Even nowadays people who do not fit in the commonly accepted sexual role models of our society still face severe problems and hostilities which frequently culminate in murder. This is illustrated in the movies Boys don’t cry (1999) and Brokeback Mountain (2005). The two low-budged productions by the directors Kimberly Peirce and Ang Lee both tell love stories that are not blessed by society. The individuals suffer the pressure to conform to what is regarded as the “correct gender” in the respective societies.
But what is meant by “correct gender”? “Gender”, as García Landa defines it, is a “matter of language, of signs and symbols”. It is a social construct and refers to the “cultural representation of sexual difference”. In practice it can not be seen completely detached from biological sex as its definition is partly based on features as for example social behaviour and clothing commonly attributed to one certain sex. Also, sexual identity, which refers to the sexual orientation, is closely linked to gender because it is constructed on the basis of selfsame. The term “correct gender” refers to what society generally expects from a certain sex, in other words a person who biologically is a man should also conform to the male gender. As in all cultures individuals are socialized into a dominant heterosexual eroticism this includes having a heterosexual orientation.
The aim of this paper is to analyze how the societies where the pressure originates from are built, how the characters cope with or try to escape from or strengthen the pressure to conform to the “correct gender”, and which consequences this has. Also, on a structural level, the cinematographic means and techniques which the directors use will be analyzed in the course of the paper.
When quoting from the film minutes will be stated in parenthesis after the quotation. The analysis in chapter 3.1. is taken from the audio commentary of director Kimberly Pierce which is included on the DVD Boys don’t cry.
Table of Contents
1. INTRODUCTION
2. SOCIETY IN BOYS DON’T CRY AND BROKEBACK MOUNTAIN
3. SOCIETY’S PRESSURE AND REACTIONS TO IT
3.1. Boys don’t cry
3.1.1. Teena Brandon or Brandon Teena
3.1.2. Lana Tisdel
3.1.3. John Lotter
3.2. Brokeback Mountain
3.2.1. Jack Twist
3.2.2. Ennis Del Mar
4. BROKEBACK MOUNTAIN AS A SYMBOL
5. CONCLUSION
Research Objectives and Themes
The paper examines how rural societies in the films "Boys don’t cry" and "Brokeback Mountain" exert pressure on individuals to conform to traditional gender roles and sexual identities. It explores the varied reactions of the characters to this social pressure, the tragic consequences of non-conformity, and how cinematographic techniques emphasize these themes.
- The social construction of "correct gender" and heterosexual dominance.
- Individual struggles and psychological responses to heteronormative societal expectations.
- The role of rural mid-western environments in fostering intolerance and violence.
- Cinematographic representation of personal identity versus societal facade.
- The symbolic function of nature and space in the portrayal of illicit love.
Excerpt from the Book
3.2.1. Jack Twist
Jack Twist, played by Jake Gyllenhal, is a young, handsome rodeo cowboy. He is vivid, outgoing, romantic, and dreamy. In his relation to Ennis, due to his character, it is always Jack who takes the first step and is also willing to risk things, ready to leave his family to start a new life with Ennis. He does not want to submit himself to the pressure to have the “right sexuality” that goes with belonging to the “right gender”.
In the beginning the spectator does not sense that Jack, who is just like anybody else dressed in the typical Midwestern cowboy outfit: a pair of cowboy boots, a checkered shirt, jeans and a cowboy hat, might be homosexual. However it is unclear if Jack is unconscious of this fact and if the relation with Ennis is the first homosexual experience Jack has ever had. Unlike Ennis, who is very shocked after they have had sex for the first time, Jack is able to cope with the situation. In their conversation the morning after Jack at first tries to tell Ennis that he should not worry, however, just like Ennis, he then not really convincingly also claims not to be gay.
Summary of Chapters
1. INTRODUCTION: Defines the concept of "correct gender" as a social construct and introduces the films "Boys don’t cry" and "Brokeback Mountain" as case studies for analyzing societal pressure.
2. SOCIETY IN BOYS DON’T CRY AND BROKEBACK MOUNTAIN: Analyzes the rural, conservative environments of both films, emphasizing how prevailing patriarchal patterns and ignorance foster violence against those who deviate from norms.
3. SOCIETY’S PRESSURE AND REACTIONS TO IT: Explores how specific characters in both films, such as Brandon Teena, Lana Tisdel, John Lotter, Jack Twist, and Ennis Del Mar, navigate or succumb to societal expectations regarding gender and sexuality.
4. BROKEBACK MOUNTAIN AS A SYMBOL: Interprets the setting of Brokeback Mountain as an illusionary space of freedom and intimacy that contrasts with the repressive reality of the characters' daily lives.
5. CONCLUSION: Reflects on how both films expose the destructive nature of intolerance and argues that they contribute to reducing stereotypical thinking by humanizing characters beyond their gender identity.
Keywords
Gender identity, Boys don't cry, Brokeback Mountain, social pressure, heteronormativity, rural society, transgender, homosexuality, intolerance, film analysis, gender roles, sexual orientation, violence, identity construction.
Frequently Asked Questions
What is the core focus of this research paper?
The paper investigates the intense social pressure to conform to traditional "correct gender" roles in rural American societies as depicted in the films "Boys don't cry" and "Brokeback Mountain."
What are the primary themes discussed?
The central themes include the social construction of gender, the impact of heteronormativity on individual lives, the consequences of social intolerance, and the struggle between personal desire and community expectations.
What is the main objective of the author?
The author aims to analyze how these societies are structured, how characters respond to or attempt to escape societal pressure, and what structural and cinematographic methods the directors use to convey these dynamics.
Which methodology is used to conduct this analysis?
The paper utilizes a film-studies approach, focusing on character analysis, narrative structure, thematic investigation, and the use of cinematographic techniques like lighting and scene composition.
What topics are covered in the main body of the work?
The main body examines the specific social dynamics of both films, provides detailed character studies of the protagonists and their antagonists, and analyzes the symbolic representation of nature versus the repressive rural environment.
Which keywords best characterize this work?
Key terms include gender identity, social pressure, heteronormativity, film analysis, transgender, homosexuality, and the conflict between the individual and society.
How does the film "Boys don't cry" contrast with the perspective in "Brokeback Mountain"?
The paper suggests that while both deal with intolerance, "Boys don't cry" shows a more explicit and violent social reaction to Brandon Teena's identity, whereas in "Brokeback Mountain," the pressure manifests more internally in the characters' struggle to reconcile their love with their societal roles.
What role does the setting of the "great wide open" play in "Brokeback Mountain"?
The setting serves as a symbolic, illusory space where the lovers can momentarily escape societal surveillance and find intimacy, which stands in sharp contrast to their restrictive lives in rural towns.
How does the author characterize the motivation of John Lotter in "Boys don't cry"?
John Lotter is depicted as the personification of the ignorant, intolerant society, whose violence is driven by his own deep-seated insecurity and his desperate need to prove his manhood and social superiority.
- Quote paper
- Kathrin Herz (Author), 2006, The pressure to conform to the "correct" gender in 'Boys don't cry' and 'Brokeback Mountain', Munich, GRIN Verlag, https://www.grin.com/document/67387
