Biography and Meeting Our Expectations
Report for Narrative Strategies of Non-narrative Television
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A&E's Biography is celebrating its tenth anniversary this
month. For a decade now this program has provided the American audience with
the story of a real person's life five nights every week. Biography illustrates
itself as a simple, straight-forward program that does little more than present
the accomplishments and struggles of famous people in a fashion that is entertaining
as well as educational. However, like all narratives that people construct A&E's
Biography does not exist within a vacuum. George Custen's book Bio/Pics explains
how the Hollywood genre of the bio/pic constructed a "nearly monochromatic
view of history" that continuously distorted facts about the histories
being told. Custen's concept of the Hollywood bio/pic as constructing history
into entertainment by fitting the facts into a formulated mold creates myths
which support the views of history that dominant culture wants to believe.
The concepts presented within Custen's argument about the bio/pic
are not only significant for understanding the construction of shows such as
Biography, but also for observing how American culture creates and accepts myths.
The average American moviegoer can typically see a similar story and plot development
within most major Hollywood films. As an Indian man that I once worked with
stated, "I saw probably ten American films once I got here, and then I
figured I knew the story and I didn't see anymore." The Hollywood studio
is a site of American culture synthesis, but it is above all a multi-million
dollar industry. It seeks to reach the largest number of people possible within
the context of each film. Thus it creates films for the lowest common denominator
with formulated plots. Custen explains that biographical films adhere to these
same rules. Bio/pics by no means whatsoever break from the formula of the classical
Hollywood cinema. The author makes an illustration with the famous Hollywood
producer Daryl F. Zanuck stating that, "Zanuck recycled plots, characterizations,
and stars because of a firm belief that these bio/pic star-genre formulations
tapped into audience's conceptions of what life should be like." (Custen
p. 142) Custen states that although case studies of the research processes for
bio/pics reveal that historical research did create a significant component
for the films, it was typically only the backdrop for the story. Verisimilitude
of an historical presentation lies extensively on the superficial level. Historical
accuracy could be seen greatly in the costumes and the set designs, but the
over all vision of the producer often bypassed any attention to historical accuracy.
"And since these men thought of history in terms of the history of what
films had succeeded with the public, a bio/pic life would have more in common
with other models of film biography than it would with sources outside Hollywood's
discourse." (Custen p. 142)
Stressed by Custen and in close relation to the previous point
is the use of intertextual references. Bio/pics were made with a greater reference
to the world inside of the studio system than to the historical world. Producers
like Zanuck knew that people came to the theaters primarily to be entertained,
and the relevance of any historical knowledge gained took a definite back seat
to the escapist qualities of the bio/pic. This meant that a producer, in order
to fill the theaters, had to encapsulate history into a certain mold. The relationship
between entertainment and history coalesced so that history, "became a
history of entertainment, a strange ontological slant that limited the description
of bio/pic fame to the plots found in a few movies that had found favor with
audiences." (Custen p. 145) The intertextual relationship between the bio/pic
and history has another important impact in that it instills the images into
the mind of the viewer. That is to say that the connection between Jeff Bridges
and Preston Thomas Tucker is created in the minds of the viewers when watching
Tucker. The intertextual relationship is such that if the viewer were to ever
talk about car manufacturing during World War II that any mention of Preston
Tucker and the introduction of automobile safety features would bring to mind
Jeff Bridges.
Biography is presented as a documentary, but is definitely in-line
with Custen's concept of the bio/pic. That is to say that the bio/pic presents
itself as an historical document as well. "Unlike most films, almost every
bio/pic opens with title cards that place the piece in context or with a voice-over
narration that historically 'sets up' the film." (Custen p. 51) The relevance
of this is gargantuan. The typical American spends probably hundreds of hours
in front of the television for each hour spent reading. When this is taken in
perspective that most Americans, when reading, are not reading academic texts
on history leaves them in a position that is highly susceptible to accept the
version of history presented to them on television. "One possible explanation
may lie with people's expectations about television and its role as a mediator
of fame." (Custen p. 219) If a particular view of history is presented
on television, the viewer is likely to believe because of the precept that if
it is on television it must be important. This might sound far-fetched but consider
the context within which it is presented. "Television is the ultimate version
of the twentieth-century myth making. The tales it tells are suited to the reading
habits of its audience." (Custen p. 219) Biography presents a text that
is more about reinforcing existing concepts and versions of history than any
that might oppose.
Intertextual connections are made quite overtly in Biography.
The subjects alone are one point of intertextual relations. Biography episodes
frequently profile television and movie stars. Some of the episodes viewed before
writing this paper include profiles of television and movie stars such as Mel
Gibson, Shirley Temple, Tim Allen and Lance Ito. The fact that Biography sees
movie and television stars as significant biographical topics alone suggests
a bizarre perspective in relationship to history. Granted, Biography is not
a show that is set out to solely present historical figures. It is still unusual
to view new actors and figures that are only seen on television (Lance Ito)
as relevant subjects for an hour-long profile when compared to the lives of
people such as Genghis Khan, Henry VIII, Richard the Lionheart, The Shah of
Iran, or Fidel Castro. A show could very well be about Peter Graves, the usual
host of Biography, as it could be about anyone else. However, the subjects are
usually of a politically safe nature. It would be highly unlikely to see an
episode on Richard Nixon or Ho Chi Min.
