By Gary Needham
In view that its unencumber in 2005, Brokeback Mountain turned an enormous cultural occasion and a milestone in self sufficient American filmmaking. in keeping with the quick tale through Annie Proulx and directed by way of Ang Lee, Brokeback Mountain situated a love tale among closeted cowboys on the center of yankee mythology, movie spectatorship and style. Brokeback Mountain provided an self sufficient and queer revision of the conventions and clichés of the western and the melodrama via a studied exploration of homophobia and the closet. This ebook examines Brokeback Mountain relating to indie cinema, style, spectatorship, modifying, and homosexuality. In doing so it brings movie stories and queer idea into discussion with each other and explains the significance of Brokeback Mountain as either a latest self sustaining and queer movie.
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Extra resources for Brokeback Mountain
2. Queering the Western Introduction: Is Brokeback Mountain a Western? Is Brokeback Mountain a Western? This could be a divisive question that implicates the viewer in accepting or rejecting that a much-cherished genre has a queer history. If Brokeback Mountain is a Western this implies that homosexual desires and gay men, to whatever degree sublimated, have always been part of the narrative and logic of this Hollywood genre. By extension, one would also need to accommodate a queer history within a larger mythological and epic story of fashioning the American West.
The antinomies suggest a more rigid conceptualisation than what the Western adheres to and there is a reductive impulse to read this as a strict either . . or binary logic. 21 It would seem that Kitses is implicitly acknowledging Queering the Western 39 that film genre in general, and the Western in particular, both conforms to and challenges its own definitions and canonicity. 22 His suggestion is ever so brief, only a few sentences in a paragraph, but I see his mention as a sort of caution against the belief in some essentialist core to the Western and for the concept of film genre as an inherently monolithic structure.
It is also understood that stars want to work in the independent sector for their own cultural capital, allowing their talent to be framed in relation to creativity rather than commerce. Jake Gyllenhaal is a good example of an actor who frequently moves between independent and studio production, going from The Day After Tomorrow (Emmerich, 2004) to Brokeback Mountain. However, there is also a flipside with many stars who forged an early career in independent cinema deciding to sever their ties with the independent sector after establishing themselves in studio pictures.