This site requires Javascript to be turned on. Please enable Javascript and reload the page. The Dynamic Frame: Camera Movement in Classical Hollywood Main Menu Patrick Keating fdfdb363527b48ac29800c3d2a6f44da6939bc3b 3.x11 Modern Times 1 2019-02-03T21:23:21+00:00 Patrick Keating fdfdb363527b48ac29800c3d2a6f44da6939bc3b 1 1 Modern Times (1936) plain 2019-02-03T21:23:21+00:00 Critical Commons 1936 2019-01-30T17:39:00Z Video Charlie Chaplin Modern Times Patrick Keating fdfdb363527b48ac29800c3d2a6f44da6939bc3b This page is referenced by: 1 2019-02-03T21:56:31+00:00 3.x11 Modern Times 1 Modern Times (1936) plain 2019-02-03T21:56:31+00:00 In 1936, Charlie Chaplin reworked RenĂ© Clair’s assembly-line gag (see 3.6) for the brilliant factory sequence in Modern Times. Though Chaplin soon found himself embroiled in a lawsuit for stealing Clair’s idea, the revised camerawork produces a very different effect. If Clair’s relentless camera movement suggests that the logic of the series dangerously overwhelms individual differences, then Chaplin’s more sporadic camerawork constantly reminds us of the presence of the human within the mechanical.