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Well, how do we define "recent"?
And how do we define "life stories"?
See, I perceive a division here between the stories of private people and pursuits and those of public people and pursuits.
54, about the famous disco, seems to me to be more... hmm.. "intrusive" than, say, Black Hawk Down--because it's primarily about private pursuits: the fighters in Mogadishu (probably like soldiers on any side at any time) were presumably more aware of their status as participants in capital-H History than the scenesters at Studio 54.
As regards bios of artists and musicians; they too are "participants in history." They're even treated as such by US law: it's very difficult for a celebrity to sue the press for invasion of privacy, the idea being that if an individual is a "public figure" then the public's right to know overrides the individual's right to privacy.
Historicals or memoirs of crime and/or experiences in the legal system (The Hurricane, about Ruben Carter: Let Him Have It, about Bentley and Craig) kind of straddle the line: private individuals become public figures through notoriety.
Case in point, one where the lines blur: one of the girls in the case on which Heavenly Creatures was based was given a new identity and grew up to be the mystery writer Anne Perry, who enjoys a thriving career here in the States. She was eventually "outed" as being the former Juliet Hulme--before or after the film's release, I'm not sure. But had Juliet Hulme not ended up a best-selling author--and an author of crime books, at that!--her anonymity might never have been compromised in that way; the rules for "celebrities" are different. |
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