Biopics: Eine Arbeitsbibliographie 2015

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Ansgar Schlichter; Hans Jürgen Wulff Biopics: Eine Arbeitsbibliographie 2015 https://doi.org/10.25969/mediarep/12797

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Empfohlene Zitierung / Suggested Citation: Schlichter, Ansgar; Wulff, Hans Jürgen: Biopics: Eine Arbeitsbibliographie. Westerkappeln: DerWulff.de 2015 (Medienwissenschaft: Berichte und Papiere 162). DOI: https://doi.org/10.25969/mediarep/12797.

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Redaktion und Copyright dieser Ausgabe: Ansgar Schlichter, Hans J. Wulff. ISSN 2366-6404. URL: http://berichte.derwulff.de/0162_15.pdf. Letzte Änderung: 12.1.2015.

Biopics: Eine Arbeitsbibliographie Komp. v. Ansgar Schlichter u. Hans J. Wulff

Das Kunstwort Biopic – eine Kurzform für bio- ne erste Blüte im Tonfilm der 1930er. William Die- graphical picture – ist eine Allgemeinbezeichnung terles Warner-Brothers-Biopics, darunter The Story für den biographischen Spielfilm. Es wurde zuerst of Louis Pasteur (1936), repräsentierten die erbauli- wohl als Slangausdruck von der Variety gebraucht. che, auf verschärfte Zensur reagierende Produktion Im Deutschen war früher die Bezeichnung Filmbio- Hollywoods. „Kulturell wertvolle“ Geschichten über graphie verbreitet; inzwischen ist auch hier die Rede heroische Individuen und deren Beitrag zum Fort- vom Biopic üblich geworden. schritt der Menschheit prägten auch in den faschisti- schen Ländern und in der Sowjetunion (z.B. Tscha- Als Subgenre des historischen Films porträtiert das pajew, 1934) das klassische Biopic. Den Höhepunkt Biopic historische Persönlichkeiten, deren Leben in erreichte die Hollywood-Produktion biographischer toto, von Kindheit bis zum Tod, erzählt wird oder Filme in den 1950ern, u.a. mit einer Reihe von aus deren Viten bedeutungsvolle Episoden, oft er- Bandleader-Porträts nach The Glenn Miller Story heblich fiktionalisiert, geschildert werden. Als wich- (1954, Anthony Mann). tige Inspirationsquelle diente seit je die Geschichte Jesu in der säkularisierten Form von Aufstieg, Fall Mit der Verlagerung von politischen zu künstleri- und Wiederkehr (das oft so genannte Comeback- schen Sujets nach dem 2. Weltkrieg kamen verstärkt Motiv). Daneben bildeten sich eine ganze Reihe wei- Schattenseiten und pathologische Aspekte des terer stereotyp abgearbeiteter Motive heraus – und es Ruhms (Sucht, Wahn), später zunehmend auch An- werden Modelle von Aufstieg und Fall (wie sie auch gehörige von Minderheiten in den Fokus, welche die aus der Historiographie bekannt sind), Vorstellungen moderne (Heldensturz-)Biographie seit den 1960er der Krise (verursacht durch Veränderungen im pri- Jahren prägen. Die Titelfigur erscheint nun histo- vaten oder politischen Umfeld, durch den Verlust risch dezentriert (Andrej Tarkowskijs Andrej Rubl- von Freunden oder Verwandten usw.), der Selbstzer- jow, 1968), als abwesendes nationales Phantasma störung (etwa durch den Gebrauch von Suchtmit- (Francesco Rosis Salvatore Giuliano, 1961) oder als teln) oder der Erkrankung exemplifiziert, die auch in Verkörperung des Holocaust (Aus einem deutschen literarischen Darstellungen erprobt sind. Große Be- Leben, Theodor Kotulla, 1977). Trotz mitunter expe- deutung haben Umschwünge und grundlegende rimenteller Frauenbiographien, wie Jutta Brückners Wandlungen der Haltung (die „Saulus-Paulus- Rahel-Varnhagen-Kammerspiel Kolossale Liebe Wandlung“), aber auch Momente oder Phasen (1991), dominieren nach wie vor Männerporträts, schöpferischen Tuns. Das Zentrum des Biopics bil- wenn auch teils sehr exzentrische, wie die des Komi- det fast immer das biographierte Individuum, das kers Andy Kaufman in Milos Formans Man on the durch die Erzählung oft in Heldenstatus gehoben Moon (1999). Oft totgesagt, lebt das Genre schub- wird. weise immer wieder auf und hat auch in seiner jüng- sten Konjunktur oscar-gekrönten Erfolg (Ray, USA Namhafte Beispiele entstanden in der Stummfilmära 2004, Taylor Hackford, und Walk the Line, 2005, (Carl Froelichs Richard Wagner, 1913, oder Abel James Mangold). Gance’ Napoléon, 1927), doch erlebte das Genre sei- Biopics // Medienwissenschaft, 162, 2015 /// 2

Seit den 1970ern hat das Biopic neue Prominenz ge- entists, biopics are one of the best indicaton of wonnen. Es war nicht nur das Fernsehen, das die Ge- public attitudes towards science and technology schichte großer oder populärer Männer und Frauen in contemporary society. als einen nicht enden wollenden Stoff für das Pro- gramm entdeckte und vor allem dem mittellangen Anderson, Carolyn: Biographical Film. In: A Hand- book of American Film Genres. Ed. by Wes D. Geh- Biopic (45‒60 min) zu ungeahnter Verbreitung ver- ring. Westport, Conn.: Greenwood Press 1988, S. half, sondern auch die Video- und spätere DVD- 331‒351. Technik, verbunden mit der langfristigen Auswer- tung von Musiktiteln durch die Musikindustrie Anderson, Carolyn / Lupo, John: Hollywood Lives: (manchmal unterstützt durch „Retro-Trends“), die the State of the Biopic at the Turn of the Century. In: dazu führten, dass es eine ganze Welle von Biopics Genre and Contemporary Hollywood. Ed. by Steve von Rock- und Pop-Musikern gegeben hat [1]. Ne- Neale. London: BFI Publishing, 2002, S. 91‒104. ben die Wissenschaftler und Künstler, die bis in die 1960er hinein die wichtigste Gruppe von biographie- Anderson, Carolyn / Lupo, Jonathan (eds.): The Bio- würdigen Personen dargestellt hatten, treten nun pic. In: Journal of Popular Film and Television 36, Summer 2008, S. 50‒111. Vertreter der Populärkultur, die sich mit den Biopics = Spec. Issue. ein Medium der Geschichtsschreibung und der gleichzeitigen Heroisierung ihrer Akteure erobert Andrews, Hannah: Recitation, Quotation, Interpreta- hat. tion: Adapting the Œuvre in Poet Biopics. In: Adap- tation: The Journal of Literature on Screen Studies, Anmerkung 2013, S. 365‒383. [1] Vgl. zum Thema auch: This article examines the adaptation of poems in Medienwissenschaft: Berichte und Papiere, 75, 2007: recent biographical films which take poets as Komponisten im Film. their subjects. Examples include The Edge of —, 161, 2015: Rock- und Pop-Biopics. Love (Dir. John Maybury, UK, 2008) which takes as its subject Dylan Thomas, Bright Star (Dir. Jane Campion. UK/Australia, 2009), John Keats, Bibliographie Regeneration (Dir. Gillies MacKinnon, UK, 1997), the First World War poets Siegfried Sas- In die folgende Bibliographie haben wir alle Titel soon and Wilfred Owen, and Pandaemonium aufgenommen, die uns zum allgemeinen Thema des (Dir. Julien Temple, UK, 2001), the Romantics biographischen Films bekannt geworden sind. Von William Wordsworth and Samuel Taylor Cole- den zahlreichen Analysen zu einzelnen Filmen oder ridge. It considers poetry in these films as acts of einzelnen Personen der Geschichte haben wir nur double adaptation: the poems are both themselves diejenigen verzeichnet, die von allgemeinerem Inter- the subjects of the adaptation process and are simultaneously used in these films to support, un- esse sind. derline or illustrate the adapted narrative of the life of the poet that the film proposes.

Alberto, Elena: Exemplary Lives: Biographies of Aquino, John: Truth and Lives on Film: The Legal Scientists on the Screen. In: Public Understanding Problems of Depicting Real Persons and Events in a of Science 2, 1993, S. 205‒223. Fictional Medium. Jefferson, NC: McFarland 2005, Cinema has emerged in the twentieth century as x, 210 S. one of the most powerful vehicles for the popu- The examination of fact-based films and the law larization of science. Medical melodramas, sci- begins with a history of the legal issues surround- ence fiction films and biopics can be used to ad- ing the fictionalization of real events and people. vantage by historians and sociologists of science Fact versus fiction in 13 courtroom dramas, mo- alike in order to reconstruct the always elusive vies for which court documents provide clear his- public opinion. As a subgenre of historical films, torical records are discussed. biopics constitute a vigorous attempt to commu- nicate to the lay public the ethos conventionally Archer, Neil: Attack of the Clones: Watching Stars associated with scientific endeavour. Much more Playing Stars in French Biopics. In: Adaptation: than a simple illustration of the lives of great sci- Studies in French and Francophone Culture. Ed. by Biopics // Medienwissenschaft, 162, 2015 /// 3

Neil Archer & Andrea Weisl-Shaw. Oxford: Peter phien / 13. ‒ Fabienne Liptay: Palimpsest der Lang 2012, S. 163‒175 (Modern French Identities. Passionen. Peter Watkins’ filmischer Lebensfries 99.). über Edvard Munch / 31. ‒ Jörg von Brincken: Grausame Kopien der Erfahrung. John Mayburys Atkinson, Michael: Long Black Limousine: Pop Film Love Is the Devil: Study for a Portrait of Biopics. In Celluloid Jukebox: Popular Music and Francis Bacon / 6I. ‒ Verena Krieger: Kippen- the Movies since the 50s. Ed. Jonathan Romney & berger. Der Film. Eine (post-)moderne Künstler- Adrian Wootton: London: BFI 1995, S. 20‒31. legende? / 88. ‒ Lorenz Welker: Psychopatholo- Repr. in Atkinson: Ghosts in the Machine: Spec- gie und Apotheose. Überlegungen zu Pathogra- ulating on the Dark Heart of Pop Cinema. New phie und Passion des Künstlers in Bernard Roses York: Limelight Editions 1999, S. 91‒102. Beethoven-Film Immortal Beloved / 117. ‒ Wolf- gang Rathert: Musik als Widerstand und „ästheti- Babington, Bruce: ‘To Catch a Star on Your Finger- sche Materie“. Notizen zu Jean-Marie Straubs tips’: Diagnosing the Medical Biopic from The Story und Daniele Huillets Chronik der Anna Magdale- of Louis Pasteur to Freud. In: Signs of Life: Cinema na Bach / 140. ‒ Jens Malte Fischer: „Contains and Medicine. Ed. by Graeme Harper & Andrew strong violence and sex“. Ken Russells Film Moor. London/New York: Wallflower Press 2005, Mahler / 160. ‒ Christopher Balme: Fitzcarral- S. 120‒131. do. Werner Herzog und die geschichtliche Last der Großen Oper im Urwald / 177. ‒ Miriam Dre- Babington, Bruce: Star Personae and Authenticity in wes: Vom Stillstand in der Bewegung Francois the Country Music Biopic. In: Film’s Musical Mo- Truffauts La Nuit americaine als Destruktion des ments. Ed. by Ian Conrich & Estella Tincknell. Edin- Künstlermythos / 194. ‒ Christof Decker: Die re- burgh: Edinburgh University Press 2006, S. 84‒98. flexive Filmkunst des New Hollywood Cinema / With the decline of the classical song and dance 218. ‒ Michaela Krützen: The Hours. Drei Ge- musical in the 1960s the genre’s most persistant schichten und drei Hauptfiguren. Zwei Schrift- mode of survival has been the biopic. This survi- steller und zwei Selbstmorde / 234. ‒ Andreas val is, however, embodied less in accounts of the Engelhart: Das Leiden des Künstlers zwischen lives of the performers or composers of the tradi- Inszenierung und Authentizität. Eine Spurensu- tional mainstream popular music of the U.S. mu- che im Film und in der Wirklichkeit / 271. ‒ Na- sical than of stars of alternative forms, such as thalie Weidenfeld: Die Passion des Filmkünst- rock, jazz and country music. Focusing on a lers. Lars von Triers „seis-tychon“ Antichrist range of country music films, from theatrically oder die Verdammnis des poetischen Sehens / released productions such as Coal Miner’s 291. Daughter (1980), to the wave of made-for-television biopics that appeared in the 1980s and Bannister, Matthew: ‘Isn’t He a Bit Like You and 1990s, this chapter explores the ways in which Me?’: Nowhere Boy and the Feminised Rock Bio- they all emphasise the discursive tropes of au- pic. In: Screen Education, 68, Summer 2012, S. thenticity and sincerity in their narratives of stars’ 123‒127. lives. It shows that the country music film works Rock biopics have historically been marginal to to negotiate the relationship between these mainstream cinema, appealing primarily to a spe- concerns and the celebration of country’s increas- cialist audience: male rock fans. They also tend ingly mainstream appeal by insisting on the ‘liv- to get a critical drubbing because of their predict- ed’ nature of country lyrics about heartbreak, di- able, morally simplistic narrative: naive boys vorce and loss. gain the world but lose their soul to sex, drugs and commerce (with the possible exception of Baldizzone, José: esquisse d‘un catalogue des bio- Todd Haynes’ Velvet Goldmine and I’m Not graphies cinématographiques. In: Les Cahiers de la There). Generally, biopics about female musi- Cinémathèque, 45, 1986, S. 13‒22. cians (such as those about Billie Holiday, Loretta Lynn, Patsy Cline and Tina Turner) have been Balme, Christopher / Liptay, Fabienne / Drewes, Mi- more successful, both commercially and critical- riam (Hrsg.): Die Passion des Künstlers. Kreativität ly. Perhaps they appeal to a broader audience by und Krise im Film. München: ed. text + kritik 2011, focusing more closely on the emotional journey 312 S. of the heroine ‒ you don’t have to like the music Inhalt: Thomas Koebner: Vampir Kunst. Drei to enjoy the movie. Or perhaps because women Künstlerinnen ‒ drei filmische Künstlerbiogra- are often seen as outsiders in popular music, it Biopics // Medienwissenschaft, 162, 2015 /// 4

