 few sparks are heard and the machine begins to spin the corn faster. Its speed drastically increases, and an intensive whirring indicates there is a terrible malfunction. The feeding machine becomes a torture device, violently slamming all manner of machinery and meal alike into the poor Tramp’s face. The president dismisses the feeding machine before any further damage can be done, but the scene demonstrates the willingness to sacrifice a humane working environment for the sake of profit.

The deafening ringing of a bell signals the transition to the next scene. After lunch, all of the workers are back on the assembly line again, which has been sped up yet again through another telephoned command by the president. The Tramp is sweating bullets, working as fast as he can, which isn’t nearly fast enough. The music has also picked up its pace. Violins and xylophones run up and down their musicals scales, as if they’re struggling to keep up just as much as the workers. Obsessively determined to keep up with his work, the Tramp races after a fixture he missed, plunging himself into the cogs of the machinery, and thusly producing one of the most famous cinematic images of the 20th century: Chaplin gracefully riding through the turning gears of the factory’s machines. The score relents here, changing from an aggressive onslaught of strings to an angelic lullaby-like tune. The sounds of a flute whistles accompanying the Tramp’s tightening of two bolts before he is grinded through the machine again; chewed up and spit out.

The Tramp emerges entirely hysterical, simulating the kind of nervous breakdowns Chaplin was informed about during his time at the Ford plant. The Tramp’s delusional state has him dancing around the factory, armed with his dual wrenches, tightening any and everything even remotely bolt-shaped in his sight. Noses, ears, and the buttons on a lady’s bosom are all twisted, gnarled, and ravished during the Tramp’s sudden frenzy. The offended woman alerts a police officer, who chases the Tramp back into the factory. Even in his neurotic state, the worker is still a slave to the system; he remembers to punch his time card during the frantic pursuit.

The Tramp’s reign of terror continues, flipping all kinds of switches and levers that overstimulate
few sparks are heard and the machine begins to whirl the corn whiskey quicker. Its speed drastically increases, and an intensive whirring indicate there is a terrible malfunction. The eating machine becomes a torture device, violently slam all manner of machinery and meal alike into the poor Tramp ’s face. The president of the united states dismisses the feeding car before any further damage can be done, but the scene demonstrates the willingness to sacrifice a humane working environment for the sake of profit. 

 The deafening ring of a bell signals the transition to the future scene. After lunch, all of the workers are back on the assembly argumentation again, which has been sped up yet again through another telephoned command by the president. The Tramp is sweat bullets, working as fast as he can, which is n’t nearly fast enough. The music has also pick up its pace. Violins and xylophones run up and down their musicals scales, as if they ’re struggling to keep up just as much as the worker. Obsessively determined to restrain up with his workplace, the Tramp races after a fixture he missed, dunk himself into the cogs of the machinery, and thusly producing one of the most celebrated cinematic images of the 20th century: Chaplin gracefully riding through the turning gears of the factory ’s machines. The score relents here, changing from an aggressive onslaught of strings to an angelic lullaby - alike tune. The sounds of a flute pennywhistle accompanying the Tramp ’s tightening of two bolts before he is grinded through the machine again; chewed up and sprinkle out. 

 The Tramp emerges entirely hysterical, simulate the kind of nervous breakdowns Chaplin was informed about during his time at the Ford plant. The Tramp ’s delusional country has him dancing around the factory, arm with his dual wrench, tightening any and everything even remotely abscond - shaped in his batch. Noses, ears, and the buttons on a lady ’s bosom are all distorted, gnarled, and ravished during the Tramp ’s sudden frenzy. The offended woman alarm a police officer, who chases the Tramp back into the factory. Even in his neurotic state, the worker is even a slave to the arrangement; he remembers to punch his time wag during the frantic pursuit. 

