Relevant bibliographies by topics / Biopic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Biopic'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Biopic"

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Simon, Julien J. "From the Life to the Mind of the Writer in the Literary Biopic: Andrucha Waddington’s Lope and Ray Loriga’s Teresa." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 287–323. http://dx.doi.org/10.5399/uo/peripherica.1.2.13.

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Lope (Andrucha Waddington 2010) and Teresa (Ray Loriga 2007) have much in common. Both biopics center on a revered literary figure of the Spanish Golden Age. However, in spite of their many commonalities, these films embody two distinct tendencies in the contemporary literary biopic genre: one more “typical,” represented by Lope, that focuses heavily on plot development and another, represented by Teresa, that aspires to visually transpose to the screen aspects that relate to the main character’s interiority. Although Teresa has features of the “typical” contemporary literary biopic, it innovates the genre significantly by moving its focus from the life to the mind of the writer. Loriga uses the language of cinematography to depict the imagery and affective qualities of the mysticism of Teresa de Ávila—the force behind her writings—, creating a film that emphasizes image and emotions over plot. Teresa thus brings a different sensitivity to the literary biopic, which deviates from more formulaic films. Centering on the author’s mind can indeed be a new path for filmmakers to innovate the biopic genre, particularly in its literary strand. Finally, these two biopics illustrate the need to expand the scholarly conversation about the contemporary literary biopic genre, as they both engage with and deviate from the formula established by Anglo-Saxon biopics.
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Elduque, Albert. "Biopic vs Biopic: Comparing Cinematic Lives." Comparative Cinema 9, no. 16 (July 15, 2021): 6–9. http://dx.doi.org/10.31009/cc.2021.v9.i16.01.

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Shostak, Stanley. "Desmond'sHuxley:The Biopic." European Legacy 4, no. 5 (October 1999): 113–15. http://dx.doi.org/10.1080/10848779908580002.

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Bell, Alana. "Biopic Bibliography." Biography 23, no. 1 (2000): 212–22. http://dx.doi.org/10.1353/bio.1999.0002.

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Kooijman, Jaap. "What’s Whitney Got to Do with It: Black Female Triumph and Tragedy in the 2015 Lifetime Biopic Whitney." European Journal of Life Writing 10 (September 8, 2021): WLS190—WLS209. http://dx.doi.org/10.21827/ejlw.10.37919.

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In 2015, the cable television network Lifetime broadcast the biopic Whitney, depicting the troubled life of the late superstar singer Whitney Houston. Whitney is the first film by director Angela Bassett, who, as actress, famously portraited Tina Turner in the biopic What’s Love Got to Do with It (Brian Gibson, 1993). In this article, I will first position Whitney within a larger tradition of the Hollywood biopic by making a comparison to earlier important biopics about black female entertainers, namely Lady Sings the Blues (Sidney J. Furie, 1972), starring Diana Ross as Billie Holiday, and What’s Love Got to Do with It. Second, I will discuss how the narratives of these three biopics tend to reduce their female subjects to victims, emphasizing the tragedy in their personal lives, while assigning much more agency to the male partners of these black female entertainers. Third and finally, I will analyze the final scenes of these three biopics in detail, as each presents a grand finale musical performance that seems to resolve the contradictions of the triumph and tragedy in their subject’s lives, yet in significantly different ways.
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Vidal, Belén. "New Women’s Biopics: Performance and the Queering of Herstor/ies." European Journal of Life Writing 10 (September 8, 2021): WLS17—WLS40. http://dx.doi.org/10.21827/ejlw.10.37911.

