Brokeback Mountain: Masculinity and Homosexuality - Essay Example

Brokeback Mountain: Masculinity and Homosexuality Brokeback Mountain became a national portrait, a universe in whichindividuals feted, exploded, lamented and got concern even before its publication as a film in 2005. The achievement of Brokeback shows the determination to ordinary homosexuality in the American media, not so much from the point of honorable or virtuous authoritative, but from the point of business. Brokeback seems to consistute a much more fruitful step in the advanced incorporation of homosexuality into prevalent film that started with the 1982 film, a development that involves films such as the birdcage (Dollimore 85). Just as natural surroundings controls the farmstead and mountain way of life, the normal forces of yearning directs each vital deed taken by Ennis, and Jack in Brokeback, even when those activities are contrary to their well ruling and contrary to tolerable communal pronouncements. The desire between the two men is so powerful that they cannot describe it sensibly or understandably, and the manner it subsides and drifts is not expectable or sensible. As an alternative, it is tempting and overpowering to a point that Ennis makes vehemently when he explains to Jack that, “there is no restraints in this one. It alerts the piss out a me (Herring 90)” Brokeback mountain is a love story, and just like various love stories, its conclusion is terrible, not slightest because the ordinary power of the men`s aspiration inhibits them from ever completely fitting into the lives they were enforced to follow separately from each other. Therefore, the notion of two masculine farm hands falling in love in conventional 1960s Wyoming exemplifies the ideas that love a natural determination, persevere contrary to all probabilities. Certainly, Jack and Ennis have all to fail as a result of their relation. Community`s influential condemnation of manly love is intertwined extremely into Ennis` essence; he narrates to Jack the study of how a gay rancher in his home ground was killed, expressing his own worries that similar action could occur to them. The symbol of Joe Aguirre, staring from side to side in his eyeglasses at the two menfolk making love, is a stance in for all those fleeting ruling on them. Even Alma has simply hatred for Ennis’s secretive sexual conduct: she calls his devotee “Jack Disgusting” and creates it simple that she finds the idea of two males in love unacceptable (Grundmannn 89). Nevertheless, regardless of these conflicting powers and the lives they form with their relevant wives and relatives, Jack and Ennis are destitute in the hold of their approaches for each other. Therefore, Brokeback is a story that demonstrates how the behavior of homosexuality is forbidden in the society. However, despite this, those involved in such acts finds it hard to let go because of the love they feel for each other despite their gender similarity. There are those who never approve of such acts and call it disgust, while other supports such actions in the society. Thus, anyone engaging in homosexuality should be ready to endure all the oppositions because few societies promote such actions. In addition, what makes Brokeback exclusive is the customary masculinity of the gay central character, and one of the value indicator or concepts of this masculinity include the film producer’s version of the western category to the gay issue matter. Hover, the degree to which the story uses the western custom differs depending on the opponents addressing the issue. Brokeback simply clarifies an element that has always been existing in the western; a man falling in love with other men, thereof, Ennis is illustrated as the western champion personified. The author demonstrates that, the emotional torment of the characters who grieve for love has not been properly acknowledged by some opponents because it hearkens back to the remarkable medicalization of homosexuality by the psychiatric. The story further stresses the collateral sufferers of homosexual associations such as children and ex-wives. Furthermore, Brokeback Mountain, with its homosexuality, portrays customary masculinities. For example, in Ennis, there is a man zealous to make and exemplify a very conversant determination; the physical proficient, reliable, vocally silent, accountable, moral western hero. On the other hand, in Jack, there is a man still caught up in the contradiction created by attempting to equal his father`s manhood, characterized by possession, supremacy, and competition triumph. At the end of their young hood, both men are already masculine and are belligerent to continue so in the customary intelligences prearranged by the American sex division (Bayer 67). They are not hiding substitute personalities behind masculine presentation, nor are the movie. Both characters and the movie largely than the story or the script appeal viewers into a concerned and conversant relation to predictable masculinity. In spite of their won yearnings, even Jack and Ennis themselves have adopted their nation`s most persistent prejudgments concerning homosexuality and homosexuals. Even after it is obvious that their desire will endure, they never adjust their assertions that they are “not queers.” Rather, they call their strong love as a “thing” that grabs hold of them. For instance, when Jack and Ennis make love, it takes a hyper-masculine form, disapproval to the customary gay love that enigmas man as frail through corniness. Jack`s hetero standard masculinity structure is established in another manner. As a competitor in bull rider, he takes part in a very a hazardous game with a high risk of injury, one not suitable for the effete and weak hearted. Therefore, he relates himself with hegemonic, even hyperbolic masculinity. His failure at this career, while his wife Lureen prospers as a container racer and his parodic horse riding of the large farming apparatuses he sells underline his desire to be manly in conservative manners (Cobb 104). The Brokeback characters roles for their alternative yearning is further diminished by the availability of alcohol, which plays a vital role in various adaptation stories in which apparently conservative men are obliged to engross in strange sex because they are too intoxicated to know what they are doing. The foundational sex performance between Jack and Ennis outcomes from coincidence; for instance, the men take a lot of alcohol, and Ennis chooses not to come back to his upstart shelter dwelling and watch over the lambs. The climate also collaborates to bring the men into the same sleeping area. The only characteristic of the conservative gay shamefaced preference story that does not look to be current is the partakers’ deception that they were so drunk they could not remember anything that transpired the night before. Ennis is noiseless the next daybreak, but Jack comes out of the shelter in the movie to say he will see him for supper. That night in the story, the date is not stated, they do speak. In a classic of indeterminate discussion, Ennis empowers and discards an ongoing relationship when he says “It’s a one-event entity we got going” (Herring 94). In conclusion, this research has provided a detailed discussion concerning the ideas in the film “Brokeback Mountain” which became a countrywide description, a universe in which individuals feted, exploded, lamented and got concern even before its publication as a film in 2005. The achievement of Brokeback shows the determination to ordinary homosexuality in the American media, not so much from the point of honorable or virtuous authoritative, but from the point of business. The story demonstrated that love makes people to engage in relationships that are never approved by the society such as homosexuality. Works Cited Bayer, Ronald. Homosexuality and American Psychiatry: The Politics of Diagnosis. Princeton, NJ: Princeton UP, 2007. Cobb, Michael. “God Hates Cowboys (Kind Of).” GLQ: A Journal of Lesbian and Gay Studies 13.1 (2007):102-104. Dollimore, Jonathan. Sexual Dissidence: Augustine to Wilde, Freud to Foucault. Filmmaking.” Cineaste 31.3 (Summer 2006): 84-85. Grundmannn, Roy. “Brokeback Mountain: Good Social Intentions, but Not Good. Oxford: Clarendon Press, 2001. Herring, Scott. “Brokeback Mountain Dossier: Introduction.” GLQ: A Journal of Lesbian and Gay Studies 13.1 (2007): 93-94. Read More