Brokeback Mountain Masculinity Analysis
Brokeback Mountain & Masculinity
Submitted by: Jenna Ricard – 0757383
Submitted to: Professor Dauda
Date: March 12, 2014
The film Brokeback Mountain is a tragic love story following the lives of two young cowboys in Wyoming, Jack Twist and Ennis Del Mar. The two main characters are hired to work on a ranch herding sheep on Brokeback Mountain in the summer of 1963, and during this time developed a bond and feelings for each other (Brokeback Mountain, 2005). The movie continues for three decades examining the lives of Jack and Ennis and illustrates the challenges they face in their marriages and society, as well as how their love for each other is forbidden and must remain a secret. The complications, grief, …show more content…
and tragedies Jack and Ennis endure displays the power of conforming to gender norms and fulfilling the expectations of what it means to be a man. This paper will examine the lives of the main characters Jack Twist and Ennis Del Mar and how their story depicts and reinforces our views regarding masculinity, but also challenges our views as well. Throughout this paper, the cowboy culture, which Jack and Ennis are associated with, and the theories of heteronormativity and hegemonic masculinity will be discussed illustrating ways in which our views of masculinity are both reinforced and challenged throughout the film. As well, the relationship between Jack and Ennis will be analyzed, including how their relationship is challenged by societal power and social taboo which depicts that homosexuality is wrong.
The Cowboy, Western Culture, and Masculinity The setting and dialogue of Brokeback Mountain depicts a cowboy, western, and rodeo culture. The type of clothing worn by Jack and Ennis, such as cowboy hats, jeans, and plaid shirts, demonstrates the cowboy identity. The film is set in Wyoming, a rural environment. Throughout the film the audience sees grass, trees, and mountains which reflect a classical Western scenery (Keller & Jones, 2008). The film does not display any form of urbanization. According to John D’Emilio, homosexual identity is the historical development of capitalism and urbanization (Jagose, 1996). The rural environment and the cowboy culture displayed throughout the film are essential motifs as both are not accepting of homosexuality, resulting in challenges for Jack and Ennis. The film’s setting was essential as it displays to the audience how the Western and cowboy culture is not accepting of homosexuality. The film does not display urbanization and perhaps this is in order to not contradict D’Emilio’s theory of homosexuality being associated with urbanization. The cowboy identity depicted through Jack and Ennis reinforces our contemporary views of masculinity. Even with its Western gay sexuality, Brokeback Mountain depicts traditional masculinity (Keller and Jones, 2008). Ennis embodies a typical manhood of being physically adept, hardworking, verbally silent, and responsible (Keller and Jones, 2008).
In the film, we view Ennis acting responsibly in regards to paying child support. He tells Jack during one of their later times at Brokeback that he cannot make it again until August as he cannot quit or get time off and must pay child support. As well, Ennis remains silent and does not speak much throughout the film and only opens up with Jack, demonstrating the strength of their bond. An essential scene demonstrating Ennis’s masculinity is the Fourth of July fireworks event. A group of biker men that were sitting near Ennis and his family using vulgar language towards women deeply upsets Ennis due to his short fuse. Ennis threatens the men with his fists and ends up punching two of them. During this scene, Ennis is fulfilling a socially constructed macho gender norm (Snider, 2008). Overall, throughout the film Ennis’ character reinforces our views of masculinity by conforming to norms associated with manhood and masculinity. Jack’s character also demonstrates typical characteristics associated with masculinity, particularly cowboy and Western masculinity. Jack tries to achieve his father’s manhood represented by dominance and rodeo success (Keller and Jones, 2008). Several scenes in the film display Jack riding bulls at a rodeo, illustrating his cowboy masculinity. An essential scene demonstrating Jack’s masculinity occurs during Thanksgiving dinner. Throughout the film Jack is treated disrespectfully from his father-in-law who refers to him as “rodeo”. Lureen, Jack’s wife, tells their child Bobby that he can finish watching TV after dinner and Jack goes and turns off the TV. Lureen’s father overrides them both and turns the TV back on and then turns to Jack and says “You want your son to grow up to be a man, don’t you? Boys should watch football.” Jack stands up and says “not until he finishes the meal his mama spent three hours fixin’.” When Lureen’s father gets up to turn the TV back on again Jack says “Sit down, you old son of a bitch! This is my house! This is my child! You’re my guest! So sit the hell down, or I’ll knock your ignorant ass into next week.” This scene displays Jack claiming his manhood (Keller and Jones, 2008). As well, not only does this scene effectively depict Jack demonstrating traditional masculinity, but also illustrates traditional gender norms of men watching football. Jack