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This article revisits the debates about the postfeminist biopic in the 21st century through the films Wild Nights with Emily (Olnek, 2018), Florence Foster Jenkins (Frears, 2016), The Favourite (Lanthimos, 2018) and particularly Colette (Westmoreland, 2018) to examine the ways in which new women’s biopics queer women’s histories. The article examines the debates about representation concerning the female biopic (Bingham 2010, Polaschek 2013), especially the problematic conflation of a woman’s body/sexuality with her body of work and proposes an analysis of screen biography as a filmic (that is, mediated) event open to non-normative identifications and desires. Biopics of women demand a shift in focus from representation to performance, both in relation to the actor’s function as the cornerstone of the biographical fiction and in relation to the performativity of the genre itself. Drawing on Landsberg (2015), I argue that new women’s biopics stage encounters between the spectator and the historical figure through different forms of mediation. In this respect, I examine the modalities of reflexive performance in connection with queer bodies and subjectivities in the first three films cited above, before moving on to a case study on Colette. Colette largely plays in the mid-Atlantic idiom of the postfeminist biopic (Polaschek 2013), including a non-imitative star turn by Keira Knightley, whose star persona is briefly analysed, yet the film’s queerness entertains a complex relationship with this postfeminist framework. While queer identities risk becoming diluted into the standard trajectory of female emancipation proposed by the film (a narrative invested with added urgency in the post-#MeToo moment), performance inflects this narrative differently: the intermedial mise-en-scène (particularly photographic posing, theatre, and dance) makes Colette a biopic equally concerned with the retrieval of women’s histories as with the production of the queer female self against the backdrop of patriarchal cultural industries.
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Bryant, Wayne M. "The Bisexual Biopic." Journal of Bisexuality 5, no. 1 (April 19, 2005): 113–18. http://dx.doi.org/10.1300/j159v05n01_09.

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Köpf, Gerhard. "Biopic eines Monsters." NeuroTransmitter 30, no. 3 (March 2019): 48–51. http://dx.doi.org/10.1007/s15016-019-6699-3.

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Morozova, Irina Victorovna. "Phenomenon of Political Biopic in the English-Language Cinema." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 98–109. http://dx.doi.org/10.17816/vgik6498-109.

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The English-language historical and biographical films are booming currently. Every year large number of biopics appears on the screen. Films devoted to political figures' biographies rank special place among them. The author treats American and British traditions of political biopic, examines their origins, singles out evolution stages of biographical genre in the English-language cinema as well as political biopic's characteristics. The article also contains the brief overview of Western scholarly literature devoted to historical and biographical genres in cinema. Main conclusions: Political biopic is a special phenomenon in the English-language cinema. Its origins are rooted in the traditions of Western historiography and literature, basing on corresponding traditions of antiquity. Political biopic always attracts different filmmakers' attention and enjoys great popularity of the audience as providing fascinating world art plots, that is outstanding individual's biographical path. The success of such films can be also explained by the fact that for the majority of spectators the interest to the past is realized primarily on the level of historical personalities, since common knowledge of the past is by and large personified in connection to individual historical figures. American and British traditions of political biopic share the same general framework, and differences can be reduced to the choice of biographical material and stylistic peculiarities of narration.
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Pastor-González, Victoria. "Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain." Comparative Cinema 9, no. 16 (July 15, 2021): 52–74. http://dx.doi.org/10.31009/cc.2021.v9.i16.04.

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As virtual sites of public memorialization, historical biopics play an important part in shaping our view of the past. The genre employs a range of formal and narrative strategies in order to create persuasive narratives about historical characters and events. However, nation-specific socio-cultural and industrial conditions frequently determine whose lives are deserving of biographical treatment and how their stories are told. The following comparative analysis of two recent historical biopics, Clara Campoamor, The Forgotten Woman (Clara Campoamor, la mujer olvidada, Laura Mañá, 2011) and While at War (Mientras dure la guerra, Alejandro Amenábar, 2019), foregrounds some of these nation-specific circumstances in the Spanish context. It then proposes that these two works employ innovative strategies that signal possible new avenues for the historical biopic in Spain. In the case of Clara Campoamor, Mañá suggests alternative ways of representing historical female figures in the public arena, whilst in his film Amenábar mobilizes the conventions of the Hollywood biopic to aid transnational readability.
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Dissertations / Theses on the topic "Biopic"

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Moral, Martín Francisco Javier. "Representación cinematográfica del artista plástico y biopic." Doctoral thesis, Universitat Politècnica de València, 2009. http://hdl.handle.net/10251/4264.