makes their stories more compelling or forces the Bingham, Dennis: Living Stories: Performance in writers to be more creative. But films about fe- the Contemporary Biopic. In: Genre and Perform- male rock musicians (as opposed to jazz, country ance: Film and Television. Ed. by Christine Cornea. or soul, as in the above examples) are rare. Manchester: Manchester University Press 2010, S. 76‒95. Bell, Alana: Biopic Bibliography. In: Biography: An Interdisciplinary Quarterly 23,1, Winter 2000, S. Bingham, Dennis: Whose Lives Are They Anyway? 212‒222. The Biopic as Contemporary Film Genre. New Brunswick, NJ/London: Rutgers University Press Belodubrovskaya, Maria: The Jockey and the Horse: 2010, xi, 432 S. Joseph Stalin and the Biopic Genre in Soviet Cine- Rev. (Smyth, J. E.) in: American Studies 51,1‒2, ma. In: Studies in Russian and Soviet Cinema 5,1, Spring/Summer 2010, S. 178. 2011, S. 29‒53. Rev. (Ira Nadel) in: a/b: Auto/Biography Studies 26,1, Summer 2011, S. 171‒176. Bergan, Ronald: Whatever Happened to the Biopic? Rev. (Schlotterbeck, Jesse) in: Film Criticism In: Films & Filming, 346, July 1983, S. 21‒22. 35,1, Fall 2010, S. 112. Survey of the range of biopics. Rev.-Art.: Spirou, Penny: New Scholarly Study of the Contemporary Biopic. In: New Scholar Berger, Doris: Projizierte Kunstgeschichte: Mythen 1,1, 2011, S. 78‒82. und Images in den Filmbiografien über Jackson Pol- Inhalt: Introduction: A Respectable Genre of Ve- lock und Jean-Michel Basquiat. Bielefeld: transcript ry Low Repute / 3 ‒ Strachey’s Way, or All’s 2009, 331 S. Well That Ends Welles / 31 ‒ Rembrandt (1936) / Amerikan Übers. u.d.T.: Projected Art History: 41 ‒ Citizen Kane and the Biopic / 50 ‒ Law- Biopics, Celebrity Culture, and the Popularizing rence of Arabia: “But does he really deserve a of American Art. New York: Bloomsbury Aca- place in here?” / 72 ‒ Nixon, Oliver Stone, and demic 2014, xiii, 350 S. (International Texts in the Unmaking of the Self-Made Man / 100 ‒ P.S.: Critical Media Aesthetics.). W. / 122 ‒ Thirty Two Short Films About Glenn Künstlergenies entfalten eine facettenreiche Gould: Ghost Picture / 128 ‒ Ed Wood: The Bio- Strahlkraft ‒ besonders auf der Filmleinwand! pic of Someone Undeserving / 146 ‒ Spike Lee’s Sie wirken auf unsere Vorstellungen vom Künst- Malcolm X: Appropriation or Assimilation? / 169 lerdasein und künstlerischer Produktion. Der Fo- ‒ Raoul Peck’s Lumumba: Drama, Documentary, kus der projizierten Kunstgeschichte liegt auf and Postcolonial Appropriation / 191 ‒ Prologue biografischen Spielfilmen (Biopics), in denen die [to women‘s biopics] / 213 ‒ Superstar: The Ka- Lebensgeschichten von Künstlerinnen und ren Carpenter Story: Toying with the Genre / Künstlern auf dramatisierende Weise inszeniert 223 ‒ I Want to Live!: Criminal Woman, Male und von Schauspielstars verkörpert werden. An- Discourses / 238 ‒ Barbra and Julie at the hand der Biopics Pollock (2000) und Basquiat Dawning of the Age of Aquarius /259 ‒ Funny (1996) untersucht dieses Buch aus kunsthistori- Girl / 261 ‒ Star! / 271 ‒ Hacked: Gorillas in the scher und filmwissenschaftlicher Sicht die Mist and Other Female Biopics of the 1980s / 289 Künstler/-innenmythen und Starlegenden, die ‒ An Angel at My Table: Re-Framing the Female Vorlagen und ihre Repräsentationspolitik. Künst- Biography / 311 ‒ Erin Brockovich: Hollywood lergenie ade ‒ oder: es lebe das Künstlergenie? Feminist Revisionism, after a Fashion / 332 ‒ Twenty-First-Century Women / 348 [The Noto- Beyler, Noily: The Anxiety of Authenticity in Da- rious Bettie Page: Free Will and God’s Will / han’s La vie en rose and Zeffirelli’s Callas Forever. 350 ‒ Marie Antoinette: The Female Biopic Gets In: French Forum 36,2, 2011, S. 221‒238. the Guillotine / 361 ‒ I’m Not There: Some Con- clusions on a Book Concerning Biopics / 377. Bingham, Dennis: ‘I Do Want To Live!’: Female Voices, Male Discourse, and Hollywood Biopics. In: Bingham, Dennis: Woody Guthrie, Warts-and-All: Cinema Journal 38,3, Spring 1999, S. 3‒26. The Biopic in the New American Cinema of the Challenges the assumptions about fifties film bio- 1970s. In: Auto/Biography Studies 26,1, 2011, S. graphies and explores how “I want to live” finds 68‒90. male filmmakers identifying with a female pro- tagonist in opposition to male institutions. Bingham, Dennis: The Lives and Times of the Bio- pic. In: A Companion to the Historical Film. Ed. by Biopics // Medienwissenschaft, 162, 2015 /// 5

Robert A. Rosenstone & Constantin Parvulesu. Chi- model; and the “time and space” model. Chapter chester, West Sussex/Malden, MA: Wiley-Blackwell II, in turn, argues that Sweet Dreams failed to 2013 [2012], S. 233‒256. achieve the acclaim of Coal Miner’s Daughter largely because the subject’s death made it im- Bolter, Trudy: Gainsbourg: Une Vie héroïque by Jo- possible to authenticate the film’s emphasis. ann Sfar (2010). ‘Drawing in Motion’ and the Bas- Chapter III contends that Walk the Line actress tard Biopic. In: In Praise of Cinematic Bastardy. Ed. Reese Witherspoon was considered authentic due by Sébastien Lefait & Philippe Ortoli. Newcastle to her ability to negotiate, first, June Carter’s upon Tyne: Cambridge Scholars 2012, S. 170‒178. struggle between “home” and “the road,” and, second, her own star persona with that of the Brackett, David: Banjos, Biopics, and Compilation character’s. Finally, Chapter IV uses the docu- Scores: The Movies Go Country. In: American Mu- mentary Shut Up and Sing to examine how stand- sic 19,3, Autumn 2001, S. 247‒290. ards of authenticity change over time, as well as The films that used country music after 1970 do how authenticity is negotiated in a different film not fit into a single genre, but rather employ a genre. range of generic conventions that affect the role of music in the films. While Brackett explores Brost, Molly: Negotiating Authenticity: Coal Mi- how specific films both mobilize the discursive ner’s Daughter, the Biopic, and Country Music. In: web in which country music is embedded and Americana: The Journal of American Popular Cul- situate country music within a constellation of ture 7,2, Fall 2008; musical meaning that may be unique to that film, Online: URL: these methods of meaning production are con- http://www.americanpopularculture.com/journal/ strained and controlled by the generic conven- articles/fall_2008/brost.htm. tions of a given film. Brown, Tom / Vidal, Bélen (eds.): The Biopic in Brost, Molly: Mining the Past: Performing Authenti- Contemporary Film Culture. New York/London: city in the Country Music Biopic. Ph.D. Thesis, Routledge 2014, xii, 309 S. Bowling Green State University 2008, 135 S. The biographical film or biopic is a staple of film Both country music and the biographical film are production in all major film industries and yet, genres that are evaluated by strict (yet constantly within film studies, its generic, aesthetic, and cul- changing) standards of authenticity. However, tural significance has remained underexplored. “authenticity” means different things when ap- The Biopic in Contemporary Film Culture fills plied to both genres; in country music, it refers to this gap, conceptualizing the biopic with a parti- the artist’s respect for tradition and ability to re- cular eye toward the “life” of the genre interna- late to their audience, while in the biographical tionally. New theoretical approaches combine film, the term typically denotes factual accuracy with specially commissioned chapters on contem- and the filmmaker’s ability to emphasize the porary biographical film production in India, Ita- “correct” aspects of the subject’s life. This diss- ly, South Korea, France, Russia, Great Britain, ertation argues that when a biographical film and the US, in order to present a selective but about a country musician is made, it must negoti- well-rounded portrait of the biopic’s place in film ate standards of authenticity applicable to both culture. From Marie Antoinette to The Social country music and the biographical film. Further, Network , the pieces in this volume critically ex- it posits that when the subject of the film is fe- amine the place of the biopic within ongoing de- male, the standard for living an “authentic” life bates about how cinema can and should represent and having an “authentic” career changes drasti- history and “real lives.” Contributors discuss the cally and, for the artist, is a constant negotiation. biopic’s grounding in the conventions of the his- Via analyses of four films chronicling the lives of torical film, and explore the genre’s defining female country musicians, this dissertation exam- traits as well as its potential for innovation. The ines the ways in which the films (and their hero- book expands the critical boundaries of this ines) negotiate genre- and medium-specific evolving, versatile genre. standards of authenticity. Using the 1980 film Coal Miner’s Daughter as a case study, Chapter I Brückner, Jutta: Einen historischen Moment im fil- argues that country biopics must successfully ne- mischen Raum festhalten. In: Frauen und Film, 41, gotiate authenticity relative to four models: the Dez. 1986, S. 75‒78. country model; the narrative model; the emphasis Biopics // Medienwissenschaft, 162, 2015 /// 6

