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Journal articles on the topic 'Biopic'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

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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2

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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3

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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4

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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7

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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8

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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9

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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11

Buonanno, Milly. "Femmes fatales, saints, empowered women: Female biopics in Italian public television." Journal of Italian Cinema & Media Studies 11, no. 2 (March 1, 2023): 239–54. http://dx.doi.org/10.1386/jicms_00177_1.

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Joining the current scholarly dialogue between biopic studies and gender/feminist/media studies, this work is meant to retrace the evolution of gender politics as expressed in the biographical genre which has played the role of the mainstay of domestic television drama since the origin of Italian broadcasting. Through a historical perspective that aims to track continuity and change over time, this work places a major focus on the 2000s, during which time women’s biographies experienced considerable growth on Italian television and more importantly began to replace traditional figures of saints and femmes fatales with female professionals in positions of leadership (journalists, politicians, entrepreneurs, scientists and artists). Based on the examination of several biopics and the close analysis of the most watched recent biopic about an ‘empowered woman’ (Luisa Spagnoli [2016]), this article seeks to explore whether the new wave of female biopics breaks crystallized generic conventions and foregrounds new representational strategies influenced by feminism or post-feminism.

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12

Andrews, Hannah. "Reading the Biopic through Persona: A Comparison between "Bohemian Rhapsody" and "Rocketman"." Comparative Cinema 9, no. 16 (July 15, 2021): 10–30. http://dx.doi.org/10.31009/cc.2021.v9.i16.02.

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Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi-fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics, Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.

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13

Morozova, Irina V. "American Biopic in Contemporary Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 105–14. http://dx.doi.org/10.17816/vgik81105-114.

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Biopic has recently become a leading genre in the world film industry. These films are especially popular in the USA. It is the dominant and most influential trend in the modern American film production. The article analyses American biopic conventions, defines the stages of its evolution and basic types, categorizes its characters.

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14

Thynne, Lizzie. "Claude Cahun: an experimental biopic." Journal of Media Practice 2, no. 3 (January 1, 2002): 168–74. http://dx.doi.org/10.1386/jmpr.2.3.168.

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15

Geraghty, Christine. "Taking on Margaret Thatcher: Biography, Feminism and The Iron Lady." Journal of British Cinema and Television 13, no. 4 (October 2016): 610–27. http://dx.doi.org/10.3366/jbctv.2016.0343.

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This article looks at The Iron Lady (2011) as a biopic in which discourses of history and feminism might appear to clash but are reconciled in the figure of Meryl Streep as the star. It considers the divisive figure of Mrs Thatcher, in the context of a film which was directed, written and edited by women, and uses this to consider the approach to history in this biopic and to contribute to debates about how far the makers of biopics are free to create their own version of a historical figure. Drawing largely on contemporary accounts of Thatcher as a political figure in the 1980s, I argue that the film offers a reading of her which can claim to be both feminist and historically plausible. Finally, the article examines the discourses of characterisation, stardom and performance which allowed Meryl Streep to be so successful in taking on the role of a politician who was herself a consummate performer.

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16

Robinson, Matthew. "‘It's spiritual, man’:Eddie the Eagleand English Amateurism." Journal of British Cinema and Television 16, no. 2 (April 2019): 170–90. http://dx.doi.org/10.3366/jbctv.2019.0467.

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The theme of amateurism has been persistent throughout the history of the British biopic, evidenced in films including Scott of the Antarctic (1948), The Magic Box (1951) and The Flying Scotsman (2006). Eddie the Eagle (2016), a film about ski-jumper Eddie ‘the Eagle’ Edwards and his preparation for the 1988 Winter Olympics where he finished 73rd out of 73 competitors, exemplifies how fascination with the amateur continues in contemporary biopic production. However, Eddie the Eagle represents the amateur ethos within a particularly unstable period for organised sports. The integrity of the Olympics and organised sports in general has been undermined by persistent corruption which centres on hosting rights, bribery and the use of performance-enhancing drugs by competitors. This article traces the genealogy of the amateur in British biopics, before considering the wider context in which Eddie the Eagle was produced. It then employs textual analysis of key sequences to illuminate the film's representation of amateurism and how it is constructed through oppositions: the value of amateurism against professionalism and the struggle of the outsider against the sporting Establishment. It suggests that Eddie the Eagle continues a theme at the heart of various British biopics, namely the integrity of the amateur and the value of taking part and ‘doing one's best’, at a time when the integrity of organised sport is increasingly under threat.