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Más allá de la enumeración infinita de anécdotas atribuidas a los artistas plásticos (hummus sustancial sobre el que se ha levantado la extensa bibliografía al respecto), la tesis titulada Biopic y representación fílmica del artista plástico, pretende dar cuenta del modo en que dicho material es dispuesto en el film, evidenciar las elecciones y estrategias que operan hacia la institución del artista en cuanto sujeto discursivo, entidad que da forma a uno de los estereotipos identitarios más arraigados en la historia de occidente desde su aparición en la Antigüedad clásica. En ese sentido, la consideración biográfica funciona como el bisturí elegido en la acotación del corpus a tratar, elección operativa que supone la constitución de un subgénero respecto del género biopic (biographical picture) según un criterio temático: el personaje recreado es un artista plástico. Biopic y representación fílmica del artista plástico se encuentra dividido en dos partes. La primera, compuesta por los dos primeros capítulos, se presenta como una somera aproximación al estado de la cuestión genérica, rastreando la compleja conceptualización del fenómeno, sus orígenes literarios y su aparición y desarrollo en el terreno cinematográfico. Poco se avanza en este apartado a propósito de una posible definición del biopic de artista salvo para cuestionar y delimitar operativamente algunas cuestiones teóricas que han dificultado la consideración biográfica desde una perspectiva genérica. La segunda parte, compuesta por el resto de capítulos y constituida en sentido estricto en el núcleo de la investigación, se presenta como un ejercicio evaluativo del subgénero a partir de una doble perspectiva, teórica e histórica.
Moral Martín, FJ. (2009). Representación cinematográfica del artista plástico y biopic [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/4264
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Robinson, M. "Mapping the British biopic : evolution, conventions, reception and masculinities." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/29205/.

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This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. This thesis provides a timeline of British biopics released from 1900 to 2014, constructing an historical overview of the continuities and shifts the genre has undergone. It also constructs an assessment of the representation of masculinity in the biopic, including detailed textual readings of representations of masculinity in biopics released between 2005 and 2014. This rectifies the critical neglect of masculinity in the biopic, despite the majority of biopics being about men. Following a critique of existing critical approaches to the biopic, including the viability of applying American paradigms to the biopic as a whole, subsequent chapters analyse the major aspects of the British biopic: a history of the production and reception of biopics and a survey of the biopic’s conventions. An inter-chapter introduces the nature of representations of masculinity in the British biopic using specific paradigmatic examples and the final two chapters focus on a detailed analysis of the representation of masculinity in particular films from the contemporary period which are mapped onto contemporaneous understandings of masculinity. One chapter considers the diversity of homosocial representations and those depicting ‘wounded’ men; the other discusses the ways in which selected films depict wounded men rehabilitated through supportive homosocial bonds. The thesis makes a contribution to knowledge in three ways: 1) an understanding and analysis of the biopic, a genre that has attracted few studies; 2) an historical overview of the British biopic which has not yet been attempted; 3) a detailed analysis of the representation of masculinity in the British biopic which, the thesis argues, is a distinctive and largely neglected aspect. The thesis argues that the British biopic has specifically national characteristics and that these patterns offer evidence of a profound difference between British and American paradigms.
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Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.

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Leigh, Joanna. "My impossible task? : writing an ethical biopic of Samuel Johnson." Thesis, University of the Arts London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504037.

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Selway, Matthew. "Mental disorder in the contemporary American biopic : representation and national identity." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/61877/.

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This thesis considers the representation of mental disorder in the contemporary American biopic from 1999 onwards, focussing upon how such representations of the biographical subject’s experience of mental illness can be read as interrogating many of the central features and ideologies of American national identity. Though long overlooked in academia, a recent surge in scholarly attention has repositioned and illuminated the biographical film (biopic) as a dynamic genre that warrants greater appreciation and investigation. This thesis contributes to current debates and understandings of the genre by critically interrogating the representational strategies and tropes present in depictions of mental disorder in the genre and contextualising these aspects in regards to wider cultural issues. Much like many critiques of the biopic genre, the portrayal of mental disorder in film and media has often been criticised for lacking authenticity or accuracy. Where critics and filmgoers bemoan the biopic’s over-celebratory nature and malleable relationship with history, so too psychiatric professionals and members of the public lament derogatory stereotypes and images of mental disorder that contribute to the perpetuation of stigma. However, this project realises a conscious move away from subjective debates concerning accuracy whilst still engaging with psychiatric research as a means of demonstrating the valuable interdisciplinary overlaps between psychiatry and film studies. Where critical considerations of mental illness representation largely focus upon the impact of film and media on cultural attitudes, the analyses in this thesis instead consider the influence of American culture on film representation. Whilst engaging with key ideas associated with the construction of national identity (primarily gender, race and class) this thesis also includes critical considerations of the portrayal of mental disorder and its intersections with many other socio-culturally significant aspects of American character and identity, including capitalism, sexuality, celebrity, religion and regionality.
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Haiduc, Sonia Amalia. "Writers On Screen: Embodying The "Life-Text" In The Literary Biopic." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672140.

