![]() ![]() ![]() Drawing on Rosenstone’s conceptual model for understanding how historical knowledge manifests in fictional narratives, it investigates the nature and function of fictional inventions in biopics and the ways in which screenplays make creative use of evidence. While more information has become available recently, this project examines the creative and critical issues associated with researching this figure, overcoming the problem of scant evidence and positioning him within a presentist context. The early biographies of Biswas, based on limited and unreliable evidence, pose a challenge to the screenwriter in terms of narrative reconstruction of his life as a biopic. ![]() ![]() The composition of relational recognition, and understandings of ethics and protocols, such as those achieved through shared time on country,energetic dialogue and knowledge exchange, is an emergent discourse within this chapter about how intercultural script development can allow First Nations storytellers to lead the scripting of personal and family stories, in ways that they choose to do so.Īs a creative practice research project, this thesis sets out to write a screenplay about Suresh Biswas (1861-1905), a little-known Bengali adventurer who was a wild-life trainer and circus-performer in Europe and later became a Captain in the Brazilian army. Also mobilised are assemblages of attitudes, reconciliations and shared experiences produced by relational collaborations and approaches to script development that respect diverse expressions of identity and place-based learning. No longer a Wandering Spirit-Imaginaries of Bessy Flowers (2016) situates within its social palpability, a politics of agency fundamental to the movement of story between generations, and through time, by First Nations storytellers. In this chapter, script development practices converge with the principles, ethics and improvisational qualities of First Nations storytelling in Australia, to both amplify and communicate the cultural materialising and sensibilities of relational identity, truth and integrity. Our findings document the emergence of a transitional period in the biographical movie industry in which the reproduction of gender status asymmetries coexists with an increased participation of women in filmmaking. Therefore, the recently increased involvement of women as directors has significantly advanced the symbolic recognition of women in public cinematographic discourse. We find that men-only filmmaking teams have been remarkably consistent from 1900 onward in their choice of male subjects, while mixed and women-only teams have driven an increase in the central representation of women as figures whose life is worthy of narration and remembrance. The results rely on a quantitative analysis of all 4,539 films on the IMDb platform labeled with the "Biography" tag that portray an individual main character in the selected years. This paper documents the change and reproduction of gender status in the motion picture industry by discussing patterns in protagonist choice and authorship of biographical films produced from 1900 to 2017. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |