Trans Chaplin

Abstract

Trans Chaplin Rox Samer (bio) A body in process, in transformation, an incomplete body able to merge with other bodies—or other things—and create new bodies … this new body, for all its composite weirdness, strikes us as immediately recognizable rather than entirely alien: an insight into our own bodily experience, whether remembered from childhood or glimpsed in dreams. —Tom Gunning1 The lift of an eyebrow, however faint, may convey more than a hundred words. —Charles Chaplin2 In the weeks following my top surgery in December 2019, I enjoyed many a movie and television series with my care web.3 As my body healed and I turned my attention to preparing for the spring 2020 semester, including a course on US film history, I was taken with the most iconic and popular of historical media figures: Charlie Chaplin. The filmmaker's short films and silent features supported the recalibration of my body-mind as I prepared to re-enter the social world. They would also become films that I'd return to, that my own body would recall over the coming year, as I started taking testosterone and continued to transition with the minimal surveillance from cis society, quarantined at home with my cats and partner as my only witnesses. Chaplin's films, surprisingly, gave image to both the changes I yearned for and those I joyfully experienced. Until quite recently, transgender media studies has centered the study of transgender representation, meaning the analysis of film and television's few canonical trans characters. But the last five years have seen a renaissance in the field with a number of studies devoted to trans aesthetics, genre studies, [End Page 175] and industry studies revealing what is trans about the most mainstream, most popular, and oldest film and television fare.4 Among these, Cáel M. Keegan's Lana and Lilly Wachowski: Sensing Transgender (2018) demonstrates how the Wachowskis established a cinematic language for sensing beyond gender's dictated forms, and Quinlan Miller's Camp TV: Trans Gender Queer Sitcom History (2019) reveals the camp humor of 1950s and 1960s sitcoms to be brimming with gender nonconformity or queer gender. Their archives and methods are welcome in contemporary trans political discourse where trans activists, journalists, and scholars' paranoid readings routinely cite anti-trans violence—particularly the murders of trans women of color. Time and again, this discourse reduces trans women of color to a signifier for white supremacist and transphobic violence.5 As Jules Gill-Peterson argues, it's high time we shed "the predictive control that is the hallmark of paranoia for the much messier and potentially more pleasurable terrain of perverse laughter."6 Trans life is teeming with awkwardness and joy. Thus, while it may sound antithetical to much popular trans discourse, we find ourselves addressed by much film and television, past and present, including the futures of science fiction and humor of comedy (and not only when the butt of jokes). Here I demonstrate how the silent film comedian Charlie Chaplin, through a pantomime of agile, embodied shifts across not only gender but also species and kingdom, gave early moving image to trans phenomenology. Cinema and media studies has long acknowledged how "queer positions, queer readings, and queer pleasures are part of a reception space that stands simultaneously beside and within that created by heterosexuals and straight positions."7 Here I show how trans positions, readings, and pleasures likewise exist beside and within those of cisgender scholars and spectators. In what Tom Gunning once called Chaplin's "cinematic body" and "plastic ontology" and what André Bazin called the character Charlie's "unlimited imagination in the face of danger" and "total indifference to the category of things held sacred," one can perceive a trans way of life in all its awkward sensational and somatic glory.8 This trans retrospectatorship, which not only decodes but also encodes meaning, invites further reencounters and models a media studies methodology that affirms the very possibility of gleeful transition in the present.9 [End Page 176] Chaplin's oeuvre is replete with fluctuating forms of queer gender. In several short films, Chaplin evokes the early-twentieth-century figure of...