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This thesis examines the sub-genre of the literary biopic and its intersections with literary texts and other film genres through the lens of the melodramatic mode. It explores the dramatization of the ‘life-text’, defined as the process by which events in the non-discursive space-time become discursive elements in written and film biography, by looking at the figure of the author in a selection of literary biopics from the classical Hollywood era to 2018. The number of studies on the biopic is reduced, but those that have been published so far have not examined the strategies of the melodramatic mode in biographically- inflected films. Since the body and presence of the actor is the cornerstone of the biopic genre, as well as the site for the spectator’s investment in the narrative, the embodied authorial figure in biopics becomes a locus of emotional authentication that allows us to identify and decode the forces that are part and parcel of the biopic’s and melodrama’s semantic force fields, and participate in the metamodernist oscillatory experience between irony and earnestness, belief and disbelief, as the body of the writer on screen both enacts and challenges prevailing theories of authorship. The thesis argues, in short, that film biography must be ‘melodramatic’ in order to be ‘true’ – ‘truth’ being a certain readable, coherently constructed sense of interiority that speaks to what we perceive as reality of the human condition, and which is encoded in the presence and the gestural performances of the actors’ bodies on screen, expressed through (melo)dramatic form. The protagonists of melodrama, and, by extension of biographical films, embody and enact socioethical values, showing the work of emotion and personality in social and political processes. The majority of the productions under scrutiny are English-speaking productions, but there are also a small number of international films that have been chosen on account of their relevance to particular sections of this study, for in a globalized cultural economy, individual films tend to build meaningful connections across national and cultural borders and address a variety of audiences. Given its interdisciplinary approach, the critical analysis of the case studies has taken into consideration a varying number of literary, filmic and cultural elements, such as biographical material, earlier or contemporary film adaptations, the director’s/scriptwriter’s previous work, intermedial elements around the question of stardom. It also examines the intersections of the literary biopic with other film genres, such as heritage or costume drama, as well as the functions of commercial and cultural discourses related to questions of authenticity, which is a central concern in biopics. The thesis is structured into five parts, which explore varying representations of the author. It begins with a series of theoretical and critical considerations of genre and literary biography, followed by a survey of the critical discourses surrounding the literary biopic. The body of the thesis consists of a series of case studies beginning in the 1930s; it continues with an examination of a number of feminist productions from the 1970s, to finally focus on the contemporary period, which has been seen the release of an ever-growing number of literary biopics. The study argues for the literary biopic as an increasingly sophisticated category that has engaged in complex ways with both the figure of the writer and our culture at large.
La presente tesis examina el subgénero de la biografía literaria cinematográfica y su intersección con la literatura y con otros géneros cinematográficos, visto desde la perspectiva del modo melodramático. Se investiga la dramatización del ‘life-text’, definido como el proceso mediante el cual los acontecimientos del espacio-tiempo no discursivo llegan a ser elementos discursivos en la biografía literaria y cinematográfica, por medio de una inspección de la figura del autor en una selección de biografías literarias cinematográficas aparecidas entre la época clásica de Hollywood y el año 2018. Puesto que la figura y la misma presencia del autor son no solo la piedra angular del género biográfico en el cine, sino también el escenario de la implicación del espectador en la narrativa, la figura del autor que se halla plasmada en esta clase de biografía viene a ser un punto de autenticación emocional que nos permite identificar y descodificar las fuerzas que son parte integrante del campo semántico tanto de la biografía cinematográfica como del melodrama, además de capacitarnos para participar en la experiencia metamodernista, que oscila entre la ironía y la seriedad, la convicción y la incredulidad, a medida que la figura del autor en pantalla representa, a la par que pone en duda, las teorías existentes sobre la autoría. Dado el enfoque interdisciplinario de este análisis crítico, se han tenido en cuenta la importancia de elementos de tipo literario, cinematográfico y cultural, como pueden ser el material biográfico, las adaptaciones anteriores o contemporáneas de las películas, el trabajo ya realizado por el director o guionista, y cuestiones relativas al estrellato. Asimismo, se contemplan las intersecciones de la biografía cinematográfica literaria y otros géneros cinematográficos, además de las funciones de los discursos comerciales y culturales relacionados con cuestiones de autenticidad, que es una de las preocupaciones centrales de la biografía cinematográfica. Resumidamente, la tesis pretende presentar la biografía cinematográfica literaria como una categoría que se ha involucrado de maneras complejas con la figura del escritor y con nuestro mundo cultural en general.
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Bovey, D. "The artist biopic : a historical analysis of narrative cinema, 1934-2010." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9w77z/the-artist-biopic-a-historical-analysis-of-narrative-cinema-1934-2010.

