By Gary Needham
Seeing that its liberate in 2005, Brokeback Mountain turned a huge cultural occasion and a milestone in self reliant American filmmaking. in response to the fast tale by means of Annie Proulx and directed by way of Ang Lee, Brokeback Mountain situated a love tale among closeted cowboys on the middle of yankee mythology, movie spectatorship and style. Brokeback Mountain provided an self sustaining 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 reports and queer concept 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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Additional info for Brokeback Mountain
If Brokeback Mountain is not set in the distant past of the epic moment it certainly evokes and clings on to the mythology of the West: the figure of the reticent cowboy; his unique attire; the solitary lifestyle; rodeo culture; farming and working with animals; the homestead and its restrictions on men’s freedom; the power of the wilderness and nature; nostalgia invoked through country and western music. Because it begins in 1963, Brokeback Mountain might not represent the West as an epic moment and its ranch hands might not be considered real cowboys.
It could also be argued that the 22 Brokeback Mountain indie films of the classics divisions exist in an in-between position of two industrial and institutional contexts, straddling the two polarities, formerly autonomous yet positioned somewhere in the role of producing and distributing low key and mid-budget pictures that their parents no longer seem committed to producing. American Indies, a cinema driven by the classics divisions, has both benefited from the industrial location of its producing agencies and succumbed to varying degrees of interference from these agencies’ corporate parents.
In turn, this also expands the definition of indie cinema which now also includes straight-up genre pictures. This is a move to expand into more lucrative territory through genre films The Indie in Focus 27 targeted to specific audience demographics, especially films which have the potential to generate low-cost quick-return franchises. One could indeed argue that identifying and exploiting franchise potential seems to be wholly characteristic of the sub-subsidiaries. This situation also recalls the production of the slasher movie franchises from the early 1980s, like Friday the 13th (Cunningham, 1980) and A Nightmare on Elm Street (Craven, 1984).