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 traces the development of this theme from “as far back as Bernal Díaz del Castillo’s and Francisco López de Gómara’s accounts of Cortés’s conquest of Mexico.” The nineteenth century saw significant literary reflections on political power, though on the whole the dictator novel is associated with the Latin American Boom, a literary movement of the 1960s and 1970s. For critic Gerald Martin, the dictator novel marks the end of the Boom and even (as he says of Roa Bastos's "I, the Supreme") “the end of an entire era in Latin American history, the era which had stretched from Sarmiento's "Facundo"