By Gary Needham
Considering that its unencumber in 2005, Brokeback Mountain turned an enormous cultural occasion and a milestone in self sufficient American filmmaking. in line with the quick tale by means of Annie Proulx and directed via Ang Lee, Brokeback Mountain situated a love tale among closeted cowboys on the center of yank mythology, movie spectatorship and style. Brokeback Mountain provided an autonomous and queer revision of the conventions and clichés of the western and the melodrama via a studied exploration of homophobia and the closet. This e-book examines Brokeback Mountain when it comes to indie cinema, style, spectatorship, modifying, and homosexuality. In doing so it brings movie experiences and queer conception into discussion with each other and explains the significance of Brokeback Mountain as either a modern self sufficient and queer movie.
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This might be as simple as the film audience’s expectations to see gunfights and spectacular arid vistas and not two men getting cosy in a tent. As a cultural form the Western has often sought to regulate the knowledge of a particular version of American history, a selective and corrupted version of historical knowledge as well as particular accounts of sexuality predicated on constructions of masculinity, assumed to be heterosexual, standing in opposition to a side that includes in its zone of meaning femininity, emotion, culture and domesticity.
In this respect, it is clear that the decision about what an average indie film costs is determined higher up the chain than the classics division itself, which makes the financing, production and distribution of ‘truly’ independent films problematic. 2. Cut-price Rates for Talent Focus Features also benefits from its status as independent in that it does not necessarily offer stars studio rates and similar financial arrangements. The company can secure stars such as Bill Murray (in Lost in Translation and Broken Flowers [Jarmusch, 2005]), Sean Penn (in Milk) and Julianne Moore (in Far From Heaven) for rates well below their normal asking price for a studio picture.
This discussion will lead to the second section of the chapter in which my aim is to open up Brokeback Mountain’s connection to a longer history of relations between the Western genre and homosexuality. This requires me to operate at a tangent from Brokeback Mountain by discussing several other films. It is my aim to claim Brokeback Mountain for a context that views the film not only within the history of the Western, but also within an equally enduring history of homosexual and queer relationships with the genre.