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 power”. Although it is difficult to establish the exact origin of the dictator novel in the nineteenth century, its intellectual influence spans Latin American Literature. Most of the novels were written in the middle years of the twentieth century, and each has a unique literary style that employed techniques of the “new novel”, by which the writer rejected the formal structure of conventional literary realism, arguing that “its simplistic assumption that reality is easily observable” is a narrative flaw. As a genre, the dictator novel redefined the literary concept of “the novel” in order to compel the readers to examine