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Spirou, Penny. "FramingMao's Last Danceras a musical biopic." Studies in Australasian Cinema 8, no. 1 (January 2, 2014): 56–69. http://dx.doi.org/10.1080/17503175.2014.905052.

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18

Burns, James, and Abel Bartley. "The Great White Hope:A Forgotten Biopic?" a/b: Auto/Biography Studies 26, no. 1 (January 2011): 53–67. http://dx.doi.org/10.1080/08989575.2011.10846797.

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19

Fischer, Lucy. "Marlene: Modernity, Mortality, and the Biopic." Biography 23, no. 1 (2000): 193–211. http://dx.doi.org/10.1353/bio.1999.0012.

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20

Stubbs, Jonathan. "The Biopic in Contemporary Film Culture." Historical Journal of Film, Radio and Television 34, no. 4 (October 2, 2014): 640–42. http://dx.doi.org/10.1080/01439685.2014.976967.

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21

Korzeniewska-Nowakowska, Paulina. "American Poverty and Social Rejection in Craig Gillespie’s I, Tonya." European Journal of Life Writing 10 (September 8, 2021): WLS64—WLS76. http://dx.doi.org/10.21827/ejlw.10.37913.

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This paper examines the image of American poverty, rejection and social engagement in a recent sports biopic inspired by the story of American skater Tonya Harding, Craig Gillespie’s I, Tonya (2017). It draws on data presented in recent poverty studies to determine the extent of deprivation and attend to its representation in American cinema. In the light of the above, I closely analyze the biopic, focusing on its depiction of professional figure skating, expectations of female athletes, and most importantly, the figure of Tonya Harding. I argue that the protagonist’s social background dominates her portrayal, which also challenges the common conception of a sports biopic; Harding’s narrative is defined by her mismatch with ice skating’s normative expectations and, most importantly, by her social standing.

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22

Matiychak, Aliona, and Nataliia Nikoriak. "“Iris” (2001) by Richard Eyre: Film Reception Specificity of the Writer’s Biography." Pitannâ lìteraturoznavstva, no. 105 (October 28, 2022): 94–110. http://dx.doi.org/10.31861/pytlit2022.105.094.

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The article analyses the film reception issues of I. Murdoch’s biography in epistemological and historiographical perspectives. Due to the productive interaction of different types of biographical works, the mechanism of presentation / perception / cognition is mainly realized through references and reflection as an individual ability to supplement the “truth” of factual biographical material with other relations such as “interpretability”, “realizability” that form the so-called cognitive complex related to the perception peculiarities of biopic both as a separate genre and in the context of other biographical genres: memoirs, literary biography, etc. In the global context of biopics about writers, the film “Iris” (2001), directed by Richard Eyre, is perceived quite ambiguously. This receptive „ambiguity” is explained by the fact that R. Eyre deviates to some extent from the established canons of the biopic genre, building his plot on the contrast of two planes of relations between famous intellectuals – Bayley and Murdoch – as young, talented, charismatic, open-minded in her relationships Iris and as an elderly woman suffering from an incurable disease. Since it is almost impossible to cover her life in all its manifestations and activities in one perspective, the director resorts to intermedial dimensions and techniques of presenting biographical material. Relying on the documentary basis and memoirs of Murdoch’s husband John Bayley (“Elegy of Iris” and “Iris and Her Friends”), due to chronotopic shifts, television biography in the biopic, excerpts from Murdoch’s lectures, emphasizing her quotes scattered in the film, R. Eyre frames his model of Murdoch’s biography. This strategy allowed him, albeit fragmentarily, to show one of the world's smartest women in various guises: as a writer, as a philosopher and as an ordinary person, recreating the happiest and the most tragic fragments of her life, especially during the progression of Alzheimer’s disease.

