JFK: History on Film; The Biopic
--As docudrama: where/how is the balancing in JFK of actual material and melodramatic form?
As melodrama: who is the weaker, victimized party here?
Is there the kind of moral clarification we associate with melodrama?
--As historical film: what ethical issues arise? Why?
--As historiography: what claims does JFK make (and how does it do it) about:
Is the “outlaw history” Oliver Stone says he presents in JFK empowering?
--How does JFK (as history) support Rosenstone’s argument that history is constructed? What does the film say about the process of formulating history?
--What are the conventions of historical film? How do these function in JFK?
--Rosenstone says “history must be fictional in order to be true” (p. 70)—how does this idea apply in the case of JFK?
--To what extent is JFK a biopic, according the conventions of that kind of film outlined by George Custen?
--What are the kinds of warrants evident in the classic biopic? Are they at work here?