Filming Brokeback Mountain Paper Example

What familiar visual codes does the film adopt?

The Brokeback Mountain film adopts various visual codes to affirm its heteronormative idea. It portrays the homosexual yearning as a form of inversion in gender, for instance, Jack's behavior and body language (shaving his facial stubble and staring at Ennis) betray his sex eccentricity even as suggested by his cowboy look that conveys straight masculinity. Another code is illustrating Jacks homosexual desire is seen through Jack's inconsistency to live with Laureen though their sexual relation. Jack is incapable of providing genetic and financial support which is an indication of his homosexuality. Another visual code adopted in the film is shown through the involvement of Jack with the male prostitutes from Mexico a demonstration of his incapability to maintain an Anglo-Saxon, middle-class heterosexual standards. The cinematic codes mentioned validating the racial, gender and class heteronormative ideology dimensions (Grindstaff, 2008).

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What does performing the private in public do for the audience of the film?

Since the film expresses same-sex craving publicly, the heteronormative means of response need to repress the inherent queerness of the desire. In the film, secrecy is not a right that is publicly protected or a state of being that is voluntarily attained, however, it is a compulsory stat for the queer participants, that is imposed to them from the exterior. Therefore, the performance effectively translates the homosexual desire of the audience from a frightening sign to a sublime item, thus offering everyone a desire for love (Grindstaff, 2008).

What are the films universalizing hypothesis?

The universalizing theory of the film instantaneously closets the queer yearning. Some reviewers dismiss the homosexuality of the central characters as an aspect that is unclear, they suggest that it is a small detail, and claim that it does not matter. The critics even explain that the material might have been prepared by heterosexual characters, whose age, gender is altered to fit in the film's setting. The closet is used as a stabilizing power that requires the queer protagonists to maintain their same-sex desires secret (Grindstaff, 2008).

What is does the mountain stand for?

The Brokeback mountain symbolizes the possible letdown of heteronormative manhood, which is a global aspect that should be recalled verbally as the homoerotic charge is warded off. The mountain signifies Jack's and Ennis's yearning for each other, the longing that is free, natural and private. The Brokeback Mountain also stands for a safe, enchanted, idyllic, and utopian like place that is liberating. The mountain illustrates "nature" which is the space away from the human culture and politics (Grindstaff, 2008).

What do the seasons represent?

The seasons stand for Ennis and Jack's sexual relation that comprised of power, desire, and endurance. Just like the season varies, Jack and Ennis's relationship was both terrifying and arousing at the same time they were able to transform the homosexual desire from a frightening sign to a sublime item (Grindstaff, 2008).

What is the significance of Ennis Fist?

The fist for Ennis signifies his homosexual desire, that is both its homophobic repression and homosexual drive. The fist undermines and asserts the heteronormative power. Ennis reveals his violent sexuality at the first night he spent with Jack, his tendency of violence exaggerates in the entire film until it is seen as his same-sex desire's signature. The more Ennis become violent the more the secret same-sex desire signs became legible. However, for the audience of the Brokeback Mountain film, Ennis's fist acts as a subliming object that diverts their minds from the homophobic repression scenes that might uncover the hopelessness of heteronormative manhood (Grindstaff, 2008).

What is the queer corpse?

The demonstrations of homophobic vehemence reveal the defenseless status of heteronormative manliness. Therefore, the cinema in Hollywood presents homophobic ferocity as a normative act and social occurrence. The cinemas rationalize the queer character's death as a punishment to villains who are destined to die. The tales identifies the crude monster's hatred toward the queer individuals. Jack's defenseless body is an illustration of a queer corpse who was murdered brutally. The two shirts that were folded by Jack's mother and placed to represent the ashes of Jack also represents the queer corpse, which is a sign of homophobic viciousness thus comprising of a sublime involvement (Grindstaff, 2008).

Under what political backdrop did this film emerge?

The politics of the film were linked to the cultural visibility and media problems that are briefed in the acts of the movie 'The Deep End' scenes. Brokeback Mountain is a fascinating hybrid film of a neo-Western, tragic romance and family drama, the movie ends on a note of reconciliation and calamity (Cooper, & Pease, 2008).

How does the above answer relate to the Finnegan reading?

Finnegan's reading involves filling the reader with a young desire of traveling, as it explains the surfing details, just in the same way the Brokeback Mountain film fills its audiences with a yearning for love (Cooper, & Pease, 2008).

What are the three complementary frames that direct attention away from the core theme?

The analysis of 113 critics about the Brokeback Mountain resulted in three balancing but differing frames which directed the attention of the audiences away from the core theme of the movie. The first frame was universality, that is the film was a romance movie just like other films which also attract the appeal of the universe (Cooper, & Pease, 2008). The second harmonizing casting was about Past Homophobia, which entitled the 'Unforgiving Hard Place of the Society in the 1960s' the reviews here addressed the homophobic matters. However, the critics sought contradicted in their statements. The third framing was titled "Myth of the Cowboy West" it was significant in placing the Brokeback Mountain film in the 'normative parameters' of the Hollywood films' mainstreams (Cooper, & Pease, 2008).

References

Cooper, B., & Pease, E. C. (2008). Framing Brokeback mountain: How the popular press corralled the "gay cowboy movie". Critical Studies in Media Communication, 25(3), 249-273.

Grindstaff, D. (2008). The fist and the corpse: Taming the queer sublime in Brokeback Mountain. Communication and Critical/Cultural Studies, 5(3), 223-244.