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Theuer, Eugenie. "‘Mattering’ Women’s Lives on Screen: An Introduction." European Journal of Life Writing 10 (September 8, 2021): WLS1—WLS16. http://dx.doi.org/10.21827/ejlw.10.37910.

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The aim of this introduction is to provide a context for the articles that follow in this cluster on Women’s Lives on Screen. Starting with some reflections on how biopics can matter to audiences, I propose the use of ‘mattering’ as a concept for the study of women’s biopics which helps consider their objectification of women as biographical ‘material’ on screen in tandem with their emancipatory refiguring of women as biographical subjects that are made to matter. The introduction also offers a brief overview of biopic studies as they relate to the subject of women’s lives on screen. It ends by sketching the breadth of topics covered in this cluster with a summary of the eleven articles.

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Schönberger-Stepien, Christina. "Making Her Case: Dramatisation, Feminism, and the Law in the Ruth Bader Ginsburg Biopic On the Basis of Sex." European Journal of Life Writing 10 (September 8, 2021): WLS210—WLS236. http://dx.doi.org/10.21827/ejlw.10.37920.

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The portrayal of women in film has experienced a remarkable increase in recent years (see for example The Iron Lady, Hidden Figures, Jackie, or Judy). Female biographical film becomes particularly powerful when its entire theme and ideology centres around the law and politics of gender and sex, as is the case in Mimi Leder’s biopic On the Basis of Sex (2018) about the life of the late US Supreme Court justice Ruth Bader Ginsburg. The gender-conscious film portrays and dramatises the life of a determined woman who, despite struggles and sex-based discriminations, has transformed the justice system in terms of gender equality and the protection of women’s rights since the 1970s. This article argues that by negotiating the intertwinement of personal life and public achievement, the film covers pivotal issues of the feminist biopic such as the dissolving of traditional gender roles and a narrative of female success but also points to a collective notion of the biopic in its attempt to initiate wider political and societal discourses. The dramatisation of Ginsburg’s life in the form of a feminist courtroom biopic celebrates Ginsburg’s legacy via a strong affective, political focus and a juxtaposition of private and public, personal and professional, accompanied by an aesthetics of symbolism and symmetry.

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Mirra, Alessandra. "A threefold adaptation: Mario Martone's Leopardi." Journal of Italian Cinema & Media Studies 8, no. 1 (January 1, 2020): 79–92. http://dx.doi.org/10.1386/jicms_00006_1.

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Abstract This article explores how Martone's seemingly traditional period biopic of nineteenth-century Italian poet Giacomo Leopardi challenges the conventions of the genre, and could be read, instead, as an interesting case of cinematic adaptation on at least three different levels. I propose that Il giovane favoloso (Leopardi) is a film that, as a biopic, can be understood as an adaptation of a life experience ‐ an adaptation that, in its cinematic construction, expresses an awareness of the biopic as a film genre that can only perform a representational version of a life. Secondarily, Leopardi is a film that engages with an array of cinematic strategies to 'give body' to Leopardi's lyrical texts, turning his lines into a sensorial experience. Finally, it is a film that not only 'translates' specific literary texts in images but also expresses the overall development of Leopardi's poetics into a distinctly cinematic syntax.

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Arango, Carlos. "Biopic musical: Espejos de la identidad artística." Estudios Artísticos 8, no. 12 (January 1, 2022): 114–30. http://dx.doi.org/10.14483/25009311.18767.