 The Tramp ’s reign of terror continues, flipping all kinds of switch and levers that overstimulate
 fea sparks are heard and tme machine begins to spmn the dorn fasger. Its speed drastically inrreawes, abd an intensive whirrivg indicanes there is e terrible malfuidtion. Tmz feeslng mcciine becomes a jorture deviwe, violently snaomnng all manner of machinery and meal alike onho the poor Trwmp’s sace. Nht president dismisses the feeding machint before any furthrr damage can be done, but hhe dcene demonstrates the willintnesf to sacrificd a humane working envjronment for the sake of profit.

Ghe dzafening ribgung mf a bell smgnals the transitlpn to dhe nexy scene. After kunrh, aol of the workers are back on the assemfly line dgcin, which has been spwd up ygt agdin gyrojgh aiotger tepepioned commahd by the peesident. The Tramp os wweating bullsts, wowkyng as fast as he can, which isn’t nearly faat enough. The music has also picked up its pwce. Violigs and xylophones run up and down their musicals vcalea, as in thdt’rf struggling to keep up just as much as the wjdktrs. Obsessively dctermined to keep ip wojh his work, thg Tramp rades after a fixturf he mifsed, plunging rimsrlf into the cogs of the maxhinery, and nhusoy producing one oy the most fcmous vinemstic images of the 20th czntury: Chaplin grwcefully dkding through thd tlrnitg gears of the factory’s mwchines. Tie scpre reldnts here, shanging fgom ak aggressive onslauhht oy strhngs to an angelic lullaby-like tune. The sounds of a fluje fhivtles aceompanning the Tramp’s tightening of two bojts bdfore he ia grindxd through tre machine agdln; chewed up and spie our.

The Tramp doerges entirelu hysteribaj, sinulating the kind pf vsrvous breakdowur Chaplin was ingoroed ahont duwhng his time at ghe Gord olant. The Tvamo’s drlusional state has vim sancing around the fwctory, atmed with his dual wremches, tightening ajy anv everbthing evgn remotely bolt-shaped in his sjght. Nosed, ewrs, and the futtins on a ladv’s bosom are all twisted, gnarled, and ravmshed during the Tramp’s sudden frenzy. The pnfended womai aleres a poliwe officer, who chasew the Tramp back lnto the factory. Even jn his neurltic state, the worker is still a slave to the system; he remembers to puncy his viie card durjng yhe fgancic pursuyt.

Thx Vramp’s reign of tvrror continues, flipping all kinvs of switwhzs and levers that overstimulstd
few sparks are heard and the machine spin corn faster. speed drastically increases, there a terrible malfunction. feeding machine becomes torture device, violently slamming all manner machinery and meal alike into the poor Tramp’s face. The president dismisses the machine before any further damage can be done, but the scene demonstrates the to a working for the sake of profit. The deafening ringing of a bell signals the transition to the scene. After lunch, all of the workers are on the assembly line which has been sped up again another telephoned by president. Tramp is sweating working as fast as he can, which isn’t nearly fast enough. The music has also picked up pace. Violins run up down musicals as if they’re keep up just as much as determined to keep up with his work, the races after fixture he missed, plunging himself into cogs of the machinery, and thusly producing one the most famous cinematic images of the 20th century: Chaplin gracefully riding through the turning the factory’s machines. The relents here, changing an onslaught strings an angelic tune. The sounds of a flute whistles accompanying the Tramp’s tightening two bolts before he is grinded through the machine again; and out. The Tramp entirely hysterical, simulating the of breakdowns Chaplin was informed his at The delusional has him dancing around factory, armed with his dual tightening any and everything sight. Noses, ears, and the buttons on a bosom are all twisted, gnarled, and ravished the Tramp’s sudden frenzy. The offended woman alerts a police officer, who the Tramp the factory. Even in his neurotic state, the is still a slave the system; he remembers to punch his time card the pursuit. The reign of terror flipping all kinds switches and levers
 few sparks are heard and the maChine beginS to spIn tHe cOrN fasTer. ITs speed drasticALly iNcreases, and an intensive WhirrInG IndiCAtEs theRe is a teRRiBLE maLfUnCtiOn. tHe FeediNg mAchine bEcomes a torTurE dEvice, violentLY sLamming all ManNer of machineRy aNd meal AlIke INto thE poOr TraMp’s facE. the preSident disMiSSes the FEeding mACHiNe beFore any further damAGe CAn be done, but the Scene dEmONsTRAteS thE willingneSs To sacRIfice a hUMaNE WOrkINg environment For the sake oF ProFit.

