#Whitney houston lifetime movie 2020 license
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License ( CC BY-NC-ND 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.Īuthors who publish with this journal agree to the following terms: Third and finally, I will analyze the final scenes of these three biopics in detail, as each presents a grand finale musical performance that seems to resolve the contradictions of the triumph and tragedy in their subject’s lives, yet in significantly different ways. Second, I will discuss how the narratives of these three biopics tend to reduce their female subjects to victims, emphasizing the tragedy in their personal lives, while assigning much more agency to the male partners of these black female entertainers. Furie, 1972), starring Diana Ross as Billie Holiday, and What’s Love Got to Do with It. In this article, I will first position Whitney within a larger tradition of the Hollywood biopic by making a comparison to earlier important biopics about black female entertainers, namely Lady Sings the Blues (Sidney J. Whitney is the first film by director Angela Bassett, who, as actress, famously portraited Tina Turner in the biopic What’s Love Got to Do with It (Brian Gibson, 1993).
In 2015, the cable television network Lifetime broadcast the biopic Whitney, depicting the troubled life of the late superstar singer Whitney Houston. Biopic, Whitney Houston, stardom, Black female stars Abstract
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