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En el presente artículo se reflexiona acerca de la identidad artística como un terreno en pugna entre la búsqueda personal y la negociación de la obra ante la industria. Parte de la revisión de las estructu-ras narrativas de películas que se acogen a la cate-goría de biopics musicales. Dicho examen lleva a entender la identidad desde la forma como el arquetipo heroico lo hace motor de la movilización entre la biografía personal (en el mundo normal) y artística (en la industria cultural). El análisis se centra en cómo la carrera musical funge en tanto lugar de individuación y expresión subjetiva, donde la industria musical sirve como ámbito de negocia-ción y tránsito social. Y desde allí indaga sobre la figuración mediática de los artistas en la sociedad contemporánea como plataforma de identidad artística.

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Saffle, Michael. "Liszt in the Movies:Liszt's Rhapsodyas Composer Biopic." Journal of Popular Film and Television 35, no. 2 (July 2007): 58–65. http://dx.doi.org/10.3200/jpft.35.2.58-67.

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Gomet, Doriane. "Victor Young Perez: A Lacklustre Sports Biopic." International Journal of the History of Sport 37, no. 10 (July 2, 2020): 872–92. http://dx.doi.org/10.1080/09523367.2020.1845155.

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29

Castelvecchi, Davide. "Tesla biopic, starring Ethan Hawke: eccentric portrayal." Nature 584, no. 7822 (August 25, 2020): 514–15. http://dx.doi.org/10.1038/d41586-020-02457-4.

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Vidal, Belén. "Adaptation, Intermediality and the British Celebrity Biopic." Adaptation 8, no. 2 (May 14, 2015): 268–71. http://dx.doi.org/10.1093/adaptation/apv016.

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Kartika, Bambang Aris, Nanik Sri Prihatini, Sri Hastanto, and Dharsono Dharsono. "SOEGIJA BIOPIC FILM, POLITICAL AFIRMATION, AND POLITICAL IDENTITY: DECONSTRUCTION OF INDONESIAN HISTORIOGRAPHY." Capture : Jurnal Seni Media Rekam 12, no. 1 (December 1, 2020): 28–47. http://dx.doi.org/10.33153/capture.v12i1.3111.

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Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

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Sánchez Zapatero, Javier. "Retrato de poeta: vida y literatura de Jaime Gil de Biedma en El cónsul de Sodoma." 1616 Anuario de Literatura Comparada 10 (December 18, 2020): 59–70. http://dx.doi.org/10.14201/16162020105970.

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El artículo analiza El cónsul de Sodoma, biopic del poeta Jaime Gil de Biedma. Para ello, y con el propósito de mostrar la estrecha relación que la película tiene con la literatura, se estudia su dimensión intertextual, manifestada a través de varios procedimientos temáticos, argumentales, estilísticos, expresivos y de citación. Asimismo, el artículo también se ocupa de otras cuestiones del filme como su adscripción al género del biopic literario, su correspondencia con la realidad histórica o su reflejo del ambiente literario e intelectual de Barcelona durante la segunda mitad del siglo xx.

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Drigo, Maria Ogécia, and Paula Beatriz G. Cuter. "O potencial educacional do biopic Freud além da alma." Comunicação & Educação 25, no. 2 (December 4, 2020): 44–57. http://dx.doi.org/10.11606/issn.2316-9125.v25i2p44-57.

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Este artigo, cujo tema está na interface Comunicação/Educação, objetiva explicitar o potencial do biopic Freud the secret passion (título em português: Freud além da alma) para a compreensão de conceitos de psicanálise e para compor práticas de ensino. Para tanto, identifica aproximações de manifestações do inconsciente apresentadas no filme aos desenvolvidos por Freud. A fundamentação teórica e metodológica envolve teorias de Freud e análise de conteúdo. O artigo é relevante para a comunicação e para a educação por mostrar que a análise fílmica referente ao conteúdo do biopic pode contribuir para o ensino de conceitos científicos e ir além do cinema como entretenimento.