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The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.
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Sheldon, Amy Gabrielle. "The Relevance of the Biopic Krotoa (2017): A Mis-Representation of History?" Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/34028.

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This dissertation examines the representation the Khoi woman Krotoa in the film of the same name directed by Roberta Durrant (2017). It draws on scholarship by Pamela Scully (2005) and Julia C. Wells (1997), who argue that Krotoa adapted well to her circumstances, following the arrival of Jan Van Riebeeck at the Cape in 1652. Krotoa used her gender to influence Van Riebeeck's decision-making, regarding trade relations with the Khoi people. This thesis shows these views to be complicated and contested, especially considering evidence of victimisation and sexual assault of indigenous women by colonial authorities – as Pamela Scully (2005) has noted. Yvette Abrahams (1996) also wrote that Krotoa's alcoholism indicated some form of trauma. Simultaneously, indigenous people were also stereotyped based on race. They were deemed immoral and generally inferior to Europeans. These ideologies were perpetuated by European writings on encounters with indigenous people, as scholars like Nicholas Hudson (2004) write. Additionally, indigenous women such as Sarah Baartman, were perceived by Europeans as sexually deviant and hyper-sexual – as written by Zine Magubane (2001). It is for this reason therefore, that issues of identity, sexuality and gender are significant to this study on, Krotoa (2017). Furthermore, in bringing together the narratives of Sarah Baartman and Krotoa, it emphasizes how indigenous women have been marginalised and abused within a colonial society. Critical analysis of the film indicates that history has been distorted by the way Krotoa is represented. This was largely due to the perception that the film is told from the perspective of a ‘white' man, as Rusana Philander (2017) discusses. Moreover, due to the extent to which Durrant's film has been influenced by the past, I argue that Krotoa is mis-represented – both in history and in her representation on-screen.
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Schlotterbeck, Jesse Keith. "The popular musical biopic in the post-studio era: four approaches to an overlooked film genre." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3530.

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The mid-2000s saw a surge in the popularity of musical biopics: films such as Ray (2004) which tell the story of a star musician. While academic studies have addressed biopics treating classical and jazz composers, the popular musical biopic (encompassing blues, folk, pop, country, rap, and rock) is not only the least studied subtype of the musical biopic, but the most profitable and frequently made. I analyze four different aspects of the musical biopic that illustrate its significance: Chapter One addresses the musical biopic in the context of the post-studio era entertainment industry. I study A Hard Day's Night as a film which reconciles artistry with the commercial imperative of cross-promotion. Chapter Two surveys the increased presence of minority entertainers in post-studio era musical biopics, covering films featuring African American musicians, as well as films which pair a black mentor with a white musician or producer. Chapter Three examines the relationship between storytelling, particularly the portrayal of love relationships, and song performances. I find in that the post-studio era musical biopic often reconciles narrative structures inherited from the classical Hollywood musical with post-classical film styles. Chapter Four, a psychoanalytic study of the contemporary musical biopic, theorizes the genre's turn to the representation of flawed and scandalous subjects.
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Schlie, Ferdinand. "Luther à l’écran. La figure du Réformateur au cinéma et à la télévision en Allemagne (1911-2008)." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL029.

