![]() ![]() Hence, the novelist's main intention was to illustrate how the townspeople reacted to such a horrid event. ![]() After the capture of Hickock and Smith, Capote researched the case thoroughly, spent weeks talking with the prisoners, jurors, police, friends of the slain family and neighbors of Holcomb trying to unearth why such an abominable act was committed and what should have been the society's response. Sharing the same plot, both novel and film were published and released respectively with only a one-year difference. After the book was published, Capote chose director Richard Brooks to “act as intermediary between book and screen” (Capote 2007, 274) out of a great number of directors and producers. Truman Capote was the creator of a milestone in popular culture: In Cold Blood (1966), a ‘nonfiction’ novel based upon the real murder of the Clutter family committed by Dick Hickock and Perry Smith in the town of Holcomb (Kansas), 1959. His media manipulations offer a case study of how gay men could strategically harness the simultaneous cur rents of fascination and repulsion with nonnormative masculinity in postwar America. ![]() Capote thus both def lected and attracted attention to the homosexual contents of his work and person to best serve his career. Capote's photographic portraits allowed him both to be recognized as gay and to be seen and discussed as nonspecif ically queer-as effeminate, childish, and strange- deviations less threatening than the bald assertion of sexual difference, although associated with homosexuality through the nexus of nonnormative masculinity. How did the young Truman Capote, a homosexual writer who closeted neither his person nor his writing, succeed amidst the homophobia and censorship of 1948? This paper examines how Capote vaulted himself into celebrity through a campaign of photographic self-representation that climaxed wit h the spectacular notoriety of the author photo of his first novel, Other Voices, Other Rooms. ![]()
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