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The biopic presents a profound paradox—its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one—it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core—the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway?

Biographical films -- History and criticism. --- Biographical films --- Bio-pics --- Biographical videos --- Biopics --- Film biographies --- Screen biographies --- Biography --- Motion pictures --- History and criticism --- History and criticism.

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Ageing and Memory are two cultural processes that establish their own relationships with time. They affect our ways of living, in the present, and for a future, as we move through life. This book focuses on the cultural mediations of ageing and memory, teasing out their complex and largely unpredictable relationships and interconnections. Its overall purpose is to explore different practices, commodities, daily routines, sounds, images and technologies that configure memory and ageing and shape our experiences of living in time and with time. By covering a variety of phenomena, from biopics, music by elderly, and artefacts among other, this edited collection considers the cultural stuff that ageing and memory are made of and interconnected in singular ways, for and by particular people, in specific socio-historical locations.

Memory; Ageing; Cultural Practices; Media; Collective Memory; Narrative; Reminiscence; Representation; Lifespan; Biopics; Music By The Elderly; Artefacts; Aging Studies; Memory Culture; Cultural Studies --- Ageing. --- Aging Studies. --- Artefacts. --- Biopics. --- Collective Memory. --- Cultural Practices. --- Cultural Studies. --- Lifespan. --- Media. --- Memory Culture. --- Music By The Elderly. --- Narrative. --- Reminiscence. --- Representation.

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Biopics—films that chronicle the lives of famous and notorious figures from our national history—have long been one of Hollywood's most popular and important genres, offering viewers various understandings of American national identity. Invented Lives, Imagined Communities provides the first full-length examination of US biopics, focusing on key releases in American cinema while treating recent developments in three fields: cinema studies, particularly the history of Hollywood; national identity studies dealing with the American experience; and scholarship devoted to modernity and postmodernity. Films discussed include Houdini, Patton, The Great White Hope, Bound for Glory, Ed Wood, Basquiat, Pollock, Sylvia, Kinsey, Fur, Milk, J. Edgar, and Lincoln, and the book pays special attention to the crucial generic plot along which biopics traverse and showcase American lives, even as they modify the various notions of the national character.

Biographical films --- National characteristics, American, in motion pictures. --- Motion pictures --- Bio-pics --- Biographical videos --- Biopics --- Film biographies --- Screen biographies --- Biography --- History and criticism. --- United States --- In motion pictures. --- History and criticism --- National characteristics [American ] in literature --- United States in motion pictures

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Dominant cultural narratives about later life dismiss the value senior citizens hold for society. In her cultural-philosophical critique, Hanne Laceulle outlines counter narratives that acknowledge both potentials and vulnerabilities of later life. She draws on the rich philosophical tradition of thought about self-realization and explores the significance of ethical concepts essential to the process of growing old such as autonomy, authenticity and virtue. These counter narratives aim to support older individuals in their search for a meaningful age identity, while they make society recognize its senior members as valued participants and moral agents of their own lives.

Age groups: the elderly --- Self-realization in old age. --- Aging --- Psychological aspects. --- Older people --- Psychology --- Aging Studies. --- Authenticity. --- Autonomy. --- Cultural Narratives. --- Cultural Studies. --- Culture. --- Philosophy of Culture. --- Self-Realization. --- Virtue. --- Aging; Self-Realization; Cultural Narratives; Autonomy; Authenticity; Virtue; Aging Studies; Culture; Philosophy of Culture; Cultural Studies --- Sociology --- Memory --- Ageing --- Cultural Practices --- Media --- Collective Memory --- Narrative --- Reminiscence --- Representation --- Lifespan --- Biopics --- Music By The Elderly --- Artefacts --- Aging Studies --- Memory Culture --- Cultural Studies --- Self-Realization --- Cultural Narratives --- Autonomy --- Virtue --- Culture --- Philosophy of Culture

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This book revises our notions of film genre and connects the roles played by industry critics and audiences in making and re-making genre. Altman reveals the conflicting stakes for which the genre game has been played and recognises that the term genre has different meanings for different groups.

Film --- Rick Altman --- genre --- genres --- filmgenres --- genretheorie --- literatuurtheorie --- musicals --- westerns --- biopics --- Silver Joel --- Hollywood --- 791.41 --- Film genres --- Film genres. --- Genres cinématographiques --- Genres cinématographiques --- Altman, Rick --- filmgenre --- filmtechnieken --- #SBIB:309H1326 --- Genre films --- Genres, Film --- Motion picture genres --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Motion pictures --- Plots, themes, etc. --- #SBIB:033.AANKOOP --- Philosophie et cinéma --- Théorie du cinéma --- Films de série B --- Histoire et critique --- Genres cinématographiques. --- Philosophie et cinéma. --- Théorie du cinéma. --- Histoire et critique. --- 798.3 --- fifties --- film --- filmanalyse --- film, esthetiek en kritiek --- filmtheorie --- CDL