The Great Dictator who view the barber as different include Stephen Weissman, whose book "Chaplin: A Life" speaks of Chaplin "abandoning traditional pantomime technique and his little tramp character". DVD reviewer Mark Bourne asserts Chaplin's stated position: "Granted, the barber bears more than a passing resemblance to the Tramp, even affecting the familiar bowler hat and cane. But Chaplin was clear that the barber is not the Tramp and "The Great Dictator" is not a Tramp movie." "The Scarecrow Movie Guide" also views the barber as different. Annette Insdorf, in her book "Indelible Shadows: Film and the Holocaust" (2003), writes that "There was
Dictator novel in 1845." In the 1970s, many dictator novels focused on the figure “of the aging dictator, prey to the boredom of a limitless power he is on the verge of losing.” Miguel Ángel Asturias's "El Señor Presidente" (written in 1933, but not published until 1946) is, in the opinion of critic Gerald Martin, "the first real dictator novel". Other literary treatments of the dictator figure followed, such as Jorge Zalamea's "El Gran Burundún Burundá ha muerto", but the genre did not gain impetus until it was reinvented in the political climate of the cold war, through the Latin American Boom.