and Ennis both reinforce our views regarding masculinity. Although both characters are attracted to each other, they still demonstrate traditional masculinity. According to Keller and Jones (2008), traditionally masculinity has been defined by violence and the capacity of a male to inflict pain on other men. Both Jack and Ennis use the threat of physical violence, exhibiting masculinity. Ennis actually commits physical violence. First with punching out two bikers at the Fourth of July fireworks. The second time is after Alma confronts Ennis about his relationship with Jack and he punches an individual who yells at him for being in the middle of the road. Jack and Ennis’ sexual relationship also emphasizes masculine characteristics. When Jack and Ennis have sex it portrays a more hyper-masculine form which differs from the traditional idea of gay romance viewing men as weak through sentimentality (Keller and Jones, 2008). Overall, Jack and Ennis demonstrate traditional masculinity through their iconic image of the cowboy (Piontek, 2012). Jack and Ennis reinforce our views of masculinity; however, they also face difficulties in attempting to fulfill the traditional cowboy and Western identity. According to Rose and Urschel (2006), the mindset of the 1960s cowboy culture cannot accept any man, especially a cowboy, not fulfilling the definition of masculinity including being strong, successful, and heterosexual. Jack and Ennis may be strong, but neither are successful or heterosexual. As a result, Jack and Ennis endure challenges regarding their sexuality. Both characters deny and do not accept the gay identity. In the film after their first time having sex Ennis declares, “I’m not no queer.” Jack agrees and says “Me either”. Ennis then states “This is a one-shot thing we got goin’ on here.” This relates to the concept illustrated by Jagose (1996) who illustrates men who live with their wife and children but from time to time have sex with other men do not identify themselves as homosexual. Thus, Jack and Ennis have trouble fulfilling the cowboy and Western identity as although they are able to conform to the typical gender norms associated with masculinity, they immensely struggle with their sexuality.
Jack and Ennis, however, in one way challenge the cowboy culture and masculinity in a positive manner. Roughton (2013) illustrates that cowboys are icons of masculinity and yet in Brokeback Mountain we have two cowboys in love, challenging the assumption that being attracted to another man unmans you, meaning you cannot both want a man and be a man. Jack and Ennis are both able to demonstrate their masculinity, even while having feelings for another man. It is argued that Ennis maintains his masculinity to hide his pain and vulnerability surrounding his sexuality (Rose & Urschel, 2006). Jack and Ennis are part of the most hyper-masculine culture, the cowboy; however, they are still able to form a homosexual bond (Keller & Jones, 2008). Although Jack and Ennis are never able to fully accept that they are homosexual and actually be together, they still challenge the idea that cowboys have to be heterosexual.
Heteronormativity & Hegemonic Masculinity in Brokeback Mountain Heteronormativity is present throughout Brokeback Mountain. Heterosexuality is still treated as normative in the Western culture (Nayar, 2011). The film demonstrates that heterosexuality is still the norm in Wyoming by displaying Jack and Ennis’ desire to keep their relationship a secret. As well, Jack and Ennis continued to conform to the norms of being heterosexual, even though both men had strong feelings for each other. Both men also marry because they feel that is expected of them (Rose & Urschel, 2006). Ennis’ heteronormativity is confirmed early on in the film. Ennis tells Jack he intends to marry Alma as soon as he comes down from Brokeback (Keller & Jones, 2008). Both Jack and Ennis demonstrate the role of heteronormative family men (Nayar, 2011). In the film, Jack and Ennis conform to the typical gender norms associated with heterosexuality, such as the men getting married, having children, and working hard to support their family. Overall, heteronormativity is present in Brokeback Mountain and this concept reinforces our views of masculinity. Throughout Brokeback Mountain, heteronormativity creates challenges for Jack and Ennis. Both men feel they have to conform to the gender norms associated with heterosexuality; therefore they have to sacrifice being in relationship together. The two have to go on to pretend they are happy in their marriages, meanwhile, neither of them is satisfied. Jack and Ennis’ sexuality is a struggle for both from within the confines of their heterosexual marriages and the heteronormative world they live in (Nayar, 2011). The idea that they must conform and fulfil the gender norms of being a man and heterosexual is what Jack and Ennis struggle with throughout the film. Heteronormativity is policed after the development of homosexuality (Connell & Messerschmidt, 2005). Jack and Ennis especially ultimately police themselves from violating the traditional gender norms. Ennis will not commit to a relationship with Jack or the idea that they could live together as he believes that heteronormativity must be upheld no matter what. Hegemonic masculinity is also present within Brokeback Mountain.