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En amont du 500e anniversaire de la Réforme en 2017, la question des représentations et des usages auxquels a donné lieu la figure de Martin Luther a bénéficié d’un regain d’intérêt. En témoigne l’attention portée depuis une quinzaine d’années à un domaine jusque-là peu étudié par la recherche, à savoir la présence de Martin Luther au cinéma et à la télévision. À la suite notamment des travaux d’Esther P. Wipfler, le présent travail, centré sur les productions fictionnelles et partiellement fictionnelles de langue allemande, entreprend une étude des représentations filmiques de Luther et de l’écho dont elles bénéficièrent. Un corpus de 14 films réalisés entre 1911 et 2008 donne lieu à une réflexion en trois temps. Un aperçu synthétique des discours sur Luther qui circulèrent en Allemagne des débuts de la Réforme jusqu’à l’avènement du cinéma sera l’occasion d’évoquer la constitution de Martin Luther en figure mythique et les différents investissements dont ce mythe fit l’objet. Un deuxième volet est consacré aux quatre films muets qui virent le jour entre 1911 et 1927, marqués non seulement de l’empreinte de la tradition qui les précéda mais aussi par une évolution dans laquelle se reflète la situation du protestantisme allemand et son rapport au cinéma. L’étude s’achève par une analyse des émissions télévisées consacrées au Réformateur depuis la fin de la Seconde Guerre mondiale, caractérisée par un retour progressif à la représentation d’une figure fondatrice positive après un début marqué de part et d’autre de la frontière allemande par une prise de distance à l’égard du mythe
Ahead of the 500th anniversary of the Reformation in 2017, the representation and use of Martin Luther has sparked renewed interest. This is reflected in the attention that has recently been paid to a field which, up to the last fifteen years, had not been studied very much by researchers, namely Martin Luther’s onscreen presence, both in the cinema and on television. In the wake of Esther P. Wipfler’s research, this thesis focuses on fictional and partly fictional German-speaking productions to study the film representations of Luther and their impact. A corpus of 14 films made between 1911 and 2008 will lead to a three-fold analysis: first, a synthetic overview of how Luther was seen and discussed in Germany from the beginnings of the Reformation until the birth of cinema will shed light on the making of Martin Luther into a mythical figure and on the manifold meanings with which this myth was invested. The second part of this work will be dedicated to the four silent movies directed between 1911 and 1927: while upholding established traditions, they also revealed the evolution of the situation of German Protestantism and its relationship with cinema. This thesis will close with an analysis of the television shows centred on the Reformer since the end of World War II. After initially distancing themselves from the myth on both sides of the German border, these shows marked a progressive return to the representation of a positive founding figure
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Books on the topic "Biopic"

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Polaschek, Bronwyn. The Postfeminist Biopic. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482.

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Tagliani, Giacomo. Biografie della nazione: Vita, storia, politica nel biopic italiano. Soveria Mannelli: Rubbettino, 2019.

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Epstein, William H., and R. Barton Palmer. Invented lives, imagined communities: The biopic and American national identity. Albany: State University of New York Press, 2016.

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4

Whose lives are they anyway?: The biopic as contemporary film genre. New Brunswick, N.J: Rutgers University Press, 2010.

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National Institute of Diabetes and Digestive and Kidney Diseases (U.S.), ed. Biopsia del hígado: Liver biopsy. [Bethesda, Md.]: U.S. Dept. of Health and Human Services, National Institutes of Health, National Institute of Diabetes and Digestive and Kidney Diseases, 2010.

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Bunny. Angela Lansbury (English Biopic): A topic for ESL Students to learn about one of the best actresses of the 20th century. Edited by Kai Venice. Russia: EnglishRepublic.ru, 2011.

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Nieberle, Sigrid. Literary Biopics. Berlin, New York: Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110210880.

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Amin, Dhruti, Natarajan Amaresan, and Sanket Ray, eds. Biotic Elicitors. New York, NY: Springer US, 2022. http://dx.doi.org/10.1007/978-1-0716-2601-6.

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Lockwood, Julie L., and Michael L. McKinney, eds. Biotic Homogenization. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-1-4615-1261-5.

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Hussaini, Salim. Bionic evolution. Lagos, Nigeria: Origami, 2016.

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Book chapters on the topic "Biopic"

1

Polaschek, Bronwyn. "The Biopic Genre." In The Postfeminist Biopic, 38–59. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_3.

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Polaschek, Bronwyn. "Introduction." In The Postfeminist Biopic, 1–8. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_1.

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Polaschek, Bronwyn. "Feminist Film Theory and Postfeminist Culture." In The Postfeminist Biopic, 9–37. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_2.

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Polaschek, Bronwyn. "The Postfeminist Historical Woman in Sylvia." In The Postfeminist Biopic, 60–80. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_4.

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Polaschek, Bronwyn. "Frida and the Postfeminist Artist Biopic." In The Postfeminist Biopic, 81–103. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_5.

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Polaschek, Bronwyn. "The Hours, Feminisms and Women’s Art." In The Postfeminist Biopic, 104–26. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_6.

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Polaschek, Bronwyn. "Postfeminist Spectatorship in Becoming Jane." In The Postfeminist Biopic, 127–48. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_7.

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Polaschek, Bronwyn. "Conclusion: The Postfeminist Biopic." In The Postfeminist Biopic, 149–63. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137273482_8.

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Shachar, Hila. "Introduction: Biopics, Biography, Heritage, and the Literary Biopic." In Screening the Author, 1–21. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18850-4_1.

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Heinze, Carsten. "Das Biopic als Filmgenre." In Film und Bewegtbild in Kultur und Gesellschaft, 93–121. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-34927-1_5.

