Abstract
Shachar introduces the key debates in the analysis of biopics and heritage cinema in relation to the theorisation of the literary biopic as its own genre with a unique aesthetic template. Moving from an analysis of the early Hollywood ‘golden days’ of the studio-system era, which churned out biopics as part of a celebrity-driven enterprise, Shachar traces how the contemporary literary biopic both sits alongside and diverges from such early Hollywood cinema, and overlaps with concerns of more recent heritage films. She concludes by analysing how the contemporary literary biopic can be conceived of in generic terms, and lays out the methodological approach of how it represents authorial identity through an amalgamation of postmodern, intersectional, and Romantic ideological politics of representation.
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