Hegemonic masculinity is the gender practice that guarantees the dominant social position of men and the subordinate social position of women (Donaldson, 1993). Hegemonic masculinity is associated with the social embodiment for masculinity as well heterosexuality and masculinity became linked in the Western culture (Connell & Messerschmidt, 2005). Brokeback Mountain demonstrates heterosexuality and masculinity being dominant in the Western culture as Jack and Ennis both feel they need to conform to the norms of heterosexuality and masculinity. As well, hegemonic masculinity is associated with regional masculinity (Connell & Messerschmidt, 2005). Regional masculinity is present in Brokeback Mountain, which is what causes the challenges Jack and Ennis endure. Hegemonic masculinity assists in reinforcing our views of masculinity in Brokeback Mountain by demonstrating the need for cowboys to be strong and heterosexual. Hegemonic masculinity also challenges our views of masculinity. In the film we see Lureen dominating Jack in regards to occupational status. Lureen displays the role of a business woman, while Jack is only a sales representative for farming equipment. As well, Jack and Ennis’s relationship challenges the idea of men being heterosexual in the Western culture. Overall, hegemonic masculinity is present within Brokeback Mountain and both reinforces and challenges our views of
masculinity.
The Relationship of Jack and Ennis Jack and Ennis’ relationship faces many challenges. Their relationship is challenged by a social taboo which depicts that homosexuality is wrong. An essential quote in the film that acknowledges this is Ennis stating “If you can’t fix it you’ve got to stand it.” Ennis is illustrating to Jack that they are unable to fix how society feels about “queers” and since they cannot fix it they must stand it, meaning they must keep their relationship a secret. Ennis believes that love between two men is forbidden and fears that if anyone ever found out about him and Jack they would be killed. Ennis’ fear is enhanced by a childhood memory. When Ennis was nine years old, his father forced him to view the battered corpse of Earl, a gay man, beaten to death and castrated (Rose & Urschel, 2006). This childhood memory is what prevented Ennis from living with Jack and the two men actually being together. An essential quote by Ennis demonstrates how their relationship is a taboo and something that is dangerous and forbidden: “Bottom line is... we 're around each other and... this thing, it grabs hold of us again... at the wrong place... at the wrong time... and we 're dead.” Ennis immensely fears his own same-sex attraction and thus internalizes the homophobic scapegoating of society (Snider, 2008). Overall, Ennis’ childhood memory strongly enhances his fear of homosexuality, resulting in this film being a tragic love story as Jack and Ennis are never able to be together. In the end of the film, Ennis ultimately believes that Jack was murdered because someone found out that he was gay. Throughout the film there are many examples that depict homosexuality as being wrong. Joe Aguirre, the man who hired Jack and Ennis to work on Brokeback, will not give Jack a job the next summer after because he knows what happened between Jack and Ennis. Another essential example is the scene at Thanksgiving with Alma and Ennis when she tells him she knows about his relationship with Jack. Alma states “Jack Nasty. You didn’t go up there to fish. You and him.. This quote demonstrates how Alma is not accepting of Ennis’ sexuality. Even Jack’s father is very unaccepting of homosexuality, which is illustrated when Ennis’ goes to visit Jack’s parents after finding out he is dead. Overall, throughout the film, many of the characters’ views illustrate their negative outlook towards homosexuality. Jack and Ennis’ relationship is challenged by the power of society. In Wyoming, society demonstrates the power to define homosexuality as unacceptable. This power causes challenges for Jack and Ennis, as both feel they need conform to the gender norms associated with heterosexuality and masculinity. Although Jack illustrates that they could have had a life together, Ennis could not accept this because of the fear he endured from his childhood memory. The power of society controls Ennis and prevents himself from committing to Jack. Jack on the other hand, does not let society control him as he wants to have a life with Ennis and is more accepting of his sexuality. Jack even goes to Mexico and has a relationship with another man to fulfil his sexual desires. Jack being more accepting of his sexual identity illustrates the potential idea of rebelling against societal and gender norms. Thus, society’s power has a strong presence in the film and is ultimately what led Jack and Ennis to keep their love a secret. Overall, the film Brokeback Mountain reinforces and challenges our contemporary view of masculinity, particularly regarding the Western and cowboy culture. Heteronormativity and hegemonic masculinity have a presence in the film and also assist in both reinforcing and challenging our views of masculinity. The relationship between Jack and Ennis is considered a sexually charged and socially taboo relationship. It is ultimately Ennis’ fear emphasized by his childhood memory that prevents them from being together. The film teaches us that a man can both be a man and want a man. Jack and Ennis are able to conform to traditional gender norms while having feelings for each other. As well, the film also illustrates how the power of societal norms can influence and impact our lives. Lastly, the film is portrayed during a time period of social change, when the gay liberation was taking place, as well as the AIDs epidemic; however, the film does not mention these. The film ultimately shows no sign of progression.