Bryant, Wayne M.: The Bisexual Biopic. In: Journal Coppola, Don: Bringing Historical Characters to of Bisexuality 5,1, 2005, S. 113‒118. Life: An Interview with Stephen J. Rivele. In: Cine- This essay discusses the harm done to bisexual aste 27,2, Spring 2002, S. 16‒19. youth by negative stereotypes and invisibility in Presents an interview with screenwriter Stephen film, as well as a recent trend in biographical J. Rivele, focusing on his work on the film Ali. films (biopics) to give bisexual people their sexu- Includes his comments about becoming a screen- ality back. The recent Cole Porter biography, De- writer, balancing dramatic writing with accurate Lovely, is discussed. portrayals when writing about historical figures, collaborating with his writing partner Christopher Burns, James McDonald: The Great White Hope: A Wilkinson, and other related topics. Forgotten Biopic? In: A/B: Auto/Biography Studies 26,1, Summer 2011, S. 53‒67. Corner, John: Biography Within the Documentary Frame: A Note. In: Framework: The Journal of Ci- Bruss, Elizabeth W.: Eye for I: Making and Unmak- nema and Media 43,1, Spüring 2002, S. 95‒101. ing Autobiography in Film. In: Autobiography: Es- says Theoretical and Critical. Ed. by James Olney. Crawford, T. Hugh: Glowing Dishes: Radium, Marie Princeton, N.J.: Princeton University Press 1980, S. Curie, and Hollywood. In: Biography 23,1, 2000, S. 296‒320. 71‒89. Discusses the cultural power of images of science Cheshire, Ellen: Bio-pics: A Life in Pictures. New and scientists produced by film biography. Using York: Wallflower Press 2015, 141 S. (Short Cuts. Mervyn LeRoy’s Madame Curie (1943) as an ex- 57.). ample, the author charts the remarkable symme- Introduction: A Life in Pictures ‒ 1. The Sound try between some feminist critiques of science of Music: Singers and Musicians Take Centre and some versions of feminist film theory of the Stage ‒ 2. Hollywoodland: Actors and Directors 1990’s, particularly in relation to notions of en- as Portrayed by Actors and Directors ‒ 3. Prick lightenment, objectification, and identity. Up Your Ears: Now a Word on Writers ‒ 4. Through the Eyes of a Painter: The Art of the Creekmur, Corey: Buffalo Bill (Himself): History On-screen Artist ‒ 5. A Winner Never Quits: The and Memory in the Western Biopic. In: Westerns: Powerful Force of Sporting Biographies ‒ 6. Films through History. Ed. by Janet Walker. New Awakenings: Voices from the Ivory Towers of York: Routledge 2001, S.131‒147. Academia ‒ 7. Into the Storm: The Politics of Political Bio-pics ‒ 8. A Royal Affair: The Ma- Curtis, Robin: Conscientious Viscerality: The Auto- jesty of Royal Representations ‒ Epilogue. biographical Stance in German Film and Video. Berlin: Edition Imorde 2006, 203 S. Chung, Hye Seung: Hollywood Goes to Korea: Bio- pic Politics and Douglas Sirk’s Battle Hymn (1957). Custen, George F[rederick]: Bio/pics: How Holly- In: Historical Journal of Film, Radio and Television wood Constructed Public History. New Brunswick, 25,1, March 2005, S. 51‒80. N.J. : Rutgers University Press 1992, xvi, 304 S. Rev. (Greenspan, Charlotte) in: Journal of Film Cieutat, Michel: Les Biopics de 1930 à 1960, ou le & Video 46,3, Fall 1994, S. 47‒49. dopage d’une nation. In: Positif: Revue Mensuelle Rev. (Holston, K.) in: Library Journal 117,9, 15. de Cinéma, 540, Febr. 2006, S. 82‒85. 5.1992, S. 95. Rev. (Leff, Leonard J.) in: Film Quarterly 46,4, Ciment, Michel (éd.): La Biographie filmée. In: Po- 1993, S. 29‒30. sitif: Révue Mensuelle de Cinéma, 540, Febr. 2006, Rev. (Morris, Gary) in: Bright Lights Film Jour- S. 80‒110. nal, 10, Juli 1993, S. 50. = Themenrubrik. Rev. (Rollins, Peter C.) in: Journal of Popular Culture 27,1, 1993, S. 219‒220. Comuzio, Ermanno: ‘Attraverso il fuoco mi son fatt Rev. (Sklar, Robert) in: Historical Journal of o strada’. Le vite fiammeggianti dei musicisti sullo Film, Radio and Television 14,1, 1994, S. 92‒93. schermo e in televisione. In: Chigiana: Rassegna Bio/Pics is the first comprehensive study of a Annuale di Studi Musicologici 42,22, 1990, S. 261‒ once important film genre, the biographical film. 263. Using previously unavailable archival materials from Twentieth Century-Fox, Warner Bros., Biopics // Medienwissenschaft, 162, 2015 /// 7

MGM, and RKO studios, as well as censorship Mafia Movies: A Reader. Ed. by Dana Renga. To- files from the Production Code Administration, ronto: University of Toronto Press 2011, S. 320‒ George Custen argues that, through these films, 328. Hollywood manufactured a nearly monochromat- ic view of history that was systematically distort- Deveny, T.: Bio-Pic/Death Story: Emilio Martinez- ed in regard to race, gender, nationality, and pro- Lazaro’s Las 13 rosas. In: Bulletin of Spanish Stud- fession. Employing a carefully selected sample of ies 89,7‒8, 2012, S. 39‒48. over one hundred films produced during the studio era (1927‒1960), Custen maintains that the Díaz de Chumaceiro, Cora L.: Induced Film Recall: biopic constructed a Hollywood code of history Biographies of Classical Composers. In: Journal of out of a tightly controlled reference system, gla- Poetry Therapy 13,3, Spring 2000, S. 157‒163. morizing the producers’ own personal visions of Increasingly the film industry is making available what constituted a great life. Custen’s examina- new and old movies in video format that can faci- tion of production practices reveals that the ma- lite our work in treatment when patients recall chinery of public history operating through these this artform. This paper draws attention to videos films was fueled by different textual and intertex- of biographies of classical composers, as in the tual sources; Hollywood’s model of history was expressive arts therapies we also select the mate- derived from recycled plots played out on its rials to be used with patients. Working with these back lots and sound stages, and not from the films in therapy additionally enhances the cultur- world outside the studio walls. His analysis of the al aspect of life. roles played by star personae, legal considera- tions, censorship practices, and the producers’ Dickstein, Morris: This Was Your Life. In: Dissent own ideologies brings the world of the biopic 52,2, Spring 2005, S. 103‒107. alive, even into the age of the made-for-TV mo- Focuses on the increasing interest by the motion vie. picture industry in producing biographical films in the U.S. Tendency for biopics to produce great Custen, George F[rederick]: “Night and Day”: Cole performances. Description of the biopics Ray and Porter, Warner Bros., and the Re-creation of a Life. The Aviator. Move of writers of biopics to be se- In: Cineaste 19,2‒3, 1992, S. 42‒44. lective in shaping facts into stories that work. On how the biographical film Night and Day ide- alized Cole Porter’s life and ignored his homo- Diffrient, David Scott: Filming a Life in Fragments: sexuality. Thirty Two Short Films about Glenn Gould as ‘Bio- rhythmic-Pic’. In: Journal of Popular Film and Custen, George F[rederick]: Too Darn Hot: Holly- Television, 36, Summer 2008, S. 91‒101. wood, Popular Media and the Construction of Sexu- Using the works of Gaston Bachelard and Susan ality in the Life of Cole Porter. In: Radical History Stewart as a philosophical foundation upon Review, 59, Spring 1994, S. 142‒171. which to build a theory of the “„biorhythmic- pic“, this article explores how director François Custen, George F[rederick]: The Mechanical Life in Girard’s postmodern biopic Thirty Two Short the Age of Human Reproduction: American Biopics, Films about Glenn Gould (1993) both adheres to 1961‒1980. In: Biography 23,1, 2000, S. 127‒159. and departs from conventional genre patterns of cinematic life-writing. Custen, George F[rederick]: “Making History”. In: The Historical Film: History and Memory in Media. Dixon, Simon: Picture Perfect: Artist Stereotypes in Ed. and with an introduction by Marcia Landy. New Film. In: Art Papers 22,6, Nov./Dec.1998, S. 32‒33. Brunswick, N.J.: Rutgers University Press, 2001, S. Artist stereotypes in motion pictures are discuss- 67‒97. (Rutgers Depth of field series.). ed. The writer discusses a number of artist biopics, from Peter Watkins’s Edvard Munch (1976) Davis, Natalie Zemon: Any Resemblance to Persons to John Maybury’s Love is the Devil - Study for a Living or Dead: Film and the Challenge of Authenti- Portrait of Francis Bacon (1998). He observes city. In: Yale Review 76,4, Summer 1987, S. 457‒ that whereas the artist biopic that teaches much 482. about painting itself is rare, fully fictional movies, in which the prosaic facts of the artist’s life De Stefano, George: Marco Tullio Giordana’s The can be ignored altogether, have the greatest ten- Hundred Steps: The Biopic as Political Cinema. In: dency to stereotype the artist. [Art Index] Biopics // Medienwissenschaft, 162, 2015 /// 8

Doherty, Thomas: Sex, Half-truths and Videotape: Eaton, Michael: Bugsy and Clyde. In: Sight & Auto Focus and Confessions of a Dangerous Mind. Sound 1,11, March 1992, S. 4. In: Cineaste 28,2, Spring 2003, S. 10‒13. Notes on biographical films, with particular ref- Looks at the new breed of biopics which center erence to Bugsy. on television celebrities and examines the lives of Bob Crane and Chuck Barris who are the subjects Elsaesser, Thomas: Film History as Social History: of Auto Focus and Confessions of a Dangerous The Dieterle/Warner Brothers Bio-pic. In: Wide An- Mind. gle 8,2, 1986, S. 15‒31. Argues that the social in cinema is always ‘ima- Doherty, Thomas: Malcolm X: in Print, on Screen. ginary’ with special reference to the Warner Bro- In: Biography 23,1, 2000, S. 29‒48. thers biopics directed by William Dieterle. Doherty discusses the success of Lee’s film, most specifically in relation to the autobiography it Emmens, Carol A.: Famous People on Film. Metu- was based off on and of past biopics. He says chen, NJ: Scarecrow Press 1977, x, 355 S. Malcolm X was an advance in the field of biopics Rev. (Zipkin, Deborah) in: Sightlines 73,2, 1979/ and that it aptly captures the autobiographical 80, S. 10. feel of its parent work. However, Doherty be- An annotated bibliography of nontheatrical, as lieves that Malcolm X “came to be the kind of well as feature films that present biographies or prestige project more respected than enjoyed.” In personality sketches of people important to Doherty’s opinion, the project was lacking in se- sports, science, literature, art, music, and history. veral areas, including Denzel Washington’s portrayal of Malcolm X, an excess of ritual reenact- Epstein, William H. (ed.): Biopics and American ments, and inconsistent editing. He concludes National Identity: Invented Lives, Imagined Com- with the idea that Lee “opted for a deferential fi- munities. In: A/B: Auto/Biography Studies 26,1, delity to the Autobiography rather than an inde- Summer 2011, S. 1‒170. pendent inquiry into a contested life.” = Spec. Issue.

Dolan, Josephine / Gordon, Suzy / Tincknell, Estel- Ermanno, Comuzio: “Tu sei l’immagine che in me la: The Post-Feminist Biopic: Re-Telling the Past in nascondevo”. In: Cineforum 23 [= 225], Juni 1983, Iris, The Hours and Sylvia. In: Adaptation in Con- S. 29‒38. temporary Culture: Textual Infidelities. Ed. by Ra- chel Carroll. London: Continuum 2009, S. 174‒185. Fairchild, Charles: Revealing What We Can Never Analysis of Iris (Richard Eyre, 2001), The Hours Know: The Problem of Real Life in Gus Van Sant’s (Stephen Daldry, 2002) and Sylvia (Christine Last Days. In: Popular Music and Society 36,4, Jeffs, 2003) maps a reiteration of nineteenth cen- 2013, S. 523‒539. tury equations drawn between female genius and Biographical films about musicians and compo- women’s psychic instability identified by Second sers are often caught between the recognition of Wave Feminists. It traces the ways in which this their subjects as myths and the perceived experi- putative instability legitimates the narrative strat- ence of them as human beings. Many such films egy of privileging male protagonists point of resolve the tension between these two cultural view, who are represented as proto ‘New Men’. formations by creating characters that are both Thus the films can be located in postfeminist dis- larger than life and simultaneously all too human, courses that proclaim the redundancy of femi- carefully resolving any tension between the two. nism since they represent the ‘New Man’ as al- Last Days, incorrectly alleged to be a film biogra- ways already in existence, effectively negating phy of Kurt Cobain, highlights the perpetual ten- Second Wave feminist politics. sion between the eternal and the material in the biographical film genre. The film’s writer and di- Doyle, Kegan: Muhammad Goes to Hollywood: Mi- rector, Gus Van Sant, deliberately avoids resolv- chael Mann’s Ali as Biopic. In: The Journal of Po- ing the tensions he creates and, in doing so, shar- pular Culture 39,3, June 2006, S. 383‒406. pens our understanding of the ways in which biographic films routinely claim to overcome dis- Dzhulai, Liudmila Nikolaevna: Na dorogakh istorii. tance between what we think we know about mu- In: Iskusstvo Kino, 6, 1986, S. 31‒40. sical celebrities and what we can actually know about them. Biopics // Medienwissenschaft, 162, 2015 /// 9

