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Looking at Hollywoods adaptation to demographics, the book details how Hollywood has repeatedly reinvented and reconstructed the identities of its audiences. It also examines how such groups as adolescent males and female horror movie fans use film-viewing to display and establish their cultural competence and subcultural identities. 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His supporters ranged from members of the working-class through film writers such as Louis Delluc, who wrote the first book on Chaplin as an artist in any language, to members of the French literary avant-garde.   As the \"Little Tramp,\" he seemed to many French intellectuals to embody the spirit of post-World War I society. When he was subjected to criticism from American sources over his private life or political opinions, French intellectuals sprang to his defense. During his acrimonious divorce from Lita Grey in 1927, Surrealists justified his behaviour. And when American reviewers attacked his films Modern Times (1936) and Monsieur Verdoux (1947) for being too left-wing, he was supported by French critics. Modern Times, with its critique of factory conditions, struck a particular chord in France where its arrival coincided with mass factory sit-ins during the \"Popular Front\" summer of 1936.   Chaplin's next film, The Great Dictator (1940), a satire on fascist rulers, due to the French surrender and German occupation was not screened in France until 1945, when it became the most popular film of the year by far. French critics, writers and politicians continued to support Chaplin when he was persecuted by right-wing Americans in the 1940s and early 50s for sexual scandal and supposed pro-communist leanings. Driven into exile in Europe in 1952, Chaplin's career as a filmmaker began to flag--the films he made outside the United States, A King in New York (1957) and A Countess from Hong Kong (1967), seemed to suggest his decline. But the celebration of his long career that took place at the 25th Cannes Film Festival in 1971 set the stage for the next few years in which Chaplin experienced what he himself described as his “renaissance”.   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