References
Connell, R.W. and Messerschmidt, James. (2005). Hedemonic masculinity – Rethinking the concept. Gender & Society, 19(6), 829-859.
Jagose, Annamarie. (1996). Queer Theory – An Introduction. Washington Square, New York:
New York University Press.
Keller, James and Jones, Anne. (2008). Brokeback Mountain: Masculinity and manhood. Studies in Popular Culture, 30(2), 21-34.
Nayar, Shelia. (2011). A good man is impossible to find: Brokeback Mountain as heteronormative tragedy. Sexualities, 14(2), 235-255.
Piontek, Thomas. (2012). Tears for queers: Ang Lee’s Brokeback Mountain, Hollywood and
American attitudes toward homosexuality. The Journal of American Culture, 35(2), 123-132.
Roughton, Ralph. (2013). The significance of Brokeback Mountain. Journal of Gay & Lesbian
Mental Health, 18, 83-94.
Rose, Jane and Urschel, Joanne. (2006). Understanding the complexity of love in Brokeback
Mountain, an analysis of the film and short story. The Journal of Men’s Studies, 14(2), 247-251.
Snider, Clifton. (2008). Queer persona and the gay gaze in Brokeback Mountain: Story and Film.
Psychological Perspectives, 51, 54-69.
Submitted by: Jenna Ricard – 0757383
Submitted to: Professor Dauda
Date: March 12, 2014
The film Brokeback Mountain is a tragic love story following the lives of two young cowboys in Wyoming, Jack Twist and Ennis Del Mar. The two main characters are hired to work on a ranch herding sheep on Brokeback Mountain in the summer of 1963, and during this time developed a bond and feelings for each other (Brokeback Mountain, 2005). The movie continues for three decades examining the lives of Jack and Ennis and illustrates the challenges they face in their marriages and society, as well as how their love for each other is forbidden and must remain a secret. The complications, grief, …show more content…
and tragedies Jack and Ennis endure displays the power of conforming to gender norms and fulfilling the expectations of what it means to be a man. This paper will examine the lives of the main characters Jack Twist and Ennis Del Mar and how their story depicts and reinforces our views regarding masculinity, but also challenges our views as well. Throughout this paper, the cowboy culture, which Jack and Ennis are associated with, and the theories of heteronormativity and hegemonic masculinity will be discussed illustrating ways in which our views of masculinity are both reinforced and challenged throughout the film. As well, the relationship between Jack and Ennis will be analyzed, including how their relationship is challenged by societal power and social taboo which depicts that homosexuality is wrong.
The Cowboy, Western Culture, and Masculinity The setting and dialogue of Brokeback Mountain depicts a cowboy, western, and rodeo culture. The type of clothing worn by Jack and Ennis, such as cowboy hats, jeans, and plaid shirts, demonstrates the cowboy identity. The film is set in Wyoming, a rural environment. Throughout the film the audience sees grass, trees, and mountains which reflect a classical Western scenery (Keller & Jones, 2008). The film does not display any form of urbanization. According to John D’Emilio, homosexual identity is the historical development of capitalism and urbanization (Jagose, 1996). The rural environment and the cowboy culture displayed throughout the film are essential motifs as both are not accepting of homosexuality, resulting in challenges for Jack and Ennis. The film’s setting was essential as it displays to the audience how the Western and cowboy culture is not accepting of homosexuality. The film does not display urbanization and perhaps this is in order to not contradict D’Emilio’s theory of homosexuality being associated with urbanization. The cowboy identity depicted through Jack and Ennis reinforces our contemporary views of masculinity. Even with its Western gay sexuality, Brokeback Mountain depicts traditional masculinity (Keller and Jones, 2008). Ennis embodies a typical manhood of being physically adept, hardworking, verbally silent, and responsible (Keller and Jones, 2008).
