Suchergebnisse

Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid ; El género del biopic cinematográfico, especialmente sobre figuras públicas, se presta de manera natural a su instrumentalización política. El autor utiliza cinco películas de la Transición y la Democracia españolas para explicar mensajes de legitimación en relación con el Ejército. El retrato de personalidades de la Guerra Civil se ha construido casi siempre de manera monolítica y sin ambigüedades, algo que el lenguaje cinematográfico ha debido exacerbar, dejando al descubierto propaganda al servicio de autonomías y partidos políticos, justificaciones e ideas contemporáneas autocomplacientes. ; The genre of the biopic film, especially about public figures, naturally lends itself to political manipulation. The author uses five films in the Spanish Democratic Transition and messages explaining standing under the Army. Portrait of Civil War personalities are almost always built on a monolithic and unambiguous language rather than the film had to exacerbate, exposing propaganda in the service of autonomy and political parties, self-serving justifications and contemporary ideas. ; Publicado

Between its launch in March 2002 and 2013, BBC Four, the BBC's niche arts and culture digital channel, broadcast a cycle of biographical dramas, largely about the unhappy personal lives of British cultural and political icons of the 20th century. Alongside stylish European drama imports, world cinema, and documentary programmes, biopics became a key marker of the BBC Four brand, and its dominant original dramatic output. In scholarly work on television biopics to date, the genre has been seen as akin to tabloid newspapers, a trashy cultural form that reduces the importance and seriousness of biographical narrative. However, in recent years biographical drama has been used by upmarket television brands like HBO, Showtime or, indeed, the BBC as a mark of distinction and respectability. This article analyses this dynamic in relation to BBC biopics, exploring how a specific dramatic genre is used to support the brand of a niche digital channel. It attends not only to the benefits of such material for marshalling audiences both within and beyond the channel's intended demographic, but also to some of the ethical and legal challenges intrinsic to a genre that exploits the personal stories of real people.

The interrelationship between heteronormativity, homonormativity and hegemonic masculinity has widereaching ramifications for the representation of important moments and agents in LGBTQIAN+ history. In this study, the author examines how the films Howl, Stonewall and Milk enact the emancipation of their protagonists, while simultaneously reproducing their oppression and aestheticising their discrimination, thus making it consumable. This contradiction is emblematic of new forms of exclusion that function more subtly than blatant homophobia, outright sexism or overt racism, while at the same time rejecting a more complex repre-sentation of social experiences but instead solidifying static, definable identities.

The interrelationship between heteronormativity, homonormativity and hegemonic masculinity has widereaching ramifications for the representation of important moments and agents in LGBTQIAN+ history. In this study, the author examines how the films Howl, Stonewall and Milk enact the emancipation of their protagonists, while simultaneously reproducing their oppression and aestheticising their discrimination, thus making it consumable. This contradiction is emblematic of new forms of exclusion that function more subtly than blatant homophobia, outright sexism or overt racism, while at the same time rejecting a more complex repre-sentation of social experiences but instead solidifying static, definable identities

Three years ago, the filmNasser 56(1996), from Muhammad Fadil, a dramatic reenactment of the Suez crisis, set unprecedented attendance records in Egypt. Opening at the end of another disappointing year marked by a steady decline in studio film production and a dearth of high-quality offerings—and held back from public screening a full year by wavering government support—the film breathed new life into the movie industry and precipitated a national discussion about the legacy of Gamal Abdel Nasser. The film has come and gone from Cairo theaters (although screenings abroad continue), butNasser 56will remain a historic film. In dramatic fashion, it broke a long-accepted taboo against cinematic depiction of modern political leaders. It is also the first serious attempt at film biography by an Egyptian filmmaker in thirty years.