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Conference papers on the topic "Biopic"

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Wu, Fan, Danmei Xie, Jing Zhang, Hengliang Zhang, and Chun Wang. "Improvement of Steam Turbine Blade Foil With Biomimetic Design and its Influence on Aerodynamic Performance." In ASME Turbo Expo 2019: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gt2019-91128.

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Abstract To improve the steam turbines’ efficiency, researchers have put their efforts on blade foil design. Aiming at improve the aerodynamic performance of steam turbine at low load, this paper will study the effect of blade foil with bionics design on steam turbine aerodynamic performance, based on humpback whale’s fin. This paper mainly discusses a bionic foil design used on steam turbine. There are three main control parameters for each tubercle structure — amplitude, wavelength, and thickness. Taking the axial torque as the decisive consideration data and combining the vorticity diagram to analyze the flow, and on this basis, the influence of the vortex pair on the flow of the turbine blade is studied. The greater the torque, the stronger the function, so the steam turbines’ efficiency is higher. The flow condition of the optimized blade shape is improved compared to the original blade shape because it fits the blade more closely and the separated flow vortex is suppressed.
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Ekuni, Shota, Koichi Murata, Yasunari Asakura, and Akira Uehara. "Bionic scope." In SIGGRAPH '16: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2945078.2945119.

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Xiong, Jia w., and Yun Chen. "Bionic peacock." In 2nd International Conference on Mechanical, Electronics, and Electrical and Automation Control (METMS 2022), edited by Xuexia Ye. SPIE, 2022. http://dx.doi.org/10.1117/12.2634898.

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SHENTSOVA, O. M., and M. A. VORONIN. "BIONIC ARCHITECTURE DESIGN PRINCIPLES." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.45.

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The active development of bionic style in modern architecture and construction today dictates the search for and definition of approaches, methods, principles and techniques for designing bionic architecture. The paper outlines an attempt to identify principles for designing bionic architecture.
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Wang, Gang, Longxin Lin, Haijun Xu, Haibin Xie, and Lincheng Shen. "Bionic bladder based depth control for bionic underwater robots." In 2010 8th IEEE International Conference on Control and Automation (ICCA). IEEE, 2010. http://dx.doi.org/10.1109/icca.2010.5524247.

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Liu, Xiaomin, Xing Wang, Hu Tang, and Guang Xi. "Performance Improvement of Multi-Blade Centrifugal Fan by Using Optimal Bionic Blade." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-70061.

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The aim of this paper is to obtain a higher flow rate and lower noise multi-blade centrifugal fan by employing a type of optimized bionic blade. The design of experiment with orthogonal array tables is used in the optimization process. The factors of the geometric parameters of the bionic blade which selected in the present study are leading edge curvature, leading edge thickness, the leading edge angle and pressure side surface curvature. The contribution of each factor to the performance of bionic blade is investigated numerically by solving Navier-Stokes equation and FW-H equation. The pressure side surface curvature of the blade is considered as the most effective factor. Compared with the original blade, the optimal bionic blade not only improve the flow rate of multi-blade centrifugal fan, but also suppress noise occurred on the blade surface effectively. The values of the flow rate and the A-weighted sound pressure level (SPL) for the fan with optimal bionic blade are 2.75m3/s, 44.9dB(A) respectively against the initial fan of 2.55m3/s, 52.4dB(A). The optimization results demonstrate considerable improvement of the multi-blade centrifugal fan in both flow rate and A-weighted SPL when the optimized bionic blade is used.
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Qian, Zhongdong, Jing Dong, Zhiwei Guo, Zhiyuan Wang, and Fan Wang. "Study of a Bionic Anti-Erosion Blade in a Double Suction Centrifugal Pump." In ASME 2016 Fluids Engineering Division Summer Meeting collocated with the ASME 2016 Heat Transfer Summer Conference and the ASME 2016 14th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/fedsm2016-7627.

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A bionic blade with convex domes was applied in a double suction centrifugal pump to improve erosion resistance of the blade surfaces in this study. The hydraulic performance of the pump was simulated and the numerical results were in good agreement with the experiment data. The erosion rates of the smooth blade and bionic blades with convex domes at different heights (1.0 mm, 1.5 mm, 2.0 mm ) were numerically predicted. The results showed that the pump with bionic blades had a higher head and a lower efficiency than those of the pump with smooth blades. A comparison of the erosion rates indicated that the bionic blades exhibited much better erosion resistance than the smooth surface ones. The high erosion-rate area was reduced remarkably and the erosion region became more dispersed on the whole bionic blade surface. The pressure side of the blade with 2.0 mm-height convex domes showed better anti-erosion performance than those with other two heights, while the suction side with 1.0 mm-height domes showed better anti-erosion performance.
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Tromberg, Bruce J. "Diffuse optical methods for assessing breast cancer chemotherapy (Presentation Video)." In Optical Biopsy XII, edited by Robert R. Alfano and Stavros G. Demos. SPIE, 2014. http://dx.doi.org/10.1117/12.2064489.

