Application of the Theory to the Film: Brokeback Mountain

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Brokeback Mountain is a case of a contemporary sentimental dramatization film delineating the sexual relations of two men in the American West between 1963-83. The film is set where American laws restricted the acknowledgment of relations between same genders; thinking of it as improper and law-breaking. The legislature implemented ideologies against gay relations and spoke to contempt and victimize any individual who trusted homosexuality was adequate. Strangely, around that present period in the late 1960’s, well known fiction affected society’s frames of mind on homosexuality enormously. Indeed, even before this time, there were models, for example, Sherlock and Watson engaging in extramarital relations or even Batman and Robin. Indications of sexuality sneaked in as the connection among Batman and Robin grew a continuous point of discussion.

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The film shows a rude awakening in the public arena; fortifying that not every person is hetero or should trick themselves to be something they are definitely not. The audience is acquainted with two, what seems, by all accounts, to be, straight men working in the mountains. They open about their sentiments and build up a sexual and enthusiastic relationship. The men neglect their false affections for ladies and, appreciate closeness through set up hetero symbolism. With this, the film inclines towards the Queer theory.

Brokeback Mountain outlines the beauty in a relationship, focusing on the significance of making a choice. The audience in this way feels discontent and compassion when the reality is broken by rules and pre-conceived ideologies, along these lines leaving the audience contradicting the choices. The audience is with the men, since they have been allowed to observe a development of truth of that period. Homophobia turns into a focal topic in Brokeback Mountain whose standardized, social shame is a detestation for homosexuality that is met with total dismissal when Joe Aguirre says to Jack Twist, ‘You boys sure found a way to make the time pass up there. Twist, you boys wasn’t getting paid to leave the dogs to babysit the sheep while you stem the rose.’ And also, when Jack Twist’s exceptionally vague, brutal demise is introduced by means of the exchange of Lureen Newsome wherein her outward appearances, just as verbal, suggest her insight Jack’s homosexual propensities, yet additionally of his association with Ennis. Ideologies today would propose that the demise was unjustified, yet the audiences can see that the executions ought not to have been acceptable in those days either.

Brokeback introduces itself as an examination of a homophobic culture wherein homosexuality did, to be sure, exist and was not really colorful, nor clearly gay. Maybe in particular, despite the fact that Brokeback is a period piece, its topical issues stay important in our general public today, a qualification that makes it separate from individual-focused movies.  

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