What Does a Gag Do Before It Makes Us Laugh? Charles Chaplin Between Body, Editing and Versions
Charles Chaplin’s credits describe an exceptional degree of involvement, but they are not enough to turn every pause, cut or musical accent into a demonstrable individual decision. A corpus of three films and a comparison of versions make it possible to view the gag as a chain of operations: preparing information, managing the body in space, sustaining or interrupting a shot and, sometimes, altering the film again decades later.
