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A dramatic composition in five acts and an epilogue entitled \"The Dictator\"\/by Charles Spencer Chaplin of Great Britain, domiciled in the United States at Los Angeles, California<\/h2>\n\n
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\n [1938\/11\/10] <\/div>\n
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32<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

The Great Dictator<\/p>\n <\/div>\n

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ECCI00312422, CH019<\/p>\n <\/div>\n

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Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Dedication Day\/James Agee<\/h2>\n\n
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\n [1946] <\/div>\n
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14<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00314873, CH003<\/p>\n <\/div>\n

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Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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It's nice work when you can get it\/[Sydney Chaplin]<\/h2>\n\n
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\n [1950] <\/div>\n
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5<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00314958, CH022<\/p>\n <\/div>\n

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Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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156<\/div>\n\t\t\t\t <\/div>\n <\/a>\n
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Footlights\/by Charles Chaplin<\/h2>\n\n
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\n [1951] <\/div>\n
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156<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

Limelight<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00312413, CH024<\/p>\n <\/div>\n

\n Series<\/span>\n

Preparation<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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203<\/div>\n\t\t\t\t <\/div>\n <\/a>\n
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Footlights\/by Charles Chaplin<\/h2>\n\n
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\n [1951] <\/div>\n
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203<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

Limelight<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00312415, CHM05<\/p>\n <\/div>\n

\n Series<\/span>\n

Preparation<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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159<\/div>\n\t\t\t\t <\/div>\n <\/a>\n
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Footlights\/by Charles Chaplin<\/h2>\n\n
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\n [1951] <\/div>\n
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159<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

Limelight<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00312418, CH028<\/p>\n <\/div>\n

\n Series<\/span>\n

Preparation<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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208<\/div>\n\t\t\t\t <\/div>\n <\/a>\n
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Footlights\/by Charles Chaplin<\/h2>\n\n
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\n [1951] <\/div>\n
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208<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

Limelight<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00312442, CH026<\/p>\n <\/div>\n

\n Series<\/span>\n

Preparation<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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New York Story\/[Charles Chaplin]<\/h2>\n\n
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\n [1927-1931] <\/div>\n
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3<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00017272, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Notes on Story\/[Charles Chaplin]<\/h2>\n\n
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\n [1927-1931] <\/div>\n
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10<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00017274, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Notes on the Ghetto\/[Charles Chaplin]<\/h2>\n\n
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\n [1927-1931] <\/div>\n
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3<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00017275, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Suicide Club\/[Charles Chaplin]<\/h2>\n\n
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\n [1927-1931] <\/div>\n
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5<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00017270, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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The Extra Man\/[Charles Chaplin]<\/h2>\n\n
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\n [1927-1931] <\/div>\n
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2<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00017273, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Picture Idea (Starring Sydney) ; Power Line\/[Charles Chaplin]<\/h2>\n\n
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\n [1930-1940] <\/div>\n
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0<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00315466<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Suggestion for trip to Mars\/[Charles Chaplin]<\/h2>\n\n
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\n [1930-1940] <\/div>\n
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4<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Adaptation | Scenario<\/p>\n <\/div>\n

\n Film\/Project<\/span>\n

Napoleon<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00315463, CH003<\/p>\n <\/div>\n

\n Series<\/span>\n

Preparation<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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[Notes] 4. The Weston four horse mail came at a rustling gait [...]\/[Charles Chaplin]<\/h2>\n\n
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\n [1930-1950] <\/div>\n
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1<\/p>\n <\/div>\n <\/div>\n

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\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00009417, CH040<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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[Notes] In California near Santa Barbara, overlooking the vast expanse of the Pacific ocean [...]\/[Charles Chaplin]<\/h2>\n\n
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\n [1930-1950] <\/div>\n
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8<\/p>\n <\/div>\n <\/div>\n

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\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n

\n Record number<\/span>\n

ECCI00009423, CH040<\/p>\n <\/div>\n

\n Series<\/span>\n

Screenplay<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t<\/div>\n\t\t

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Marie was a prostitute, an easy-going docile girl [...]\/[Charles Chaplin]<\/h2>\n\n
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\n [1930-1950] <\/div>\n
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3<\/p>\n <\/div>\n <\/div>\n

\n
\n
\n Type<\/span>\n

Scenario<\/p>\n <\/div>\n