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Adriaensens, Vito, and Steven Jacobs. "Celluloid Bohemia? Ken Russell's Biopics of Visual Artists." Journal of British Cinema and Television 12, no. 4 (October 2015): 479–95. http://dx.doi.org/10.3366/jbctv.2015.0281.

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Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.

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Maiz-Peña, Magdalena. "Siluetas entintadas, instalación gráfica, life-writing gráfico y geografías corpóreas: Who Is Ana Mendieta?" Revista Canadiense de Estudios Hispánicos 43, no. 1 (November 5, 2019): 169–91. http://dx.doi.org/10.18192/rceh.v43i1.4528.

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Este ensayo examina la narración gráfica Who Is Ana Mendieta? (2011), de lasartistas canadienses Christine Redfern and Caro Caron, como un biopic gráficoque conforma un discurso visual feminista de life-writing sobre la artistacubana Ana Mendieta (1948-1985). El artículo identifica como estrategiagráfica seminal el trazo de siluetas entintadas que esculpidas en forma fluidanarran la vibrante vida artística de Mendieta, inscriben su estética deavanzada y registran su espíritu rebelde y el legado de su producciónperformativa e intermediática. Este biopic gráfico encarna un manifiestocontra la violencia de género y la narración gráfica deviene activismoentintado que reclama borraduras de la memoria cultural global.

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Dillon, Alfredo. "Biopic, memoria y nostalgia: la biografía del criminal." Ética y Cine Journal 11, no. 2 (July 26, 2021): 35–45. http://dx.doi.org/10.31056/2250.5415.v11.n2.34184.

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El artículo propone pensar el género biopic en relación con la historia, la memoria y la nostalgia, a partir del caso de la película argentina El ángel (Luis Ortega, 2018), basada en la vida del asesino serial Carlos Robledo Puch y sus crímenes a comienzos de la década de 1970. El film se desliza desde el relato biográfico hacia un plano más amplio: el de la reflexión –en clave pop– sobre el mal. La biografía de Robledo Puch es una excusa para narrar una historia que rodea el problema del mal y la libertad, la belleza y la perversión, la violencia y el erotismo como contracaras de la vida “normal”, de la existencia gris de las mayorías sociales que permanecen anónimas. A partir de una mirada nostálgica sobre los años 70, la biopic toma el nombre propio de Robledo Puch y algunas circunstancias históricas para darle identidad a una figura formada, sobre todo, de la sustancia de lo mítico.

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Ferry, Georgina. "Marie Curie biopic should have trusted pioneer’s passion." Nature 579, no. 7800 (March 2020): 490–91. http://dx.doi.org/10.1038/d41586-020-00737-7.

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Teo, Hsu-Ming. "Popular History and the Chinese Martial Arts Biopic." History Australia 8, no. 1 (January 2011): 42–66. http://dx.doi.org/10.1080/14490854.2011.11668356.

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39

FÖldvÁry, Kinga. "Rule, Britannia! The Biopic and British National Identity." Historical Journal of Film, Radio and Television 40, no. 2 (November 19, 2019): 461–63. http://dx.doi.org/10.1080/01439685.2019.1686218.

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Nieberle, Sigrid. "Das Grauen der Autorschaft: Angstnarrationen im literarhistorischen Biopic." Germanic Review: Literature, Culture, Theory 79, no. 2 (April 2004): 115–34. http://dx.doi.org/10.3200/gerr.79.2.115-134.

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Estrada Lorenzo, José Manuel. "Los biopics de científicos: un acercamiento desde el cine a la historia de la ciencia." Documentación de las Ciencias de la Información 46, no. 1 (January 25, 2023): 13–23. http://dx.doi.org/10.5209/dcin.83751.

