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Dementia and the biopolitics of the biopic: From Iris to The Iron Lady

机译：痴呆症和传记电影的生物政治学：从虹膜到铁娘子

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This article considers the question of embodiment through a comparative analysis of two 'biopics', Iris (2001) and The Iron Lady (201 I), which both feature eponymous characters that have, or had, dementia. Embodiment draws our attention to the representation of the body in the films themselves, and to the socially significant 'feelings' or affects that circulate within and are reproduced around them. Shame, disgust and aversion are socially devastating affects conventionally associated with stigmatised bodies including those of the cognitively impaired but attention to the 'feeling tone' (Ngai, 2005) in these films demonstrates that a more varied range of affects and embodied social knowledge is produced. Embodiment is thus a starting point to explore what is at stake in these films both in their authorisation of particular versions of public lives and for their significance for the cultural politics of representation in the context of explorations of personhood and dementia.
机译：本文通过对两个“传记片” Iris（2001）和The Iron Lady（201 I）进行比较分析来考虑体现性的问题，这两个传记片均具有患有或患有痴呆症的同名人物。体现体现了我们对电影本身中身体的表现形式以及在其内部传播并在其周围再现的具有社会意义的“感觉”或影响的关注。羞耻，厌恶和厌恶是与被污名化的身体常规相关的毁灭性影响，包括那些认知障碍者，但对这些电影中“感觉基调”的关注（Ngai，2005）表明，产生了范围更广泛的影响和具体化的社会知识。因此，体现是探讨这些电影在授权特定版本的公共生活以及它们在人格和痴呆探索背景下对代表文化文化政治的重要性的出发点。

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