An image too many: the contemporary biopic, the historical body, and the documentary footage trope

Abstract

Abstract This article explores the inclusion of historical footage at the end of biopics. The impact of such footage, commonly appended to recent films, varies depending on the specific film. By drawing on theories of viewership, historical film, ontology, and epistemology, this investigation attempts to shed light on why this footage is sometimes, but not inevitably, troubling. Its analysis of the use of such footage in Bohemian Rhapsody and I’m Not There delves into the viewer’s relationship with images and the complexities arising from the intersection of reality and fiction. By exploring the shifting modes of engagement that influence the viewer’s experience, the analysis suggests that this choice may imply a claim to historical authenticity or truth. In questioning the reasons for the increasing prevalence of this trope in contemporary biopics, this article considers the implications of blurring the boundaries between the real and the imaginary.