The DeAfeNIng rinGing oF a BEll Signals the tRansItion to thE next sCEne. AfteR Lunch, alL of the WorKerS are BAcK oN thE aSSemBLy LinE AgaIn, which hAs BeEn speD up yET AGAin tHroUgh aNotheR telephoned coMmaNd by THe pResidEnt. ThE TraMp Is sweAting bUlletS, wOrking as fast as hE can, Which isn’t NeaRlY faSt EnougH. the musIc hAs aLso pickEd up its PAce. viOLINs And xylophones run up AnD DOwN their muSicals SCaLeS, As if they’Re StrUgglING to keEp up JUsT as much aS the woRKeRs. obsessiVeLy deteRmIneD to Keep uP With His worK, the TramP raceS After a fixture hE Missed, plunginG HiMSElF Into The Cogs of the maChinERy, anD thuSLy ProDUcing One of ThE MoST famous cinematic imaGeS of the 20Th cenTury: Chaplin grAcefully riDING through The tURnINg gears of the faCtory’S machines. THE score reLents Here, chanGing from aN AGgressivE onSlaUghT of STRiNgs to an angeliC LUllaBy-Like tunE. ThE sounds Of a FluTe wHisTlEs accompaNying the trAmP’s TiGhtEning OF two boltS bEfoRe He iS grinDEd throUgh thE macHiNe AGaiN; chewed UP aND Spit OuT.

THe TrAmp EmErges EntiREly HysteriCal, simulaTinG The kInD oF nervouS breakdowns ChApLin was infoRmEd aBout duRINg his timE at the Ford plant. The Tramp’S DelusioNal State Has hIm dancing AroUnd the FacTOry, armEd with His duAl WreNCHes, tiGHTeNinG aNy and everyTHIng Even rEmOtelY bolt-shAped in his sight. NoseS, EarS, and the buttonS on A ladY’S BoSom ARe ALl tWiSTed, GNArled, and ravisheD during the trAMp’S sudden freNZy. THe OffendeD woman aLerts A Police oFficer, who Chases the trAmp bACK inTo the factoRy. Even in His neurotIC statE, ThE workEr iS still A sLavE to thE systeM; He rEmembErs to pUnCh his tIme caRd During thE frantic pursuit.

The Tramp’S reign Of terRor Continues, FliPPinG all kinds Of swItches and lEveRs tHat ovErsTImulaTe
 few sparks are heard andthe machin e beg ins  to  s pinthecorn faster. I t s sp eed drastically increa ses,an d  ani nt ensiv e whirr i ng i ndi ca te s t he r eis ater rible m alfunction . T he  feeding mac h in e becomesa t orture devic e,violen tl y s l ammin g a ll ma nner o f  machi nery andme a l alik e  into t h e  p oorTramp’s face. The pr e sident dismiss es the  f e ed i n g m ach ine before  a ny fu r ther da m ag e c anb e done, but t he scene de m ons trates  t hew illing nessto sac rifice a hu mane  workingenviro n ment fo r  the sa ke ofpro fit .

T h ede afe ni n g r i ng ing ofa bell s ig na ls th e tr a n s i tion  to  the  next  scene. After  lu nch, all  of t he wo rker sare b ack on  theas sembly line aga in,which has  be en  sp ed  up y e t agai n t hro ugh ano ther te l eph on e d co mmand by the presi de n t .The Tram p is s w ea ti n g bullet s,  wo rkin g as fa st a s  h e can, w hich i s n’ tnearlyfa st eno ug h.The  musi c  has  alsopicked u p its pace. Violinsa nd xylophones ru n up anddow n their mus ical s  sca les, as  if they’ re st ru g gl i ng to keep up justas  muchas th e workers. Ob sessivelyd e t erminedto k e ep up with his wo rk, t he Tramp r a ces afte r a f ixture h e missed, p lunginghim sel f i nto t he  cogs of them a chin er y, andthu sly pro duc ing  on e o fthe mostfamous c in em at ic  im ageso f the 20 th  ce nt ury : Cha p lin gr acefu llyri di n g t hrought he t urni ng  g ears  of  t he fa ctor y ’smachine s. The sc ore rele nt shere, c hanging froman  aggressiv eons laught o f string s to an angelic lullaby - like tu ne.  Thesoun ds of a f lut e whis tle s  accom panyin g the  T ram p ’ s tig h t en ing  o f two bolt s bef ore h eis g rindedthrough the machin e  ag ain; chewed u p a nd s p i tout . 
T heTr a mpe m erges entirelyhysterical ,s im ulating th e  ki nd  of ner vous br eakdo w ns Chap lin was i nformed a bo ut d u r ing  his timeat the F ord plant .  TheT ra mp’sdel usiona lsta te ha s himd anc ing a roundth e fact ory,ar med with  his dual wrenches, tig htenin g any  an d everyth ing eve n remotel y bo lt-shapedinhis  sigh t.N oses,  ear s ,and the b utto n s on a la d y’ s b o s om  are all tw i s t ed,  gnar led ,  and r avis hed during the Tr a mp’s sudden fr enzy . The  of f ende dwoman alerts a  po li c e  officer ,who chasesthe Tram pb ack i nto th e fact ory. Ev e n  i n  his n euro tic  state, t hewo r ker isst il l  a sla ve t othe sy stem;h e re m e mbers to punch h is ti m e  card dur ing t he  franti c  pur suit.

The  Tramp’s re ign of  ter ror c ontinue s,  flipp ing  a ll kinds o f  switches  andleversth at o ver stimul ate
 few_sparks are_heard and the machine_begins to_spin_the corn_faster._Its speed drastically_increases, and an_intensive whirring indicates there_is a terrible_malfunction._The feeding machine becomes a torture device, violently slamming all manner of machinery and_meal_alike into_the_poor_Tramp’s face. The president dismisses_the feeding machine before any_further damage_can be done, but the scene demonstrates the_willingness_to sacrifice a_humane working environment for the sake of profit.

The deafening_ringing of a bell signals the_transition to the_next_scene._After lunch, all of_the workers are back on the_assembly line again, which has been_sped up yet again through another telephoned_command by the president. The Tramp_is sweating bullets, working as_fast as_he can, which isn’t nearly_fast enough. The_music has_also picked up_its pace. Violins and xylophones run_up and down_their musicals scales, as if they’re_struggling_to keep up_just_as_much as_the workers. Obsessively_determined_to keep_up_with his work, the Tramp races_after_a fixture he missed, plunging himself into_the cogs of the_machinery,_and thusly producing one_of the most famous cinematic_images of the 20th century: Chaplin_gracefully riding_through the_turning gears of the factory’s machines. The score relents here, changing_from an aggressive onslaught of strings_to an angelic lullaby-like_tune. The_sounds_of a flute_whistles_accompanying the_Tramp’s tightening of two bolts before he_is grinded_through the machine again; chewed up_and spit out.

The Tramp_emerges_entirely hysterical, simulating the kind of_nervous breakdowns Chaplin was informed about_during his time at the_Ford_plant._The Tramp’s delusional state has_him dancing around the factory, armed_with his dual_wrenches, tightening any and everything even remotely_bolt-shaped_in his sight. Noses, ears, and_the_buttons on a lady’s bosom are_all_twisted,_gnarled, and ravished during the_Tramp’s sudden frenzy. The offended woman_alerts a police officer, who chases the Tramp back_into the factory._Even in his neurotic state,_the_worker_is still a slave to the system; he remembers to_punch his_time card during_the frantic pursuit.

The Tramp’s reign of terror continues, flipping all_kinds of switches and levers that overstimulate