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El cine y la televisión son aliados indiscutibles para la divulgación la ciencia, y los biopics, al recrear las vidas de científicos ejemplares y mostrar el proceso de las investigaciones, permiten aprender sobre el funcionamiento de la Ciencia. En este artículo se describe la evolución del biopic dedicado a los científicos, desde los primeros films de la década de 1930, con un recorrido lineal y una presentación del científico como un héroe, hasta films más recientes, donde se atienden a otros aspectos sociales y psicológicos. También se recogen diferentes características que definen el perfil del investigador, casi siempre positivos, y se muestran las diferentes fases del proceso de investigación, desde la observación a la presentación de resultados.

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Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.

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This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text

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Steinke, Carolin Crespo. "Travelling through the centuries." English Text Construction 10, no. 1 (June 15, 2017): 59–77. http://dx.doi.org/10.1075/etc.10.1.04ste.

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The paper analyses the influence of John Madden’s biopic Shakespeare in Love (GB/USA, 1998) on Molière (FR, 2007) and Young Goethe in Love (GER, 2010) by having a closer look at the intertextual relationship between the films. For this, it considers external and internal connections, referring to intertexts for the promotion and marketing as well as the use of content-based conventions for biopics on writers, literary sources and anachronisms. The analysis reveals that, although the French and German films take Shakespeare in Love as a source of inspiration, they rewrite the approach and transform it for an individual representation of their national subjects. This double effect points to a different, alternative strategy for adapting the literary life of the canonical author.

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Antolini, Demetrio. "Biografie della Nazione: Vita, Storia, Politica nel Biopic Italiano, Giacomo Tagliani (2019)." Journal of Italian Cinema & Media Studies 8, no. 3 (June 1, 2020): 469–71. http://dx.doi.org/10.1386/jicms_00045_5.

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Kumar, Akshaya. "Standing the provincial ground: Childhood and parental authority in Dangal (2016)." Studies in South Asian Film & Media 11, no. 1 (November 1, 2020): 41–55. http://dx.doi.org/10.1386/safm_00018_1.

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In the sales pitch for the 2016 blockbuster film Dangal, the gender question was heavily foregrounded to hail the sports biopic of a commonwealth gold medallist from rural Haryana. However, the film was also criticized for the patriarchal control of the desires of the wrestler-daughters, who gradually take cognizance of their potential. This article argues that we need to address a different trajectory to make full sense of the film, in spite of its marketing strategy. Taking its cues from sports biopics, figurations of obstinate provincial masculinity and neoliberal childhood, Dangal revisits much-maligned parental authority to foreground the question of moral resourcefulness. The state and nation in Dangal, I would argue, are decoupled from a provincial vantage point. Standing apart from generic biopics, Dangal’s heroes are in a standoff with the state’s essentially colonial character and its metropolitan kernel. Their public insubordination deserves a robust analysis of the antecedents from within film history, to reassemble Dangal’s urgent critique.

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Fischer, Lucy. "La Vie en Noir: Woman, Melodrama, and the Biopic." Quarterly Review of Film and Video 33, no. 3 (February 22, 2016): 187–216. http://dx.doi.org/10.1080/10509208.2015.1101318.

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DOYLE, KEGAN. "Muhammad Goes to Hollywood: Michael Mann's Ali as Biopic." Journal of Popular Culture 39, no. 3 (June 2006): 383–406. http://dx.doi.org/10.1111/j.1540-5931.2006.00255.x.

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Dickstein, Morris. "This Was Your Life: The Year of the Biopic." Dissent 52, no. 2 (2005): 103–7. http://dx.doi.org/10.1353/dss.2005.0000.

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Novak, Julia. "Screening Clara Schumann: Biomythography, Gender, and the Relational Biopic." Biography 45, no. 1 (2022): 1–26. http://dx.doi.org/10.1353/bio.2022.0015.

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Pronin, Alexander A. "Polyphony as the principle of narration in the biopic-portrait." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 4(36) (August 1, 2015): 180–89. http://dx.doi.org/10.17223/19986645/36/14.

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