Charlot o dell’incoercibilità del visibile

According to Rancière’s lesson on the nature of visibility, cinema’s prerogative to derail the order of discourse is an indication of the aesthetic-political potential of the body-image. In this sense, the erratic movement and the unpredictability of the ironic gesture find in Charlot an impressive incarnation, in the name of the incomparability between situations revealed by the “burlesque” action through the expression of infinitely small differences.