Farber, Stephen: Whose Life Is It Anyway? In: Ame- biopic is subject to modernist or postmodernist rican Film 7, May 1982, S. 38‒41. elaboration. This is the project of Maximilian Schell’s experimental biopic Marlene (1983), Felix, Jürgen (Hrsg.): Genie und Leidenschaft: which seeks to examine the life and career of Künstlerleben im Film. St. Augustin: Gardez!-Ver- Marlene Dietrich. Frustrating Schell’s desire, lag 2000, 259 S. (Filmstudien. 6.). however, is the fact that, although she commis- Als Leinwandhelden sind Künstlerfiguren popu- sioned the film, Dietrich refused to appear in it, lär: Maler, Musiker, Bildhauer, Dichter, Filme- leaving the filmmaker-biographer to deal with macher ‒ besonders geniale und leidenschaftli- only photographs and archival film footage. che, in der Krise oder an der Grenze zum “Wahn- Nonetheless, this highly self-reflexive work rai- Sinn”. Man denke nur an Foremans Amadeus. ses questions about the nature of biography, the Über die eigene Lebensgeschichte hinaus ver- relationship between cinema and death, and the weist der Künstler als “exemplarisch Leidender” ontology of the film medium. [America: History auch auf das historische Bedingungsgefüge seiner and Life] Kunst und nicht zuletzt auf geschlechtsspezifi- sche Differenzen. Die Filmemacher interessiert Fisher, Tony: Isaac Julien: Looking for Langston. In: jedoch nicht nur die Re-Inszenierung historischer Third Text, 12, Autumn 1990, S. 59‒70. Künstler-Persönlichkeiten. Neben dem Genre der Künstlerbiographien haben sich diverse Spielar- Fontanel, Rémi (dir.): Biopic: De la réalité à la fic- ten des selbstreflexiven Films ausgebildet, die tion. Condé-sur-Noireau: Corlet 2011, 221 S. (Ciné- mit fiktiven Künstlerfiguren operieren. Gerade in maction. 139.). der post-modernen Ästhetik wird das kunsthisto- À cette expression est associée deux traductions rische Material zum “Vor-Bild” der filmischen françaises : „film biographique“ (sur) et „biogra- Bildkomposition, beispielsweise in Godards Pas- phie filmée“ (de). Le biopic est donc une œuvre sion. filmique centrée sur la description biographique d’une personne ayant réellement existée. Le pré- Felleman, Susan: Dirty Pictures, Mud Lust, and Ab- sent volume se propose de questionner le genre ject Desire. In: Film Quarterly 55,1, Fall 2001, S. biopic à travers 29 études qui démontreront qu’au 27‒41. cinéma, de Van Gogh à Mesrine en passant par In three films about artist couples – Artemisia Evita ou Casanova, la réalité est souvent bien (1997), Camille Claudel (1988), and Life Lessons plus captivante... que ce qui relève du fruit de no- (1989) – cinema is shown allegorically through tre imagination. art as the progeny of sexual coupling. In each, the nature of the relationship – its romantic, psycho- Ford, Elisabeth A. / Mitchell, Deborah C.: Royal social, and sexual aspects – suggests larger issues Portraits in Hollywood. Filming the Lives of relating to the experience of film, as though each Queens. Lexington, Ky. : University Press of Ken- was a myth of the origins of film, or a primal tucky 2009, 327 S. scene. The couples personify the ultimately erotic Few lives provide as much history or drama as act of filmmaking even as they reveal the peculi- those of monarchs. Filmmakers from the silent ar sensibilities of each film’s maker, be those in- era to onward have displayed a deep fascination volved with the quasi—pornographic experience with the lives of royalty and with queens in par- of looking, the fetishistic interest in technique ticular. Still, the question remains: what do these and handling, or heroic passions and valorization films really tell us about the women beneath the of gesture. crowns? Drawing on films from the 1930s to those of today, the book investigates the ways in Fischer, Lucy: Marlene: Modernity, Mortality, and which these films reproduce history and represent the Biopic. In: Biography: An Interdisciplinary women. Though hardly progressive in nature, Quarterly 23,1, Winter 2000, S. 193‒211. many early films offered an acceptable, non- One of the major genres in Hollywood is the so- threatening way to present strong female charac- called biopic, and, frequently, such films have fo- ters in an economic and social landscape run al- cused on the life of a well-known actress: Ger- most exclusively by men. The authors track the trude Lawrence, Frances Farmer, or Susan Hay- evolution of queens on film, noting how depic- ward, for instance. Just as cinema has reworked tions of prominent women have changed over the genres like the Western and the musical (in films past several decades and calling attention to the like Silverado or Pennies from Heaven), so the ways in which films both reflect and dictate the Biopics // Medienwissenschaft, 162, 2015 /// 10

social norms of their eras. By comparing histori- Lovers (1970), is well known in the West. The cal records of monarchs such as Queen Christina other, Tchaikovsky (1969) by Igor Talankin, is of Sweden, Catherine the Great, Cleopatra, and much less famous. The films were made across Elizabeth I with their onscreen personas, and ex- the divide of the Cold War, and though it might amining the biographical details of the actresses be tempting to see these biopics as mirror-images who portrayed these women, Ford and Mitchell of one another, rival products of different politi- present a fascinating inquiry into issues of histo- cal and social cultures, this article tempers such a rical accuracy and gender politics in film. reading in order to explore some unintended but nevertheless suggestive parallels between the Fraisse, Philippe: Les Grands Hommes ne sont pas two. Exploring both through their treatment of des héros: Sur le biopic politique. In: Positif: Revue consumerism, nationality (specifically Russian- Mensuelle de Cinéma, 544, Juni 2006, S. 49‒53. ness) and sexuality, the article argues that for different reasons and in slightly different ways, they Freeman, J.: Biographical Films. In: Theatre Arts offer a significant case study in how “problemat- 25, Dec. 1941, S. 900‒906. ic” aspects of a composer’s life can be obscured to the point where they disappear. This in turn Frey, Mattias: Postwall German Cinema: History, makes the films an important point of reference Film History and Cinephilia. New York/Oxford: for how “otherness” – particularly national and Berghahn Books 2013, x, 206 S. (Film Europa: Ger- sexual “otherness” – has historically been han- man Cinema in an International Context. 14.). dled by the big screen. Includes: Pop Retro-vision: Baader, Der Baader Meinhof Komplex, and the RAF Film, S. 47‒82. Garwood, Ian: Great Art on a Jukebox: The Roman- tic(ized) Voice of Bob Dylan in I’m Not There. In: Fulford, R.: Portrait of the Artist as Explosive De- Film International 7,6 [=42], 2009, S. 6‒22. vice. In: Canadian Art 14, Spring 1997), S. 54‒59. Artists in some recent and not-so-recent films. Glasser, Brian: Medicinema: Doctors in Films. Ox- ford/New York: Radcliffe 2010, vii, 148 S. Gabara, Rachel: From Split to Screened Selves: Darin 10: Real Lives: Biopics (92‒101). French and Francophone Autobiography in the Third Person. Stanford: Stanford University Press Gomez, J.: Mahler and the Methods of Ken Rus- 2006, xvi, 213 S. sell’s films on composers. In: Velvet Light Trap, 14, Contents: I. Split selves: French autobiography in Winter 1975, S. 45‒50. the first, second, and third persons. Autobiogra- The use of music and the musical structures of phy of himself: Roland Barthes by Roland Bar- Russell’s biographical films. thes by Roland Barthes. Internal conversation: Nathalie Sarraute’s Childhood. ‒ II. Autobiogra- Good, Howard: The Heart of the Order: The Success phy in images: from photography to film. Seeing Myth in Baseball Biopics. In: Beyond the Stars. 5: autobiography: from Camera Lucida to the cine- Themes and Ideologies in American Popular Film. ma. Screening autobiography: Cyril Collard’s Sa- Ed. by Paul Loukides & Linda K. Fuller. Bowling vage nights. ‒ III. Francophone autobiography: Green, Ohio: Bowling Green University Popular selves and others, words and images. (Un)veiling Press 1990, S. 187‒209. herself? Assia Djebar in Love, an Algerian caval- cade. AutoBiographical third cinema: David Goode, Ian: Television Documentary, Pop Stardom Achkar’s Allah Tantou and Raoul Peck’s and Auto/biographical Narratives. In: Popular Mu- Lumumba: Death of the Prophet. sic and Television in Britain. Ed. by Ian Inglis. Farn- ham: Ashgate 2010, S. 27‒40 (Ashgate Popular and Gardiner, John: Whose Tchaikovsky? Consumer- Folk Music Series.). ism, nationality, sex and the curious case of the dis- Auch online. appearing composer in Tchaikovsky and The Music Lovers. In: Cogent Arts & Humanities 1,1, 2014, Gordon, Joel: Film, Fame, and Public Memory: Online. Egyptian Biopics from Mustafa Kamil to Nasser 56. This article offers the first sustained analysis of In: International Journal of Middle East Studies 31, two films about the life of the composer Pyotr Il- 1, Febr. 1999, S. 61‒79. yich Tchaikovsky made in 1969 and 1970 respec- Three years ago, the film Nasser 56 (1996), from tively. One of these, Ken Russell’s The Music Muhammad Fadil, a dramatic reenactment of the Biopics // Medienwissenschaft, 162, 2015 /// 11

Suez crisis, set unprecedented attendance records Heldt, Guido: Hardly Heroes: Composers as a Sub- in Egypt. Opening at the end of another disap- ject in National Socialist Cinema. In: Music and Na- pointing year marked by a steady decline in stu- zism. Ed. by Michael H. Kater & Albrecht Riethmül- dio film production and a dearth of high-quality ler. Laaber: Laaber-Verlag 2003, S. 114‒135. offerings – and held back from public screening a full year by wavering government support – the Heldt, Guido: Playing Mozart: Biopics and the musi- film breathed new life into the movie industry cal (re)invention of a composer. In: Music, Sound & and precipitated a national discussion about the the Moving Image 3,1, Spring 2009, S. 21‒46. legacy of Gamal Abdel Nasser. The film has Composer biopics have received scant attention come and gone from Cairo theaters (although both from musical reception history and from screenings abroad continue), but Nasser 56 will film musicology, though they clearly are key remain a historic film. In dramatic fashion, it sources for the popular reception of composers, broke a long-accepted taboo against cinematic and often are also laboratories for the use of pre- depiction of modern political leaders. It is also existing music in film. Composer biopics re-in- the first serious attempt at film biography by an vent their subjects in the stories they tell; but they Egyptian filmmaker in thirty years. also re-invent them through their music – music which in such films is usually both part of the Gori, Gianfranco: Condottieres, artistes et saints: le story told and of its telling. This article takes se- film biographique en vingt annees de fascisme. In: ven Mozart biopics from between 1940 and 2006 Les Cahiers de la Cinémathèque, 45, 1987, S. 81‒ as examples of such musical (re)inventions, and 92. studies typical techniques and effects of using Mozart’s music to score stories of his life. The Graham, Seth: Biopic. In: Directory of World Cine- use of pre-existing pieces both as diegetic and ma: Russia. Ed. by Birgit Beumers. Bristol: Intellect nondiegetic music, and crucially in the transition 2011, S. 192‒195 (Directory of World Cinema. 4.). from one to the other, is shown as a central aspect of the way the films capitalise on existing Mozart Gray, Sabin: Stars Who Played Other Stars! In: Hol- myths and feed them back into their own (re)con- lywood Studio Magazine 22,3, 1989, S. 6‒10. structions of Mozart, in the process becoming drivers in a (vicious or virtuous) circle. Grindon, Leger: Romantic Archetypes and Political Meaning in the Historical Fiction Film. In: Persis- Hoberman, John: Heroes and memories. In: Sight & tence of Vision, 3/4, Summer 1986, S. 15‒22. Sound 3,3, March 1993, S. 6‒9. Analysis of Hollywood’s 1990’s tendency to pro- Gustafson, Richard: The Vogue of the Screen Bio- duce films based on historical events in the graphy. In: Film and History 3,3, 1977, S. 49‒54. 1960’s which mythologise the events and their protagonists, e.g. Hoffa, JFK and Malcolm X. Gustafsson, Tommy: The Black Pimpernel: The Bio- pic as a Mediator of the Past. In: Film International Horwitz, Margaret McBride: Persona and Spectacle 6,3 [=35], 2008, S. 18‒26. in the Films of Elvis Presley and the Beatles. Ph.D. Thesis, Los Angeles: University of California 1990, Halberstam, Judith: Telling Tales: Brandon Teena, ix, 391 Bl. Billy Tipton, and Transgender Biography. In: Pass- Ann Arbor, Mich.: Dissertation Abstracts Inter- ing: Identity and Interpretation in Sexuality, Race, national 51,7, Jan.1991, No. 2180A. and Religion. Ed. by Maria Carla Sánchez & Linda Schlossberg. New York: New York University Press Hughes, Jon: From Hitler’s Champion to German of 2001, S. 13‒37. (Sexual Cultures.). the Century: On the Representation and Reinvention of Max Schmeling. In: Representing the ‘Good Ger- Hanson, Cynthia A.: The Hollywood Musical Biopic man’ in Literature and Culture after 1945: Altruism and the Regressive Performer. In: Wide Angle 10,2, and Moral Ambiguity. Ed. by Pól Ó Dochartaigh & 1988, S. 15‒23. Christiane Schönfeld. Rochester, NY: Camden Reveals how biographical films of musicians cre- House 2013, S. 50‒65. ate a certain kind of sympathy for the main characters, using as examples La Bamba, Sweet Inglis, Ian: The Act You’ve Known for All These Dreams and The Buddy Holly Story. Years: Telling the Tale of the Beatles. In: Popular Music and Film. Ed. by Ian Inglis. London: Wall- Biopics // Medienwissenschaft, 162, 2015 /// 12 flower Press 2003, S. 77‒90. Karsten, Eileen: From Real Life to Reel life: A Fil- Inglis, Ian: Popular Music History on Screen. The mography of Biographical Films. Metuchen, N.J.: Pop/Rock Biopic. In: Popular Music History 2,1, Scarecrow Press 1993, xi, 475 S. 2007, S. 77‒93. The current popularity of popular music biopics Kirby, David A.: Lab Coats in Hollywood: Science, in British and American cinema (and TV) has re- Scientists, and Cinema. Cambridge, Mass./London: awakened discussions over the accuracy and reli- MIT Press 2011, xiv, 265 S. ability of the stories they tell. Using illustrations and examples from past and present productions, Kooijman, Jaap: Triumphant Black Pop Divas on the the paper explores the relationship between mu- Wide Screen: Lady Sings the Blues and Tina: sic, film and history; the inevitability of interpre- What’s Love Gott to Do With It. In: Popular Music tation, imagination and invention in the films’ and Film. Ed. by Ian Inglis. London: Wallflower portrayals of history; the inevitable tensions be- Press 2003, S. 178‒192. tween historical accuracy and commercial con- siderations; the options open to film-makers in Kolker, Robert Phillip: Ken Russell’s Biopics: Gran- their reconstruction of musical performances; and der and Gaudier. In: Film Comment 9,3, May-June the attractions of the genre for producers and 1973, S. 42‒45. consumers of film and popular music. Many of Discussion of the style of Ken Russell‘s films. these issues are applicable to cinema’s treatment of historical themes and events in general, but the Kosta, Barbara: Recasting Autobiography. Women’s success of films like Ray, Walk the Line and Be- Counterfictions in Contemporary German yond the Sea, and the large number of projects in Literature and Film. Ithaca, NY/London: Cornell various stages of production and pre-production, Univrersity Press 1994, xi, 219 S. (Reading Women have given the popular music biopic a very speci- Writing.). fic place in the current debate. (Vorlage) Inhalt: Introduction: Autobiography Reconsid- ered / 1 ‒ Personal Histories / 32 ‒ Christa Jacobs, Steven: Vasari in Hollywood: Artists and Wolf’s Patterns of Childhood / 55 ‒ Ruth Reh- Biopics. In ders.: Framing Pictures: Film and the mann’s Der Mann auf der Kanzel / 91 ‒ Helma Visual Arts. Edinburgh: Edinburgh University Press Sanders-Brahms’s Germany, Pale Mother / 121 ‒ 2014, S. 38‒64 (Edinburgh Studies in Film.). Jutta Bruckner’s Years of Hunger / 153 ‒ Conclu- The previous chapter of the book demonstrates sion: Topographies of the Self / 182. that seminal art documentaries made during the aftermath of the Second World War sought to an- La Breteque, François de: Contours et figures d’un imate static artworks not only by editing and “genre”. In: Les Cahiers de la Cinémathèque, 45, camera movements but also through storytelling 1987, S. 93‒97. devices in order to create a narrative dynamic. One way of achieving this was linking pieces of Lavery, David: Functional and Dysfunctional Auto- art to the life of the artist who created them. Di- biography: Hope and Glory and Distant Voices, Still rectors such as Oertel and Resnais, for instance, Lives. In: Film Criticism 15,1, Fall 1990, S. 39‒48. presented artworks as components of the biogra- On the differing approaches towards autobiography of Michelangelo or Van Gogh. Given this phy in the two films. perspective, their films show unmistakable simi- larities with cinematic biographies in the form of Lejeune, Philippe: Je est un autre: l’autobiographie feature films, the so-called biopics. de la littérature aux médias. Paris: Seuil 1980, 332 S. (Collection Poétique.). Jahiel, Edwin: Films about Filmmakers. In: Litera- ture/Film Quarterly 4,4, 1976, S. 349‒359. Lerner, Jesse: Cult-of-Personality Cinema. In: Addenda: Welsh, James M.: More Films about Blimp: Zeitschrift für Film, 33, Frühling 1996, S. Filmmakers. In: Literature/Film Quarterly 4,4, 19‒23. 1976, S. 360‒69. Letort, Delphine: The Rosa Parks Story: The Mak- Jamin, Alban: Rock Dreams ou No Future? Le rock ing of a Civil Rights Icon. In: Black Camera: An In- (tout) contre le biopic. In: CinémAction, 139, 2011, ternational Film Journal 3,2, Spring 2012, S. 31‒50. S. 76‒80. The Rosa Parks Story (2002) belongs to the wave of civil rights films that emerged in the 1980s and Biopics // Medienwissenschaft, 162, 2015 /// 13

