Biographers have a strong impact on our perception of history. For they offer narratives of the lives of political leaders that necessarily defend a thesis of one sort or another, whether they pretend to strive to comprehend how their individual character has underpinned their political responses to particular crises, or present an overtly biased portrait of historical figures. Biography scholars Hans Renders and Binne de Haan contend that biography designates “the study of the life of an individual, based on the methods of historical scholarship, with the goal of illuminating what is public, explained and interpreted in part from the perspective of the personal” (Theoretical Discussions of Biography. Approaches from History, Microhistory, and Life Writing, 2014). Since the early nineteenth century, journalists have often played the role of political biographers, turning such figures as Andrew Jackson and Abraham Lincoln into “champions and guardians of American character ideal, attending to the virtues, vices and ‘flaws’ of their subjects” (Shawn J. Parry-Giles, Hillary Clinton in the News, 2014). Journalistic reporting has influenced political biography by spotlighting the incongruous gossip that sells newspapers, endowing the media with the power to shape a politician’s public image through calling attention to eye-catching images and sound bite pieces that simplify the political debate into visual clichés and stereotypical phrases. This issue of Biography aims to further reflection on the evolution of political biography in a media-saturated context, turning political figures (present and past) into celebrities. It has also become a custom for statesmen to write their own autobiography — and more often in fact to have these ghost-written as first-person biographies of sorts (see Roman Polanski’s The Ghost Writer, 2010) — during, before and after their terms of office, thus incorporating their personal path into their political career and vice versa. It is our purpose to question the political content of these literary endeavours undertaken by Richard Nixon, Margaret Thatcher, Nelson Mandela, Barak Obama, etc., to consider how the politicians’ written and oral words have seeped into other media. An increasing number of politicians have written political biographies, and used this genre to ponderate their political choices; Labour backbencher Roy Jenkins’s biography of Churchill is a case in point. Biographical films (whether fiction or nonfiction) have influenced the generic evolution of biography through promoting a ‘tabloid culture’ that feeds on the private lives of public figures. Considering that political power relies on representation, including visual symbols and rhetorical devices, we aim to foster the analysis of politics and biography as two interweaving strands. Political biofilms should not be analysed as a source of entertainment that discards political analysis; they also build political discourses through specific biographical angles. Some films draw on the hagiographic tradition (e.g. Stephen Spielberg’s Lincoln, 2012) whereas others question the relationship between power and the individual (e.g. Errol Morris’s The Fog of War, 2004). Biographical documentaries addressing political characters have much in common with the methods of scholarly research, which are also discernible under hybridized forms in various types of docudrama.