The Postfeminist Biopic

The Postfeminist Biopic explores the influence of postfeminist culture on cinematic representations of female biographies. While earlier research has described the subgenres of the classical female biopic and the feminist biopic, Polaschek proposes a third subgenre, the postfeminist biopic, which ha [...]
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The Postfeminist Biopic explores the influence of postfeminist culture on cinematic representations of female biographies. While earlier research has described the subgenres of the classical female biopic and the feminist biopic, Polaschek proposes a third subgenre, the postfeminist biopic, which has appeared as part of a broader trend of reviving and reconfiguring classical genre forms aimed at women. The book explores the conventions of the postfeminist biopic through a close analysis of four films that represent the lives of women who are established members of the second-wave feminist canon: Sylvia (Christine Jeffs, 2003), which depicts the life of the American poet Sylvia Plath; Frida (Julie Taymor, 2002), about the Mexican painter Frida Kahlo; The Hours (Stephen Daldry, 2002), which includes a biographical narrative about the English novelist and critic Virginia Woolf; and Becoming Jane (Julian Jarrold, 2006), a fictionalized interpretation of the coming of age of the English novelist Jane Austen.