was dedicated to recounting the fight for desegre- Identity Politics of Jutta Brückner’s Hunger gation in the southern states. Rosa Parks quickly Years ‒ 4. Retrieving History: Margarethe von became an icon of collective resistance by fa- Trotta’s Marianne and Juliane ‒ 5. The Auto- mously refusing to forfeit her seat to a white pas- ethnographic Aesthetic of Jeanine Meerapfel’s senger on board a Montgomery, Alabama, bus. In Malou. this made-for-television biopic, director Julie Dash strives to retrace Rosa Parks’s personal and Lockwood, Lewis: Film Biography as Travesty: Im- political journey to emancipation. This article mortal Beloved and Beethoven. In: Musical Quarter- considers the constraints the director had to ne- ly 81,2, Summer 1997, S. 190‒198. gotiate while recounting the story of a national icon for television. Not only did the weight of Lupo, Jonathan / Anderson, Carolyn: Off-Holly- legacy bear on the project, but so did the conven- wood Lives: Irony and Its Discontents in the Con- tions of the biopic as a genre that stresses the temporary Biopic. In: Journal of Popular Film & personal rather than the political. The historical Television 36,2, Summer 2008, S. 102‒112. narrative of the civil rights movement is simpli- Eschewing the genre’s tendency toward earnest- fied into a story that reproduces stereotypes pop- ness, the biopics I Shot Andy Warhol (1996), Ed ularized by both race melodramas and main- Wood (1994), Man on the Moon (1999), and stream media. American Splendor (2003) approach the life stories of their subjects with different degrees of iro- Levasseur, Audrey: Film and Video Self-Biogra- ny toward the subject and the biographical pro- phies. In: Biography 23,1, Winter 2000, S. 176‒92. ject. This essay considers the challenges – and outcomes – of an ironic approach to screen bio- Levy, Lisa: Storytelling: Great Love and Great graphy. Work in the Biopic. In: Radical Society: Review of Culture & Politics 29,2, July 2002, S. 87‒101. Lusnich, Ana Laura: El drama social-folclórico. El Discusses biography in film, an every era tells in- universo rural en el cine argentino. Buenos Aires: spiring stories about extraordinary people. Bio- Ed. Biblos 2007, 205 S. (Colección Artes y Medi- pics, or biographic films have both love and work os.). as their themes and it is difficult to estimate whether an audience prefers a love story or a Maio, Kathi: In the shadowland of the Hollywood work story. biopic. In: Fantasy & Science Fiction 87,4‒5, Oct./ Nov. 1994, S. 77‒84. Lim, Bliss Cua: True Fictions: Women’s Narratives Comments on the lack of reality portrayed in bio- and Historical Trauma. In: Velvet Light Trap, 45, graphical pictures (biopic) made in Hollywood. Spring 2000, S. 62‒75. Stretching of the truth in stories; Misportrayal of composer Cole Porter in the 1946 film Night and Linville, Susan E[lizabeth]: Feminism, Film, Fas- Day, directed by Michael Curtiz; Focus on mis- cism: Women’s Auto/biographical Film in Postwar representations in the film Shadowlands, directed Germany. Austin: University of Texas Press 1998, x, by Richard Attenborough. 196 S. Inhalt: German society’s inability and/or refusal Man, Glenn: The Biopic. [Introduction to special to come to terms with its Nazi past has been ana- issue.] In: Biography 23,1, Winter 2000, S. v–x. lyzed in many cultural works, including the well- known books Society without the Father and The Marks, Clifford J. / Torry: „Herr Direktor“: Biogra- Inability to Mourn. In this study, Susan Linville phy and Autobiography in Schindler’s List. In: Bio- challenges the accepted wisdom of these books graphy 23,1, 2000, S. 49‒70. by focusing on a cultural realm in which mourn- ing for the Nazi past and opposing the patriarchal Marshall, Lee / Kongsgaard, Isabel: Representing and authoritarian nature of postwar Popular Music Stardom on Screen: the Popular Mu- Inhalt: Introduction: Seeing Through the “Post- sic Biopic. In: Celebrity Studies 3,3, 2012, S. 346‒ war” Years ‒ 1. Kinder, Kirche, Kino: The Opti- 361. cal Politics of Marianne Rosenbaum’s Pepper- Biopics of popular music stars have become quite mint Peace ‒ 2. The Mother-Daughter Plot in popular in the first decade of the twenty-first cen- History: Helma Sanders-Brahms’s Germany, tury, with a number of box-office successes and Pale Mother ‒ 3. Self-Consuming Images: The movie awards in the genre. In seemingly offering Biopics // Medienwissenschaft, 162, 2015 /// 14

a glimpse of the ‘real story’ behind the star perso- The book includes: 1. Culturally British Bio- na, biopics contribute to individual star images (e)pics: From Elizabeth to The King’s Speech ‒ 2. but they also reproduce broader narratives of Life and Death in the Media Spotlight: The Peo- popular music stardom. This paper offers a brief ple’s Princess as Royal Celebrity ‒ 3. Reframing description of some of the central tropes of popu- the Royal Performance: Helen Mirren’s ‘Trans- lar music stardom before detailing how they are formative Acting’ and Celebrity Self-presentation reproduced in four recent biopics. Further, the pa- in The Queen ‒ 4. Joining History to Celebiogra- per also discusses the popular music biopic’s am- phy and Heritage to Documentary on the Small biguous relationship to truth. On the one hand, Screen: Spotlight on the Content of the Form in the biopic must continually assert its truthfulness the Metamediatic Royal Bio-docudrama The in order to gain the authority that a biopic needs Queen ‒ 5. Shakespeare’s life on Film and Tele- to be believable and a source of audience plea- vision: Shakespeare in Love and A Waste of sure. On the other hand, however, the biopic can Shame ‒ 6. Austenmania, or the Female Biopic as never be a ‘real’ truth as it is constrained by both Literary Heritage ‒ 7. Beyond ‘Sex and Drugs the conventions of cinematic realism and broader and Lyrical Ballads’: High In/fidelity in Julien ideologies of popular music stardom. In its com- Temple’s Pandaemonium ‒ 8. ‘Screening’ the plicated merging of truth and fiction, we argue, Dandy: Beau Brummell between History and the popular music biopic reflects the socially con- Glamour ‒ 9. Straightening the Skein: Art, Bio- structed nature of stardom more generally. graphy and Gender Politics in Christopher Hamp- ton’s Carrington ‒ 10. “The child is father of the Mazierska, Ewa: Multifunctional Chopin: The Re- man…” – and the Author: Screening the Lives of presentation of Fryderyk Chopin in Polish Films. In: Children’s Authors ‒ 11. Nowhere Boy, A Por- Historical Journal of Film, Radio and Television 24, trait of John Lennon as a Young Man. 2, June 2004, S. 253‒268. Mitchell, Charles P.: The Great Composers Por- McFarlane, Brian: Portraits in Celluloid. In: Mean- trayed on Film, 1913 through 2002. Jefferson, NC: jin 64,1‒2, S. 28‒36. McFarland 2004, x, 338 S. Repr., ebd. 2010. Meaney, Gerardine: Nora: Biography, Biopic and This book is a comprehensive filmography of Adaptation as Interpretation. In: Film & Film Cul- biographical films featuring the lives of 65 great ture, 3, 2004, S. 77‒84 classical composers. Performances analyzed include Richard Burton as Richard Wagner, Cornel Millard, Kathryn: Projected Lives: A Meditation on Wilde as Frederic Chopin, Gary Oldman as Lud- Biography and Cinematic Space. In: Screening the wig van Beethoven, Tom Hulce as Mozart, and Past: Film and the Representation of History. Ed. by Katharine Hepburn as Clara Schumann, among Tony Barta. Westport, Conn.: Praeger 1998, S. 231‒ others.Arranged alphabetically by composer’s 237. name and illustrated1with stills and posters, the text provides a brief biography of each composer Miller, Robert Milton: Star Myths: Show-Business and analyzes the feature films portraying him or Biographies on Film. Metuchen, NJ: Scarecrow her. Emphasis is given to the factual accuracy of Press 1983, x, 405 S. the screenplay, the validity of the portrayal, and Zuerst: Show Business Biographical Drama in the film’s presentation of the composer’s music. Film and Television: A Generic Analysis. Ann Arbor: University Microfilms International 1986, Mittermayer, Manfred (Hrsg.): Ikonen, Helden, Au- v, 398 S. (= Ph.D. Thesis, Northwestern Univer- ßenseiter. Film und Biographie. Wien: Zsolnay sity, 1982). 2009, 205 S. (Zsolnay Film.). Rez. (Purcell, J.M.) in: Film Quarterly 37,4, Inhalt: Henry M. Taylor: Die Realität des Imagi- 1984, S. 42‒43. nären. Innerlichkeit und Metalepse in The Hours (USA/GB 2002) / 15. - Doris Berger: Show me Minier, Márta / Pennacchia, Maddalena: Interdisci- how to become a great artist: Biopics über Künst- plinary Perspectives on the Biopic: An Introduction. lerinnen / 35. ‒ Verena Berger: Frida Kahlo ‒ In: Adaptation, Intermediality and the British Cele- Ikone, Martyrerin und Mythos. Filmische Künst- brity Biopic. Ed. by Márta Minier and Maddalena lerporträts zwischen Mexiko und Hollywood / 53. Pennacchia. Surrey/Burlington, Vermont: Ashgate ‒ Cornelia Szabo-Knotik: Zwischen Heldensaga 2014, 249 S. und Homestory. Österreichische Komponistenfil- Biopics // Medienwissenschaft, 162, 2015 /// 15

