This special column is devoted to two films of Lon Chaney, The Phantom of the Opera (1925) and The Unknown (1927), and how Chaney’s trademark use of disability renegotiates concepts of masculinity in the period after World War I.
The column ran from — to –.
Part I: The Aftermath of World War I
Part II: Chaney’s characters and their disabilities
Part III: Chaney’s characters and their relationships with men
Part IV: Chaney’s characters and their relationships with women