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?