The best example of intertextual connections though is the guest
hosts. On the episode about Henry VIII, Roger Rees was the guest host of the
show and the person to whom questions were directed. He was introduced as "thoroughly
British actor." This connection of Roger Rees as an authority on Henry
VIII because he is a recognized British actor is as relevant as commercials
presenting actors who play doctors on television and recommend a certain brand
of aspirin. Even more interesting are the ways in which Rees answers the questions
poised by Peter Graves. In response to, "Did you think the king was self-absorbed
or was he, by that time, just plain mad?" Rees stated that:
I was once lucky enough to perform Hamlet and I heard someone
in the audience say, "Oh, well he's obviously mad," and the other
person said, "Oh, no. He's just pretending," and to get both answers
at the same time was wonderful, and I think it's true of him. I think he's both
things at once. I think he's crazy and he's self-absorbed, and he's self-absorbed
because he's crazy.
Rees uses a constructed fictional narrative; in this case the play of Hamlet,
to make sense of Henry VIII's life and later compares his life to "a royal
soap opera" and that he is "remembered as a comic opera figure."
This method of using fiction to understand history is fine on the allegorical
level, but it does not allow for many of the complexities about an issue to
be explained.
Custen's concept as television as a modern myth generator possesses the most
critical implications when examining a program such as Biography. As stated
before, people will tend to believe an account of past events when it is presented
in a fashion that the viewer is accustomed to. An excellent example of this
can be seen in the relation between what Kenneth Stampp describes in his book
The Era of Reconstruction and D.W. Griffith's film Birth of a Nation. Stampp
describes how Professor William Dunning in the early part of the twentieth-century,
along with a number of other professors and graduate students, wrote a series
of monographs which outlined a rather impassioned view of the Reconstruction
period. His interpretation viewed Abraham Lincoln as a great and kind-hearted
man, and the Radical Republicans as a group, "motivated by hatred of the
South, by selfish political ambitions, and by crass economic interests, the
radicals tried to make the process of reconstruction as humiliating, as difficult,
and as prolonged as they possibly could." (Stampp p. 7) The perspective
of history that created Birth of a Nation was widely viewed as the truth simply
because people accepted it as that. Dominant culture wanted to believe this
view of Reconstruction even though historical evidence suggested a story that
was quite different.
Biography is by no means as far stretching from reality as Birth
of a Nation. However, it presents itself as an accurate text. It is probably
fairer to describe Biography as a myth perpetuator than as a myth generator.
The episode "Shirley Temple: Hollywood's Little Princess" makes this
function of the program rather obvious. All but the last ten minutes of the
hour-long program is dedicated to Temple's career as a child actor. In essence,
this program is not about Shirley Temple the person, but it is rather about
Shirley Temple the loved child star who fell largely out of the public eye after
the age of twelve. Throughout the show she is presented as perfect. Every few
minutes there is a cutaway to a testimonial segment where someone states over
and over that Shirley Temple was absolutely "perfect", "adorable",
"she knew everything." The construction of the episode revolves around
her, but does not really deal with her. This episode is no where nearly as much
as a personal profile of Shirley Temple as the episodes about Fidel Castro,
Jacqueline Kennedy Onasis, or even Richard the Lionheart or Henry VIII. There
are hints to negative aspects within Temple's life, but these are made quickly
and then dropped. These are topics that would seem to be very pertinent to Temple's
life story and to a profile of her life. Something that would seem important
to expand upon such as Shirley's mother, Gertrude Temple, who wanted desperately
to have a life in show business but failed, and seemed to be trying to live
this life vicariously through her daughter. Or how Gertrude strictly monitored
Shirley's meals, friends, and studies, or how she started Shirley in show business
at the age of four in baby burlesque pictures that used very young children
in farcical and sexual manners never receive attention. This is because bourgeois
Americans have a particular view of Shirley Temple which cannot and dare not
be tarnished by anything.
Custen's explanation about the construction of the Hollywood bio/pic illustrates how this genre has entwined history and entertainment. How the bio/pic has created a very limited perspective through which history can be created onto the screen. The bio/pic has created an archetype for what a film or television biographical presentation should be. This formula is used in the presentations such as A&E's Biography to reinforce the views of history that dominant culture wants to believe.
Bibliography
Custen, George F. Bio/Pics: How Hollywood Constructed Public History. New
Brunswick: Rutgers University Press, 1992.
Stampp, Kenneth M. The Era of Reconstruction 1865-1877.
New York: Vintage Books, 1965.
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