In the film, we view Ennis acting responsibly in regards to paying child support. He tells Jack during one of their later times at Brokeback that he cannot make it again until August as he cannot quit or get time off and must pay child support. As well, Ennis remains silent and does not speak much throughout the film and only opens up with Jack, demonstrating the strength of their bond. An essential scene demonstrating Ennis’s masculinity is the Fourth of July fireworks event. A group of biker men that were sitting near Ennis and his family using vulgar language towards women deeply upsets Ennis due to his short fuse. Ennis threatens the men with his fists and ends up punching two of them. During this scene, Ennis is fulfilling a socially constructed macho gender norm (Snider, 2008). Overall, throughout the film Ennis’ character reinforces our views of masculinity by conforming to norms associated with manhood and masculinity. Jack’s character also demonstrates typical characteristics associated with masculinity, particularly cowboy and Western masculinity. Jack tries to achieve his father’s manhood represented by dominance and rodeo success (Keller and Jones, 2008). Several scenes in the film display Jack riding bulls at a rodeo, illustrating his cowboy masculinity. An essential scene demonstrating Jack’s masculinity occurs during Thanksgiving dinner. Throughout the film Jack is treated disrespectfully from his father-in-law who refers to him as “rodeo”. Lureen, Jack’s wife, tells their child Bobby that he can finish watching TV after dinner and Jack goes and turns off the TV. Lureen’s father overrides them both and turns the TV back on and then turns to Jack and says “You want your son to grow up to be a man, don’t you? Boys should watch football.” Jack stands up and says “not until he finishes the meal his mama spent three hours fixin’.” When Lureen’s father gets up to turn the TV back on again Jack says “Sit down, you old son of a bitch! This is my house! This is my child! You’re my guest! So sit the hell down, or I’ll knock your ignorant ass into next week.” This scene displays Jack claiming his manhood (Keller and Jones, 2008). As well, not only does this scene effectively depict Jack demonstrating traditional masculinity, but also illustrates traditional gender norms of men watching football. Jack and Ennis both reinforce our views regarding masculinity. Although both characters are attracted to each other, they still demonstrate traditional masculinity. According to Keller and Jones (2008), traditionally masculinity has been defined by violence and the capacity of a male to inflict pain on other men. Both Jack and Ennis use the threat of physical violence, exhibiting masculinity. Ennis actually commits physical violence. First with punching out two bikers at the Fourth of July fireworks. The second time is after Alma confronts Ennis about his relationship with Jack and he punches an individual who yells at him for being in the middle of the road. Jack and Ennis’ sexual relationship also emphasizes masculine characteristics. When Jack and Ennis have sex it portrays a more hyper-masculine form which differs from the traditional idea of gay romance viewing men as weak through sentimentality (Keller and Jones, 2008). Overall, Jack and Ennis demonstrate traditional masculinity through their iconic image of the cowboy (Piontek, 2012). Jack and Ennis reinforce our views of masculinity; however, they also face difficulties in attempting to fulfill the traditional cowboy and Western identity. According to Rose and Urschel (2006), the mindset of the 1960s cowboy culture cannot accept any man, especially a cowboy, not fulfilling the definition of masculinity including being strong, successful, and heterosexual. Jack and Ennis may be strong, but neither are successful or heterosexual. As a result, Jack and Ennis endure challenges regarding their sexuality. Both characters deny and do not accept the gay identity. In the film after their first time having sex Ennis declares, “I’m not no queer.” Jack agrees and says “Me either”. Ennis then states “This is a one-shot thing we got goin’ on here.” This relates to the concept illustrated by Jagose (1996) who illustrates men who live with their wife and children but from time to time have sex with other men do not identify themselves as homosexual. Thus, Jack and Ennis have trouble fulfilling the cowboy and Western identity as although they are able to conform to the typical gender norms associated with masculinity, they immensely struggle with their sexuality.
