the 1923 Release and the 1970s Rebirth of A Woman of ParisEpilogue: A Woman of Paris (1923) and the United States of AmnesiaFilmographyChapter NotesBibliographyIndex