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Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld

Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld eve ng Introduction formed through contestations among cultural agents underscores its historical contingency a substantial body of schol arship at­ and accommodates the possibilities of shifts in tests to the production of queer content across media cultures. various media platforms, but there is little at­ In both Carol and Freeheld, a romantic rela­ tention to how cultural producers differently tionship between two women is central, with positioned in those spaces differentially define the films’ creators seeking to bring their narra­ the cultural field. In this article, I draw on re­ tives to a larger audience than the works from cent reexaminations of Bourdieu’s framework which they are adapted—Carol from Patricia to address the complexities of where and how Highsmith’s novel The Price of Salt (1952) and queerness is being produced, by taking a multi­ Freeheld from Cynthia Wade’s 2007 documen­ sited approach to two 2015 films, Todd Haynes’s tary of the same name. Carol, set in the 1950s, Carol (2015) and Peter Sollett’s Freeheld (2015), chronicles the romance that develops between that examines official promotion, critical com­ a wealthy married woman and a young shop mentary, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld

Journal of Film and Video , Volume 70 (3) – Aug 24, 2018

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld eve ng Introduction formed through contestations among cultural agents underscores its historical contingency a substantial body of schol arship at­ and accommodates the possibilities of shifts in tests to the production of queer content across media cultures. various media platforms, but there is little at­ In both Carol and Freeheld, a romantic rela­ tention to how cultural producers differently tionship between two women is central, with positioned in those spaces differentially define the films’ creators seeking to bring their narra­ the cultural field. In this article, I draw on re­ tives to a larger audience than the works from cent reexaminations of Bourdieu’s framework which they are adapted—Carol from Patricia to address the complexities of where and how Highsmith’s novel The Price of Salt (1952) and queerness is being produced, by taking a multi­ Freeheld from Cynthia Wade’s 2007 documen­ sited approach to two 2015 films, Todd Haynes’s tary of the same name. Carol, set in the 1950s, Carol (2015) and Peter Sollett’s Freeheld (2015), chronicles the romance that develops between that examines official promotion, critical com­ a wealthy married woman and a young shop mentary,

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 24, 2018

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