me als Dokumente der Identitätsstifiung / 71. ‒ Murphy, A. Mary: Model Lives: The Social Value Anja Tippner: Das Leben eines bemerkenswerten of Filmed Arts Lives. In: Kinema, Spring 2004; Menschen. Michail Kalatozovs Fliegerfilm Va- Online: URL: lerij Čkalov (UdSSR 1941) als Beispiel des stali- http://www.kinema.uwaterloo.ca/article. php? nistischen Biopics / 85. ‒ Daniela Berghahn: So- id=95&feature. phie-Scholl-Biopics.Wandel im öffenttichen Ge- dächtnis einer weiblichen Ikone des Widerstan- Nieberle, Sigrid: Das Grauen der Autorschaft: des / 105. ‒ Christine Noll Brinckmann: Marie Angstnarrationen im literarhistorischen Biopic: In: Antoinette (USA 2006) - eine adoleszente Zeitrei- Germanic Review 79,2, Spring 2004, S. 115‒34. he / 113. ‒ Eva Warth: Störung und/als Exzess. Sofia Coppolas Marie Antoinette (USA 2006) / Nieberle, Sigrid: Literarhistorische Filmbiogra- 141. ‒ Ulrich Prehn: „Embedded Stories“. Do- phien. Berlin: de Gruyter 2008, 400 S. (Media and kumentarisch-biographische Annäherungen und Cultural Memory. 7). (Selbst’-)Inszenierungen in Grey Gardens (USA 1909 in den USA und 1912 in Deutschland liefen 1975) / 153. ‒ Diana Weilepp: „I’ve seen real life die ersten Biographien über Dichterfiguren im a thousand times.“ Benjamin Smoke (USA 2003) Kino. Die literarhistorische Filmbiographie hat - Eine Geschichte über das Leben hinaus / 171. ‒ seither eine stetige und reiche Tradition ausge- Film nach Worten. Harald Bergmanns Film prägt, die in dieser Studie erstmals in Längs- und Brinkmanns Zorn (D 2006). Patric Blaser im Querschnitten untersucht wird. So genannte Gespräch mit dem Regisseur / 187. ‒ Als Kind „Dichterfilme“ geben nicht nur historisch unter- wollte ich immer Neubacher heißen. Marcus J. schiedliche Vorstellungen von Autorschaft zu Carneys Film The End of the Neubacher Project sehen, sondern sie schreiben auch an einer im Ki- (A/NL 2006). Manfred Mittermayer im Gespräch no erzählten Literaturgeschichte mit. Ein Film- mit dem Regisseur / 195. verzeichnis gibt Auskunft über 180 literarhistorische Spielfilme des westeuropäischen und US- Moine, Raphaëlle: Le Biopic à la française: De amerikanischen Literaturkanons. l’ombre à la lumière. In: Studies in French Cinema 10,3,2010, S. 269‒187. Niemi, Robert [James]: History in the Media: Film and Television. Santa Barbara, Calif.: ABC-CLIO Molina Guzmán, Isabel: Salma Hayek’s Frida: 2006, xxiii, 501 S. Transnational Latina Bodies in Popular Culture. In: History in the Media provides a close look at how From Bananas to Buttocks. Ed. by Myra Mendible. the treatment of specific topics changes over Austin: University of Texas Press 2009, S. 117‒128. time. A film about World War II made during the Given Hollywood’s longstanding and complex war, for example, is drastically different from a cinematic relationship with the Latina other, Sal- World War II film made in the post-Vietnam era ma Hayek’s career might have been relegated to ‒ why? This book examines such changes in cul- the unidimensional terrain of Latina stereotypes: tural attitude and creative treatment across time, one more emotionally unpredictable, sexually vo- providing rare insight into the dynamic and luptuous, thickly accented Latina appearing in enduring relationship between Hollywood and Hollywood movies like Desperado (1995), From history. Dusk Till Dawn (1996), Fools Rush In (1997), 54 Inhalt: Military History on Film and Television: (1998,) and Wild Wild West (1999). However, Wallace’s Rising to the Boer War ‒ Military His- with the 2002 release of Frida, the artsy biopic tory on Film and Television: World War I ‒ Mili- about the queer-feminist-marxist-Chicana-Mexi- tary History on Film and Television: World War cana-Latina icon Frida Kahlo, Hayek recuperated II ‒ Military History on Film and Television: Ko- her on-screen image and public Hollywood per- rean War to Bosnia ‒ Sports History on Film and sona. Television ‒ Music History on Film and Televi- sion ‒ Art History in Film and Television ‒ La- Moral Martín, Javier: La representación doble: Vi- bor, Business, and Political History on Film and das de artistas ilustres en el cine. Barcelona: Bella- Television ‒ History of U.S. Race Relations on terra 2013, 321 S. (Serie general universitaria. 133.). Film and Television ‒ History of Crime on Film and Television. Mouellic, Gilles / Le Forestier, Laurent (dir.): Fil- 2. ed. u.d.T.: Inspired by True Events: An Illus- mer l’artiste au travail. Rennes: Presses Universi- trated Guide to More than 500 History-based taires de Rennes 2013, 415 S. (Le Spectaculaire.). Films. Santa Barbara: ABC-CLIO 2013, xxiv, Biopics // Medienwissenschaft, 162, 2015 /// 16

607 S. [Nicht seitenidentisch mit 1. Aufl., zudem Scientists as heroes, nerds, and villains; Solid andere Aufteilung.] science and quantum loopiness: golden eagles and golden turkeys; Hollywood science vs. real Oliver, Charles: That’s Life. [Biographical motion science. pictures.] In: Reason 24,11, April 1993, S. 56‒57. The biographical film, or biopic, used to be an Pesce, Alberto: Biopic – una vita, un film. Roma: important part of the studion system in Holly- Associazione nazionale circoli cinematografici ita- wood, CA, between 1927 and 1960. However, liani (ANCCI) 1993, 295 S. 16 Taf. (Collana di the biopic has suffered from overexposure on Studi e Ricerche / [ANCCI]. 10.). television between 1960 and 1990. Some of the Rev. (Comuzio, Ermanno) in: Cineforum 34 recent attempts in biographical films are analyz- [=336], Juli/Aug. 1994, S. 95. ed. Pesce, Alberto: Biografico in cento film. Recco (Ge- O’Meara, Radha / Stevens, Carolyn S.: While His nova): Le Mani 2008, 316 S. (Storia del Cinema in Guitar Gently Weeps: Memory, Documentary and 100 Film. 14.). the Music Biopic. In: The Soundtrack 5,2, 2012, S. 173‒188. Pickard, Roy: Who Played Who on the Screen. Lon- In George Harrison: Living in the Material don: Batsford 1988, 351 S. World (2011), Martin Scorsese creates a homage Zuerst 1979. Mehrere erw. Neuausgaben. not only to the ‘great man’, but also to the memories of the 1960s, 1970s and 1980s as seen Pilz, Rosemarie: Das Portrait als Film. Zwischen through the eyes of those who shaped the era, re- ‘sujet trouvé’ und ‘fabula rasa’. Wien/Berlin/Mün- presented through a palimpsest provided by con- ster: Lit 2011, 92 S. temporary media, memoirs and interviews. Al- Auf welche Weise bestimmt das traditionelle though the documentary offers the authenticity of künstlerische Portrait aus Malerei und Fotografie, ‘insider’ accounts, it might be seen more usefully sowie die Biografie der Literatur die filmische as a biopic, which chronicles broader historical Gestaltung des Portraits und wie beeinflusst das movements through an individual’s story, and a Medium Film selbst die Schöpfung des filmi- meta-memoir, which self-consciously encourages schen Menschenbildes? Wie grenzt sich das Por- the audience to reflect on their own achieve- trait als Film von der Film-Biografie (“bio-pic”) ments, failures and legacies. Rather than embed- ab? Antworten liefert das Filmbeispiel von Agnès ding this film in a conceptual framework of cele- Varda Jane B. par Agnès V. Es wird weniger von brity culture, we view the film with an emphasis Interesse sein, was wir über den portraitierten on the affective dimension of historical represen- Menschen erfahren, sondern wie der zu portrai- tation through memory. The film can thus be seen tierende Mensch filmisch “erfahrbar” gemacht as a work that refocuses the fans’ gaze from Har- wird. rison’s life back on themselves. Polaschek, Bronwyn: The Postfeminist Biopic: Nar- Parejo, Nekane / Esparza, Ramón (coords.): Solos rating the Lives of Plath, Kahlo, Woolf and Austen. ante la cámara. Biopics de fotógrafos y cineastas. Basingstoke/New York: Palgrave Macmillan, 2013, [Viladamat] Girona: Luces de Gálibo 2011, 212 S. ix, 191 S. (Cine. 4.). The Postfeminist Biopic explores the influence of Rev. (Zubiaur, Nekane E.) in: Zer: Revista de postfeminist culture on cinematic representations Estudios de Comunicacion 17,33, Nov. 2012, S. of female biographies. While earlier research has 275. described the subgenres of the classical female biopic and the feminist biopic, Polaschek propo- Pavsek, Christopher: The Black Holes of History: ses a third subgenre, the postfeminist biopic, Raoul Peck’s Two Lumumbas. In: Framework: The which has appeared as part of a broader trend of Journal of Cinema and Media 50,1‒2, Spring/Fall reviving and reconfiguring classical genre forms 2009, S. 82‒94. aimed at women. The book explores the conventions of the postfeminist biopic through a close Perkowitz, Sidney: Hollywood Science: Movies, Sci- analysis of four films that represent the lives of ence, and the End of the World. New York: Colum- women who are established members of the se- bia University Press 2007, x, 255 S. cond-wave feminist canon: Sylvia (Christine See esp. Pt. III: The good, the bad, and the real: Jeffs, 2003), which depicts the life of the Ameri- Biopics // Medienwissenschaft, 162, 2015 /// 17

can poet Sylvia Plath; Frida (Julie Taymor, Rodríguez-Ruiz, David: Mann’s Biopics and the 2002), about the Mexican painter Frida Kahlo; Methodology of Philosophy: Ali and The Insider. In: The Hours (Stephen Daldry, 2002), which in- The Philosophy of Michael Mann. Ed. by Steven cludes a biographical narrative about the English Sanders, Aeon J. Skoble & R. Barton Palmer. Lex- novelist and critic Virginia Woolf; and Becoming ington: University Press of Kentucky 2014, S. 244‒ Jane (Julian Jarrold, 2006), a fictionalized inter- 256 (The Philosophy of Popular Culture.). pretation of the coming of age of the English no- What is it to be a people’s champion? Are there velist Jane Austen. irresolvable conflicts between being a people’s champion and being an individual committed to Preece, Julian: Between Identification and Docu- critical thinking? What is the nature of patrio- mentation: ‘Autofiction’ and ‘Biopic’: The Lives of tism, freedom, and brotherhood? In Ali (2001), the RAF. In: German Life and Letters 56,4, Oct. Michael Mann not only explores these decidedly 2003, S. 363‒376. philosophical questions but also provides a rich In this article, which drew on research which pre- context for a discussion about the methodological pared the ground for an AHRC bid to investigate difficulties involved in trying to answer them. the representation of Italian and German leftwing How does one decide, for instance, what true pa- political violence, Preece is the first scholar to triotism and freedom are? examine the growing body of both literary and cinematic material on the Baader-Meinhof group in Rose, Cynthia / Thompson, Ben: The Riddle of the order to compare and contrast film with fiction Rock Biopic. In: Sight & Sound 3,10, Oct. 1993, S. and fiction with film. Previous scholarship had 14‒16. kept the two fields separate. He develops the idea On the varied successes of films representing the of a ‘terrorist alter ego’ which both literary au- world of rock music, referring esp. to What’s thors and film-makers introduce to show both love got to do with it. their distance from and fascination with political violence in the 1970s. Rosenstone, Robert: In Praise of the Biopic. In: Lights, camera, history. Portraying the past in film. Quintana, Ángel: Le personnage referentiel dans les Ed. by Richard Francaviglia and Jerry Rodnitzky. films didactiques de Roberto Rossellini. In: Iris, 24, College Station, Texas: Texas A&M University Autumn 1997, S. 91‒103. Press 2007, S. 11‒29.