Jack and Ennis, however, in one way challenge the cowboy culture and masculinity in a positive manner. Roughton (2013) illustrates that cowboys are icons of masculinity and yet in Brokeback Mountain we have two cowboys in love, challenging the assumption that being attracted to another man unmans you, meaning you cannot both want a man and be a man. Jack and Ennis are both able to demonstrate their masculinity, even while having feelings for another man. It is argued that Ennis maintains his masculinity to hide his pain and vulnerability surrounding his sexuality (Rose & Urschel, 2006). Jack and Ennis are part of the most hyper-masculine culture, the cowboy; however, they are still able to form a homosexual bond (Keller & Jones, 2008). Although Jack and Ennis are never able to fully accept that they are homosexual and actually be together, they still challenge the idea that cowboys have to be heterosexual.
Heteronormativity & Hegemonic Masculinity in Brokeback Mountain Heteronormativity is present throughout Brokeback Mountain. Heterosexuality is still treated as normative in the Western culture (Nayar, 2011). The film demonstrates that heterosexuality is still the norm in Wyoming by displaying Jack and Ennis’ desire to keep their relationship a secret. As well, Jack and Ennis continued to conform to the norms of being heterosexual, even though both men had strong feelings for each other. Both men also marry because they feel that is expected of them (Rose & Urschel, 2006). Ennis’ heteronormativity is confirmed early on in the film. Ennis tells Jack he intends to marry Alma as soon as he comes down from Brokeback (Keller & Jones, 2008). Both Jack and Ennis demonstrate the role of heteronormative family men (Nayar, 2011). In the film, Jack and Ennis conform to the typical gender norms associated with heterosexuality, such as the men getting married, having children, and working hard to support their family. Overall, heteronormativity is present in Brokeback Mountain and this concept reinforces our views of masculinity. Throughout Brokeback Mountain, heteronormativity creates challenges for Jack and Ennis. Both men feel they have to conform to the gender norms associated with heterosexuality; therefore they have to sacrifice being in relationship together. The two have to go on to pretend they are happy in their marriages, meanwhile, neither of them is satisfied. Jack and Ennis’ sexuality is a struggle for both from within the confines of their heterosexual marriages and the heteronormative world they live in (Nayar, 2011). The idea that they must conform and fulfil the gender norms of being a man and heterosexual is what Jack and Ennis struggle with throughout the film. Heteronormativity is policed after the development of homosexuality (Connell & Messerschmidt, 2005). Jack and Ennis especially ultimately police themselves from violating the traditional gender norms. Ennis will not commit to a relationship with Jack or the idea that they could live together as he believes that heteronormativity must be upheld no matter what. Hegemonic masculinity is also present within Brokeback Mountain.
Hegemonic masculinity is the gender practice that guarantees the dominant social position of men and the subordinate social position of women (Donaldson, 1993). Hegemonic masculinity is associated with the social embodiment for masculinity as well heterosexuality and masculinity became linked in the Western culture (Connell & Messerschmidt, 2005). Brokeback Mountain demonstrates heterosexuality and masculinity being dominant in the Western culture as Jack and Ennis both feel they need to conform to the norms of heterosexuality and masculinity. As well, hegemonic masculinity is associated with regional masculinity (Connell & Messerschmidt, 2005). Regional masculinity is present in Brokeback Mountain, which is what causes the challenges Jack and Ennis endure. Hegemonic masculinity assists in reinforcing our views of masculinity in Brokeback Mountain by demonstrating the need for cowboys to be strong and heterosexual. Hegemonic masculinity also challenges our views of masculinity. In the film we see Lureen dominating Jack in regards to occupational status. Lureen displays the role of a business woman, while Jack is only a sales representative for farming equipment. As well, Jack and Ennis’s relationship challenges the idea of men being heterosexual in the Western culture. Overall, hegemonic masculinity is present within Brokeback Mountain and both reinforces and challenges our views of
masculinity.