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Alfano, Robert R. "Ultimate ultrafast white light's first observations: early discovery circa 1970 (presentation video)." In Optical Biopsy XII, edited by Robert R. Alfano and Stavros G. Demos. SPIE, 2014. http://dx.doi.org/10.1117/12.2030782.

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Manoharan, Yuvaraj, Udayakumar Kanniappan, JayanthKumar Vadivel, Sripriya Suresh, Dornadula Koteeswaran, Kulandaivel Muthuvelu, Chidambaranathan Pravada, et al. "Time-resolved fluorescence spectroscopic characteristics of normal and cancerous blood." In Optical Biopsy X. SPIE, 2012. http://dx.doi.org/10.1117/12.908822.

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Reports on the topic "Biopic"

1

Bagwell, Christopher, and Robert Asmussen. Biotic degradation of acetonitrile. Office of Scientific and Technical Information (OSTI), April 2020. http://dx.doi.org/10.2172/1661194.

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2

Alfano, Robert R. Optical Biopsy III. Fort Belvoir, VA: Defense Technical Information Center, April 2000. http://dx.doi.org/10.21236/ada383371.

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3

Frost, J. W. Biotic and abiotic carbon to sulfur bond cleavage. Office of Scientific and Technical Information (OSTI), January 1991. http://dx.doi.org/10.2172/5474561.

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Frost, J. W. Biotic and abiotic carbon to sulfur bond cleavage. Office of Scientific and Technical Information (OSTI), January 1991. http://dx.doi.org/10.2172/5215659.

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Tsukruk, Vladimir V. Nanostructured Interfaces for Organized Mesoscopic Biotic-Abiotic Materials. Fort Belvoir, VA: Defense Technical Information Center, September 2011. http://dx.doi.org/10.21236/ada563947.

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El-Naggar, Mohamed Y. Biotic-Abiotic Nanoscale Interactions in Biological Fuel Cells. Fort Belvoir, VA: Defense Technical Information Center, March 2014. http://dx.doi.org/10.21236/ada602346.

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7

R. S. Nowak, J. Arnone, L. Fenstermaker, and and S. D. Smith. Biotic Processes Regulating the Carbon Balance of Desert Ecosystems. Office of Scientific and Technical Information (OSTI), July 2005. http://dx.doi.org/10.2172/841879.

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Bagwell, Christopher, Christian Johnson, Guohui Wang, Deniz Demirkanli, and Michael Truex. Carbon Tetrachloride: Evaluation of Biotic Degradation Mechanisms and Rates. Office of Scientific and Technical Information (OSTI), June 2019. http://dx.doi.org/10.2172/1922918.

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Yang, Xinwei, Huan Tu, and Xiali Xue. The improvement of the Lower Limb exoskeletons on the gait of patients with spinal cord injury: A protocol for systematic review and meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, August 2021. http://dx.doi.org/10.37766/inplasy2021.8.0095.

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Review question / Objective: The purpose of this systematic review and meta-analysis was to determine the efficacy of lower extremity exoskeletons in improving gait function in patients with spinal cord injury, compared with placebo or other treatments. Condition being studied: Spinal Cord Injury (SCI) is a severely disabling disease. In the process of SCI rehabilitation treatment, improving patients' walking ability, improving their self-care ability, and enhancing patients' self-esteem is an important aspect of their return to society, which can also reduce the cost of patients, so the rehabilitation of lower limbs is very important. The lower extremity exoskeleton robot is a bionic robot designed according to the principles of robotics, mechanism, bionics, control theory, communication technology, and information processing technology, which can be worn on the lower extremity of the human body and complete specific tasks under the user's control. The purpose of this study was to evaluate the effect of the lower extremity exoskeleton on the improvement of gait function in patients with spinal cord injury.
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Sutton, Richard. Sentinel Lymph Node Biopsy. Touch Surgery Simulations, October 2014. http://dx.doi.org/10.18556/touchsurgery/2014.s0033.

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