Radner, Hilary: Screening Women’s Histories: Jane Saffle, Michael: Liszt in the Movies: Liszt’s Rhap- Campion and the New Zealand Heritage Film, from sody as Composer Biopic. In: Journal of Popular the Biopic to the Female Gothic. In: New Zealand Film and Television 35,2, 2007, S. 58‒65. Cinema: Interpreting the Past. Ed. by Alistair Fox, Barry Keith Grant & Hilary Radner. Bristol: Intel- Sarquiz, Oscar: Rock: biografias filmicas o exploi- lect 2011, S. 259‒275. tación de mitos? In: Dicine: Revista de Difusión e Investigación Cinematográfica 42, Nov. 1991, S. 2‒ Richet, Denis: Biographie et histoire. In: Les Ca- 5. hiers de la Cinémathèque, 45, 1987, S. 3‒6. Einleitung zu einem Themenheft des Cahiers. Schiavi, Michael R.: American Fabulous and the Re- Filming of Male Biography. In: Quarterly Review of Robards, Brooks: Reel Art: Excursions into the Bio- Film & Video 18,1, Jan. 2001, S. 53‒61. pic, Mystery/Suspense, Melodrama and Movies in the Eighties. In: Beyond the Stars. 3: The Material Schlotterbeck, Jesse [Keith]: „Trying to Find a World in American Popular Film. Ed. by Paul Lou- Heartbeat“: Narrative Music in the Pop Performer kides and Linda K. Fuller. Bowling Green, Ohio: Biopic. In: Journal of Popular Film & Television Bowling Green University Popular Press 1990, S. 36,2, 2008, S. 82‒90. 106‒120. Since 2004, there has been a remarkable resur- gence of the musical biopic genre. This analysis Robé, Chris: Taking Hollywood Back: The Histori- focuses on transitions between narratives and cal Costume Drama, the Biopic, and Popular Front numbers in three contemporary musical biopics U.S. Film Criticism. In: Cinema Journal 48,2, Win- —Ray (2004), Walk the Line (2005), and Beyond ter 2009, S. 70‒87. the Sea (2004)—and contends that these films have deeper structural affinities with the musical Biopics // Medienwissenschaft, 162, 2015 /// 18

than earlier pop performer biopics. nig geändert. Vor allem Filme folgen einer typi- schen Dramaturgie: Die Liebesbeziehungen ste- Schlotterbeck, Jesse [Keith]: The Popular Musical hen im Mittelpunkt, der lange, harte Weg bis zum Biopic in the Post-studio Era: Four Approaches to an kommerziellen Erfolg wird nur gestreift. So wird Overlooked Film Genre. Ph.D. Thesis, University of aus dem Lebenslauf ein modernes Märchen mit Iowa 2010, ix, 325 S. Spannungsbogen, filmgerechtem Höhepunkt und The mid-2000s saw a surge in the popularity of punktgenauer Abblende. Es ist ein Bild, das Ju- musical biopics: films such as Ray (2004) which gendliche, aber auch Erwachsene bewusst oder tell the story of a star musician. While academic unbewusst in ihrer Sozialisation stark beeinflus- studies have addressed biopics treating classical sen kann. Die Entschlüsselung seiner Symbolik and jazz composers, the popular musical biopic verrät damit viel über das Wesen ganzer Genera- (encompassing blues, folk, pop, country, rap, and tionen. rock) is not only the least studied subtype of the Filme: Jailhouse Rock/Elvis Presley ‒ Great balls musical biopic, but the most profitable and fre- of fire/Jerry Lee Lewis ‒ A hard day’s night/The quently made. I analyze four different aspects of Beatles ‒ The Doors ‒ Sid and Nancy/The Sex the musical biopic that illustrate its significance: Pistols ‒ Tina, What’s love got to do with Chapter One addresses the musical biopic in the it?/Tina Turner ‒ The Rose/Janis Joplin ‒ The context of the post-studio era entertainment in- Bodyguard/Whitney Houston ‒ Hard to dustry. I study A Hard Day’s Night as a film hold/Rick Springfield ‒ Purple Rain/Prince ‒ which reconciles artistry with the commercial im- Rock Star/Judas Priest ‒ 8 Mile/Eminem. perative of cross-promotion. Chapter Two surveys the increased presence of minority enter- Sheldon, Harvey: The History of Hollywood Musical tainers in post-studio era musical biopics, cover- Bio Pics. [On-Demand-Selbstverlag (Charleston, ing films featuring African American musicians, SC: BookSurge/CreateSpace)] 2010, iv, 650 S. as well as films which pair a black mentor with a On-Demand-Repr. 2014 als „Perfect Paperback white musician or producer. Chapter Three ex- edition‟ bei Amazon. amines the relationship between storytelling, par- Because of the cultural centrality of music, music ticularly the portrayal of love relationships, and history films constitute something of an informal song performances. I find in that the post-studio chronicle of American popular culture from vau- era musical biopic often reconciles narrative deville, Broadway, Hollywood, Swing and Pop structures inherited from the classical Hollywood era. Considered in their historical context, these musical with post-classical film styles. Chapter musical biographicals also disclose remarkable Four, a psychoanalytic study of the contemporary changes in cultural taste and temperament over musical biopic, theorizes the genre’s turn to the the last 100 years. Not coincidentally, the first representation of flawed and scandalous subjects. musical bio pic ever made The Jolson Story in 1946‒created a white Jewish singer famous for Segebade-Mittmann, Insa: Rockstars im Film. Zwölf his performances in black face. Likewise, several Musikerbiographien im Spielfilm und in Printmedi- post World War II musical bio pics focused on en. Marburg: Tectum 2007, 470 S. white swing era band leaders and musicians Rockstars sind cool. Sie haben ständig Affären. (Benny Goodman, Glenn Miller, Gene Krupa, Sie stürzen in Abgründe aus Depression und Dro- The Fabulous Dorsey’s and Red Nichols) There genrausch. Sie sind Ikonen ihrer Generation, ge- have been a slew of biopics in recent years, al- formt durch Interviews, lancierte Pressefotos und though its history dates back to 1900 with Cyrano gefilterte Homestorys in Presse, Funk und Fern- de Bergerac. I guess the old adage that “truth is sehen. Biographische Spielfilme verfestigen die stranger than fiction” has been taken to heart by Klischees aus zweiter, dritter oder vierter Hand. Hollywood. The music biopic has been around a An der Realität müssen sie sich kaum messen: while too. The first one I could find was 1942’s Wer kennt Rockstars schließlich privat? Berichte Yankee Doodle Dandy, about the life of Broad- aus dem Showbizz werden selten hinterfragt. Für way impresario George M. Cohan, with James dieses Buch wurde mit einer neu entwickelten Cagney in the lead role. Since then the silver Methode am Beispiel von zwölf Rockstarbiogra- screen has been filled with films about musicians fien von Elvis über Judas Priest bis Eminem un- of all stripes: vaudeville entertainers (The Jolson tersucht, welches Bild Spielfilme und Magazine Story), big band jazz leaders (The Glenn Miller von Rockstars zeichnen. Die verwendeten Kli- Story Gene Krupa Story, Benny Goodman Story, schees haben sich mit den Jahren erstaunlich we- Red Nichols), Frank Sinatra (Sinatra) Bobby Da- Biopics // Medienwissenschaft, 162, 2015 /// 19

rin (Beyond the Sea), and to name a few. While plain their moral declines. Both films resolve the these music biopics have the advantage of often natural tensions between the material (individu- colorful personalities and great soundtracks, ma- alism) and the moral (brotherhood) by introduc- ny of them fall victim to the boring conventions ing the Hollywood love story as an acceptable of formula. Oftentimes it goes something like narrative for the lead character’s redemption. The this: hardships early in life, usually stemming mythology allows for a more feminine narrative from poverty, abusive parents or tragic accident (heterosexual romantic love) as moral resolution, meteoric rise to fame fall from grace, usually one that avoids the more complicated notions of brought on by drugs, alcohol, or divorce (some- brotherhood (racial and class equality) as part of times all three - see Ray and Walk the Line) red- the ideological equation. emption and comeback or early, tragic death. De- spite these filmic trappings, there have been some Sonntag, Sabine: Richard Wagner im Kino. Köln: amazing biopics favorites. Dohr 2010, 412 S. (Musicolonia. 8.). Zugl. Diss., Musikhochschule Köln 2010. Shor, Francis: Biographical Moments in the Written and Cinematic Text: Deconstructing the Legends of Spear, Thomas C. (ed.): Autobiographical Que(e)- Joe Hill and Buffalo Bill. In: Film & History 14,3, ries. [Special Issue.] In: A/B: Auto/Biography Stud- Sept. 1984, S. 61‒68. ies 15,1, Summer 2000, S. 1‒165. Compares written biographies of Joe Hill and Buffalo Bill with their portrayal in Joe Hill and Spirou, Penny: Behind the Music: Representations Buffalo Bill and the Indians respectively. Under- of Popular Music Artists in the Contemporary Mu- standing the special problems involved in the sical Biopic. In: Instruments of Change: Proceed- film treatment of historicla biography should help ings of the International Association for the Study of scholars to be both better film critics and more Popular Music Australia-New Zealand 2010 Confe- perceptive biographers. rence. Melbourne, Vic.: International Association for the Study of Popular Music 2011, S. 131‒136. Sicinski, Michael: Truthiness is Stranger than Fic- Over the last decade (2000 to 2010) feature film tion: The ‘New Biopic’. In: The Wiley-Blackwell has been a popular way of representing the life of History of American Film. 4: 1976 to the Present. music artists (during this period, over 20 have Ed. by Cynthia Lucia, Roy Grundmann & Art Si- been theatrically released from the USA and UK mon. Malden, Mass.: Blackwell 2012, S. 365‒385. alone). From successful, mainstream Hollywood On Michael Mann‘s Ali (2001) compared to films such as Walk the Line (James Mangold Todd Haynes’ I’m Not There (2007). 2005) and The Soloist (Joe Wright 2009), to the more avant-garde I’m Not There (Todd Haynes, Sinyard, Neil: Bio-pics: the Literary Life on Film. 2007) and, on the international circuit, Gains- In: Filming Literature: The Art of Screen Adapta- bourg (Joann Safar 2010) and La Vie En Rose tion. New York: St. Martin’s Press 1986, S. 143‒ (Olivier Dahan 2007), the contemporary musical 155. biopic (biographical film) changes the public per- ception of these artists and their music. The musi- Smith, Jr., Glenn D.: Love as Redemption: The cal biopic contributes to popular music history American Dream Myth and the Celebrity Biopic. In: and culture: either perpetuating or debunking the Journal of Communication Inquiry 33,3, July 2009, constructed myth (through media representations) S. 222‒238. of the music artist. This research documents the American Dream in two popular biopics: Ray (2004) and Walk the Spirou, Penny: Walk Hard: Film Parody, Biopics Line (2005). In both films, the American Dream, and Music. In: Comedy Studies 5,1, 2014, S. 52‒63. framed by the ideology of individuality, follows a Walk Hard: The Dewey Cox Story (Jake Kasdan, particular trajectory: Struggle, individual effort, 2007) is a parody film that mocks the musical responsibility, and talent lead to material wealth, biopic genre. It spoofs the genre through intertex- but the protagonists’ immoral behaviors over- tuality and self-reflexivity, utilising elements in- whelm them, thus creating a host of professional cluding reflective music montage, musical inte- and personal problems. The relevance of racism gration, puns, stereotyping and running gags, and class struggle, long identified as significant which posits the film in the genres of comedy and barriers to upward mobility, is minimized for a musical biopic. This paper utilises the musical more personal issue, psychological trauma, to ex- biopic structure, as outlined by Babington and Biopics // Medienwissenschaft, 162, 2015 /// 20