The Relationship of Jack and Ennis Jack and Ennis’ relationship faces many challenges. Their relationship is challenged by a social taboo which depicts that homosexuality is wrong. An essential quote in the film that acknowledges this is Ennis stating “If you can’t fix it you’ve got to stand it.” Ennis is illustrating to Jack that they are unable to fix how society feels about “queers” and since they cannot fix it they must stand it, meaning they must keep their relationship a secret. Ennis believes that love between two men is forbidden and fears that if anyone ever found out about him and Jack they would be killed. Ennis’ fear is enhanced by a childhood memory. When Ennis was nine years old, his father forced him to view the battered corpse of Earl, a gay man, beaten to death and castrated (Rose & Urschel, 2006). This childhood memory is what prevented Ennis from living with Jack and the two men actually being together. An essential quote by Ennis demonstrates how their relationship is a taboo and something that is dangerous and forbidden: “Bottom line is... we 're around each other and... this thing, it grabs hold of us again... at the wrong place... at the wrong time... and we 're dead.” Ennis immensely fears his own same-sex attraction and thus internalizes the homophobic scapegoating of society (Snider, 2008). Overall, Ennis’ childhood memory strongly enhances his fear of homosexuality, resulting in this film being a tragic love story as Jack and Ennis are never able to be together. In the end of the film, Ennis ultimately believes that Jack was murdered because someone found out that he was gay. Throughout the film there are many examples that depict homosexuality as being wrong. Joe Aguirre, the man who hired Jack and Ennis to work on Brokeback, will not give Jack a job the next summer after because he knows what happened between Jack and Ennis. Another essential example is the scene at Thanksgiving with Alma and Ennis when she tells him she knows about his relationship with Jack. Alma states “Jack Nasty. You didn’t go up there to fish. You and him.. This quote demonstrates how Alma is not accepting of Ennis’ sexuality. Even Jack’s father is very unaccepting of homosexuality, which is illustrated when Ennis’ goes to visit Jack’s parents after finding out he is dead. Overall, throughout the film, many of the characters’ views illustrate their negative outlook towards homosexuality. Jack and Ennis’ relationship is challenged by the power of society. In Wyoming, society demonstrates the power to define homosexuality as unacceptable. This power causes challenges for Jack and Ennis, as both feel they need conform to the gender norms associated with heterosexuality and masculinity. Although Jack illustrates that they could have had a life together, Ennis could not accept this because of the fear he endured from his childhood memory. The power of society controls Ennis and prevents himself from committing to Jack. Jack on the other hand, does not let society control him as he wants to have a life with Ennis and is more accepting of his sexuality. Jack even goes to Mexico and has a relationship with another man to fulfil his sexual desires. Jack being more accepting of his sexual identity illustrates the potential idea of rebelling against societal and gender norms. Thus, society’s power has a strong presence in the film and is ultimately what led Jack and Ennis to keep their love a secret. Overall, the film Brokeback Mountain reinforces and challenges our contemporary view of masculinity, particularly regarding the Western and cowboy culture. Heteronormativity and hegemonic masculinity have a presence in the film and also assist in both reinforcing and challenging our views of masculinity. The relationship between Jack and Ennis is considered a sexually charged and socially taboo relationship. It is ultimately Ennis’ fear emphasized by his childhood memory that prevents them from being together. The film teaches us that a man can both be a man and want a man. Jack and Ennis are able to conform to traditional gender norms while having feelings for each other. As well, the film also illustrates how the power of societal norms can influence and impact our lives. Lastly, the film is portrayed during a time period of social change, when the gay liberation was taking place, as well as the AIDs epidemic; however, the film does not mention these. The film ultimately shows no sign of progression.
References
Connell, R.W. and Messerschmidt, James. (2005). Hedemonic masculinity – Rethinking the concept. Gender & Society, 19(6), 829-859.
Jagose, Annamarie. (1996). Queer Theory – An Introduction. Washington Square, New York:
New York University Press.
Keller, James and Jones, Anne. (2008). Brokeback Mountain: Masculinity and manhood. Studies in Popular Culture, 30(2), 21-34.
Nayar, Shelia. (2011). A good man is impossible to find: Brokeback Mountain as heteronormative tragedy. Sexualities, 14(2), 235-255.
Piontek, Thomas. (2012). Tears for queers: Ang Lee’s Brokeback Mountain, Hollywood and
American attitudes toward homosexuality. The Journal of American Culture, 35(2), 123-132.
Roughton, Ralph. (2013). The significance of Brokeback Mountain. Journal of Gay & Lesbian
Mental Health, 18, 83-94.
Rose, Jane and Urschel, Joanne. (2006). Understanding the complexity of love in Brokeback
Mountain, an analysis of the film and short story. The Journal of Men’s Studies, 14(2), 247-251.
Snider, Clifton. (2008). Queer persona and the gay gaze in Brokeback Mountain: Story and Film.
Psychological Perspectives, 51, 54-69.