Eva Perón ha sido una de las mujeres más relevantes en el ámbito político mundial del pasado siglo, su persona se ha llevado a la gran pantalla en varias ocasiones y por ello cabe indagar en cómo es la representación que se ha hecho de ella. Para ello, tomando como referencia la Teoría Fílmica Feminista y la Teoría Narrativa, hemos realizado un análisis de la representación de Eva Perón en cuanto en tanto personaje y los aspectos de su vida que la rodean en los tres filmes del corpus: Evita, Eva Perón y Juan y Eva. ; Eva Perón has been one of the most relevant women in the world political ambit of the past century, she has been taken to the big screen in several occasions and for this reason is pertinet to investigate how is the representation that has been made of her. For this, taking as reference the Feminist Film Theory and Narrative Theory, we have realized an analysis about the representation of Eva Peron as both a character and the Eva Perón life's moments that surround her in the three films of the corpus: Evita, Eva Perón and Juan y Eva.

""A Star Is Born": Gender, Soft Power and Biopics in Cold-War Romanian Cinema (Darclée, 1961) Obsessively interested in life writing from the periods of 20th-century dictatorships, Romanian post-communist culture has been dominated, with very few exceptions, by male authors. However, shyly, yet steadily, in this large-scale attempt to retrace and understand the traumatic past, there has been an opening in recent years towards women authors. Although few by comparison, these personal narratives are memorable. In terms of biographical novels and biopics, the most striking feature is the absence of such female representations. Departing from this context of gender oblivion and inequality, and considering the specificities of the life writing genre and its filmic representations, the current paper focuses on Darclée (Mihai Iacob, 1961), one of the very few biopics in Romanian cinema that revolves around a famous woman. Aside from being a rare, female-centered exception among Romanian biopics, the film is also noteworthy for its politicized content and therefore interesting to discuss in relation to the political context, the totalitarian regime present at the time in Romania and its cultural discourse. Despite dealing with a-turn-of-the-century figure of aristocratic and bourgeois origins, the film (with the wife of a communist leader in the leading role) is politically appropriated by the communist regime and announces National Communism in Romanian culture. The analysis will thus consider the political discourse employed in Darclée, with its unexpected nationalist emphasis, as well as the film's strategies of representation as it covers, in a rare occasion, a female figure.

Keywords: life writing, gender, Romanian cinema, Cold War biopic, musical film
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La relación entre historia y ficción siempre ha sido compleja, aunque ha mejorado en las últimas décadas ante la potencialidad del medio audiovisual para difundir el conocimiento de nuestro pasado. Entre la ficción histórica, un lugar destacado ocupan los biopics, que recientemente han recibido una singular atención en España en torno a los grandes protagonistas de un episodio clave de nuestra historia: la Transición democrática. El objetivo de este artículo es analizar la forma en que se ha reconstruido la historia de la Transición y sus protagonistas en los biopics realizados sobre Adolfo Suárez, Vicente Enrique y Tarancón, Juan Carlos I y Torcuato Fernández-Miranda, los cuales evidencian el tono hagiográfico y elitista desde el cual es proyectado ese episodio de nuestro pasado reciente.

Within the social and political context of the so called "Historic Memory", which implies a vindication of antifrancoist resistance and investigation of murders during the Civil War, Spanish cinema turns to a series of historical films in order to make an interpretation of the History of Spain through biographies of prominent personalities. Together with political leaders (Azaña, Líster, Blas Infante) and antifrancoist fighters (Caracremada, Puig Antich, Solé Tura), there are secret agents (Garbo), Latin American leaders (Allende, Pinochet, Che Guevara) and ordinary people who become protagonists of events that have a great impact in public ethics. These biopics pay tribute and make these admired figures known, but they also make a reflection and an interpretation of the past–in interaction with the present- and at the same time they clearly support democratic values. ; En el clima social y político de reivindicación de la resistencia antifranquista y de investigación de asesinatos en torno a la guerra civil conocido como "memoria histórica" el cine español abunda en el ciclo de cine histórico para llevar a cabo una interpretación de la Historia de España a través de biografías de personajes públicos. Junto a líderes políticos (Azaña, Líster, Blas Infante) y resistentes antifranquistas (Caracremada, Puig Antich, Solé Tura) hay espías (Garbo), líderes latinoamericanos (Allende, Pinochet, Che Guevara) y personas comunes protagonistas de sucesos de trascendencia para la ética pública (Ramón Sampedro). Estas biografías sirven para dar a conocer y homenajear a figuras admiradas, pero también para una reflexión e interpretación sobre el pasado –en interacción con el presente- y para apostar por valores de cultura democrática.