The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.

Technical Vocabulary and Medieval Text Types: A Semantic Field Approach

This paper seeks to discover in what sense we can classify vocabulary items as technical terms in the later medieval period. In order to arrive at a principled categorization of technicality, distribution is taken as a diagnostic factor: vocabulary shared across the widest range of text types may be assumed to be both prototypical for the semantic field, but also the most general and therefore least technical terms since lexical items derive at least part of their meaning from context, a wider range of contexts implying a wider range of senses. A further way of addressing the question of technicality is tested through the classification of the lexis into semantic hierarchies: in the terms of componential analysis, having more components of meaning puts a term lower in the semantic hierarchy and flags it as having a greater specificity of sense, and thus as more technical. The various text types are interrogated through comparison of the number of levels in their hierarchies and number of lexical items at each level within the hierarchies. Focusing on the vocabulary of a single semantic field, DRESS AND TEXTILES, this paper investigates how four medieval text types (wills, sumptuary laws, petitions, and romances) employ technical terminology in the establishment of the conventions of their genres.