Evans (1985), in order to reinforce that each nar- phy. Thirdly, the article is concerned with how rative movement in Walk Hard mocks the genre. audiences and fan cultures engage with those It is argued that music plays a crucial role in the common narratives. Using Robert Shelton’s 1986 film as Walk Hard lampoons not only the musical biography of Bob Dylan, No Direction Home as biopic genre but also the music industry at large. an example, the article argues that the biographer’s project necessitates the construction of a Stanfield, Peter: Punks! Topicality and the 1950s biographical authority which is achieved through Gangster Bio-Pic Cycle. In: Media, Popular Culture the use of certain techniques and tropes. It will and the American Century. Ed. by Kingsley Bolton further suggest that this biographical authority is & Jan Olsson. [Stockholm:] National Library of by no means stable and is affected by the biogra- Sweden 2011, S. 185‒215. phy’s reception in a wider critical landscape. Online: URL: (Vorlage) http://kar.kent.ac.uk/26190/1/Stanfield_Punks.pd f. Straub, Katja: Faszination Biopic. Saarbrücken: VDM Verlag Dr. Müller 2007, 92 S. Sternman, William: The Trouble with Biopics. In: “All history resolves itself very easily into the Audience 10,1, 1978, S. 32‒33. biography of a few stout and earnest persons.” Ralph Waldo Emerson Biografien gelten als ei- Stevens, Michael G. / Thompson, Rita M.: Reel Por- nes der ältesten Genres der Literatur- und Ge- trayals: The Lives of 640 Historical Persons on schichtswissenschaft. Filmbiografien kamen fast Film, 1929 through 2001. Jefferson, N.C.: McFar- unmittelbar nach der Erfindung des Films auf und land 2003, ix, 421 S. haben sich in über 100 Jahren Filmgeschichte als Countless films have been based on fictional ein Genre mit stabiler Popularität erwiesen. Katja characters and their lives and experiences, but Straub untersucht Merkmale und Strukturen bio- many have also been based on real people and grafischer Filme und ordnet diese in die Filmge- events in their lives. Six hundred forty non-fictio- schichte ein. Durch aktuelle Filmbeispiele aus nal characters of historical or social importance den Jahren 1990 bis 2005 sowie eine Analyse who have been portrayed in at least two feature von mehreren biografischen Filmen über Cole films can be found in this comprehensive refe- Porter und Johanna von Orleans wird die Faszi- rence book. It lists 569 real people arranged al- nation von Biopics erklärt. Dabei werden auch phabetically (from George Adamson to Emile Biografien in geschriebener Form untersucht, da Zola), provides a brief biography of each, and sie die Filmbiografie und deren Entwicklung mit lists each film in which he or she has been por- beeinflusst haben. Ihre Entwicklung, ausgehend trayed. The actor portraying the real person is von der Antike, über das Mittelalter und die Neu- listed first, followed by such details as the film’s zeit bis zur Moderne, wird dargestellt. title, country, year of release, running time, color or black & white, director(s), source (novel, play, Stringer, Julian: Center Stage: Reconstructing the etc.), awards, alternate titles (if any), and cast Biopic. In: Cineaction 42, 1997, S. 28‒39. credits. The appendices list 71 additional real people who have been portrayed in feature films, Swiss, Thomas: That’s Me in the Spotlight: Rock including American presidents, British, French, Autobiographies. In: Popular Music 24,2, 2005, S. Russian and German monarchs, and Billy the Kid 287‒294. and Wild Bill Hickock. Autobiographies: the contemporary catalogue is huge and bookstore shelves are heavy with the Strachan, Robert: “Where Do I Begin The Story?” weight of life-stories. Ex-Presidents, actors, Collective Memory, Biographical Authority and the cooks, criminals, Nobel prize winners, preachers, Rock Biography. In: Popular Music History 3,1, poets and CEOs all write them. Rock stars write 2008, S. 65‒80. them, too – ‘marquee names’ like Tina Turner, This article is concerned with three main areas. Melissa Etheridge, Grace Slick, and Meatloaf, Firstly it examines how the rock biography might but also minor figures such as Dallas Taylor, the be active in the creation of a collective memory former drummer for Crosby, Stills, Nash and of popular culture. Secondly, it examines how the Young. And plenty of others, including – to name stylistic conventions and institutional pressures of just a handful – Chuck Berry, Ronnie Spector, publishing have a major effect upon what type of Anthony Kiedis of the Red Hot Chili Peppers, narrative is constructed within the rock biogra- both Ray and Dave Davies, Dee Dee Ramone, Biopics // Medienwissenschaft, 162, 2015 /// 21

Martha Reeves, Eric Burdon, and John Cale. dreï Tarkovski et Van Gogh de Maurice Pialat / 145 ‒ Jean-Michel Durafour: Rossellini et Alber- Szczepanski, Tadeusz (red.): Biografistyka filmowa: ti. La perspectiva televisualis, ou le cinéma dé- Ekranowe interpretacje losów i faktów. Toruń: Mar- pi(c)té / 163 ‒ Baptiste Villenave: Le maelstrôm szalek 2007, 323 S. des affects. Edvard Munch de Peter Watkins (1974): une biographie totale / 181 ‒ Jacques Taylor, Henry McKean: Rolle des Lebens. Die Film- Pasquet: Béance(s): A Bigger Splash de Jack Ha- biographie als narratives System. Marburg: Schüren zan / 197 ‒ Véronique Campan: Les puissances 2002, 424 S. (Zürcher Filmstudien. 8.). du faux ou la «mise en boîte» de Rembrandt par Die Filmbiographie ist eines der ältesten und Charles Matton / 211 ‒ Jakuta Alikavazovic: Pol- vielschichtigsten Filmgenres überhaupt. Von lock d’Ed Harris: «un sujet idéal»? / 227 ‒ Ro- Abel Gances Napoléon über die US-Biopics der land Carrée: Bio-graphie: Ivre de femmes et de Dreißigerjahre bis zu Oliver Stones umstrittenen peinture d’Im Kwon-taek, 2001 / 241 ‒ Marie Präsidentenfilmen JFK und Nixon reicht der Fä- Martin: La projection du peintre. Klimt de Raoul cher der bekannten Beispiele dieser Filmgattung, Ruiz / 255 ‒ Patrick Louguet: La vie et l’oeuvre die immer wieder zu leidenschaftlichen Kontro- de Séraphine Louis en régime de fiction cinéma- versen über Geschichte und ihre Darstellung im tographique ... / 271 ‒ Floréal Peleato: La musi- Kino Anlass gab. Henry McKean Taylor legt die que silencieuse du geste / 287. erste umfassende Aufarbeitung des Genres aus theoretischer Sicht vor. Er behandelt die kultur- Thomson, David: The Invasion of the ‘Real’ People. historischen Hintergründe und gesellschaftlichen In: Sight and Sound 47,1, Winter 1977‒78, S. 18‒22. Implikationen der Filmbiographie und analysiert aus erzähltheoretischer Perspektive zahlreiche Tibbetts, John C.: Composers in the Movies: Studies Beispiele, wobei er sich im Unterschied zu Stu- in musical biography. New Haven: Yale University dien aus dem angelsächsischen Raum nicht auf Press 2005, xvi, 365 S. Filme des Hollywood-Kinos beschränkt, sondern Rev. (Steve York) in: Notes 62,4, June 2006, S. auch europäische und sowjetische Werke berück- 979‒981. sichtigt: Neue Deutsche Filme wie Jutta Brück- Rev. (Citron, Marcia J.) in: Music and Letters ners Kolossale Liebe, Francesco Rosis Mafia- 88,1, 2007, S. 171‒175. Biographie Lucky Luciano oder auch Sergej Pa- Amadeus... Yankee Doodle Dandy... Swanee Ri- radshanows Sajat Nowa. ver... Rhapsody in Blue. Even before movies had sound, filmmakers dramatized the lives of com- Thivat, Patricia-Laure (dir.): Biographies de posers. Movie biographies or biopics have depict- peintres à l’écran. Rennes: Presses universitaires de ed composers as diverse as Wolfgang Amadeus Rennes 2011, 320 S. (Coll. “Le spectaculaire”: Série Mozart, George M. Cohan, Stephen Foster, and Cinéma.). George Gershwin. In this enticing book, the first Inhalt: Patricia-Laure Thivat: Introduction: Vies devoted entirely to such films, John C. Tibbetts d’artistes au cinéma. L’Histoire, le mythe et le surveys different styles and periods from the Hol- miroir / 7 ‒ Priska Morrissey: La nuit des ateliers. lywood of the 1920s and 1930s to the internation- Réflexions sur un imaginaire de l’artiste au tra- al cinema of today, exploring the role that film vail dans les biopics de peintres... / 25 ‒ François biographies play in our understanding of history Genton: La biographie de peintre, un genre politi- and culture. Tibbetts delves into such questions que? Les films Rembrandt d’Alexander Korda as: How historically accurate are composer bio- (1936) et de Hans Steinhoff (1942) / 41 ‒ Christi- pics? How and why have inaccuracies and distor- an Viviani: Biographies de peintres dans le ciné- tions been perpetrated? What strategies have ma américain / 57 ‒ N.T. Binh: Le ballet final been used to represent visually the creative pro- d’Un Américain à Paris. Biographie fantasmée cess? The book examines the films in several d’un peintre chorégraphe / 69 ‒ Fabien Delmas: contexts and considers their role in commodify- Le dernier Ophuls. Et s’il fallait peindre l’Uni- ing and popularizing music. Extensive archival vers? / 83 ‒ Gloria Camarero Gômez: Goya au ci- research, dozens of illustrations, and numerous néma / 99 ‒ Antony Fiant: Pirosmani vu par interviews make this an appealing book for film Chenguelaia et Paradjanov - portraits en creux / and music enthusiasts at all levels. 115 ‒ Michel Cieutat: Van Gogh au cinéma: Minnelli, Pialat, Altman / 127 ‒ Nicolas Bezard: Tibbetts, John C.: The Lyre of Light. In: Film Le talent est un malheur. Andreï Roublev d’An- Comment 28,1, Jan.-Febr. 1992, S. 66‒68, 71, 73. Biopics // Medienwissenschaft, 162, 2015 /// 22

Examines the effect of social and political forces visual textures of the film articulate a meditation on biographical films about composers. on the female artist filtered through romance and Tieber, Claus: Ein Leben aus Musik – Fiktionale fantasy, I propose a reconsideration of Artemisia Biographien von Rockstars im Film. In: Kieler Bei- in the light of different moments in feminist his- träge zur Filmmusikforschung 5,2, 2010, S. 185‒ toriographies. This essay thus argues that Artemi- 197. sia can be considered a significant example of the contemporary biopicapos;s blurring of the boun- Tweg, Sue: Not the Full Story: Representing Ruth daries between art-cinema aesthetics, feminist Ellis. In: Biography 23,1, 2000, S. 1‒28. politics and popular romance narratives.

Varriale, Simone: Rockin’ the Jazz Biopic: Chang- de Waard, Marco (ed.): Imagining Global Amster- ing Images of African American Musicians in Holly- dam. History, Culture, and Geography in a World wood Biographical Films. In: Jazz Research Journal City. Amsterdam: Amsterdam University Press 6, 1, 2012, S. 27‒46. 2012, 316 S. Mixing facts and fiction, Hollywood screen bio- Includes: Patricia Pisters: Form, Punch, Caress: graphies have told the lives of popular music Johan van der Keuken’s Global Amsterdam / 125 icons at least since The Jazz Singer (1927). How- ‒ Marco de Waard: Rembrandt on Screen: Art ever, biopics construct narratives that deal prob- Cinema, Cultural Heritage, and the Museumiza- lematically with issues of race. My essay aims to tion of Urban Space / 143. describe how representations of African Ame- rican musicians have changed from 1970s ‘black Waites, Kathleen J.: Graeme Clifford‘s Biopic, jazz biopics’ (Gabbard 1996) to more recent Frances (1982): Once a Failed Lady, Twice Indict- films on rock, hip hop and rhythm ’n’ blues acts. ed. In: Literature/Film Quarterly 33,1, 2005, S. 12‒ On one hand, I analyse the way 1970s music bio- 19. pics constructed a peculiar new narrative about This article examines Graeme Clifford’s biogra- race and popularity. On the other hand, I show phical film, Frances which allegedly appears to the extent to which films such as Tina (1993), draw from both actress Frances Farmer’s auto- Ray (2004) and Notorious (2009) have subtly biography, Will There Really Be a Morning? and modified the racialized distinctions of former William Arnold’s biography, Shadowland. Con- biopics, placing black musicians within a cine- sistent with both books, the film examines Far- matic mythology which historically had been re- mer’s turbulent relationship with her mother and served to white subjects. The shift from jazz to the studio brass that set their sights on the beauti- other music genres, thus, is related to significant ful, talented, and promising star of the 1930s. But changes in biopics’ narratives and visual strate- Farmer, a staunch individualist and truth-toting gies. However, I argue that music biopics still nonconformist, resisted their plan to transform deal with a distinctive notion of ‘the popular’ her into mama’s good girl and the next studio (Williams 1983), which frames blackness as doll. How ironic, therefore, that all major pub- otherness and whiteness (Dyer 1997) as just ‘hu- lished accounts of her life are either dubious man nature’. (Will There Really Be a Morning?), peppered with factual inaccuracies (Shadowland), or, as in Vidal, Belén: Feminist Historiographies and the Wo- the case of Clifford’s biopic, a formulaic and man Artist’s Biopic: The Case of Artemisia. In: skewed representation in the service of the very Screen 48,1, Spring 2007, S. 69‒90. ideology that she scorned. In view of the fact that This essay looks at the film Artemisia (Agnès the authorship of Farmer’s autobiography has Merlet, France/Italy, 1997) and at the critical been called into question, and her biographer’s controversy surrounding the film’s depiction of sources and facts have been challenged, the cine- protofeminist icon Artemisia Gentileschi. Artemi- matic manipulation and misrendering of Frances sia constitutes a revealing example of the pro- Farmer’s life highlights the problematic of recon- blems posed by the contemporary biopic about structing a life authentically in a world of prefa- women artists. While deploying the conventions bricated meanings. of the romance narrative (in particular in the relationships between the artist and model in the Walker, John Albert: Art and Artists on Screen. painterapos;s biopic), Artemisia uses the mise-en- Manchester: Manchester University Press 1993, viii, scene of the past to reflect on visual technologies, 227 S. gender and creativity. By looking at the ways the Am Beispiel einzelner Filme. Biopics // Medienwissenschaft, 162, 2015 /// 23

Rev. (Hanet, Kari) in: Media Information Austra- Werner, Lukas: Authentic Life: Ein Paradigma des lia, 75, Febr. 1995, S. 171. biographischen Films im Spannungsfeld von Hybri- Welsh, James M.: Hollywood ‘Faction’ and the New dität, Relationalität und Narration. In: Authentisches Biofantasy. In: Studies in Popular Culture 15,2, Erzählen: Produktion, Narration, Rezeption. Hrsg. 1993, S. 57‒66. v. Antonius Weixler. Berlin: de Gruyter 2012, S. 265‒290.