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Brokeback Mountain, by Annie Proulx (2005), is a love story, but it is much more than that - and it is not the typical story of what love and life mean. It is a painful story that brings discomfort to the reader and shows that same discomfort through the feelings and actions of the characters. Homosexuality is often a difficult point for discussion, and Proulx (2005) handles it well, but there is still something disconcerting about it to many people, and to the characters themselves. When it comes to society, it is naturally seen that a gay relationship between two men would not be accepted properly, especially during the time period where the story is told and between men who epitomize what it means to be "manly" with their jobs and ways of life. The two meet when they are late into adolescence, and through the telling of the story…
Proulx, Annie. (2005). Brokeback Mountain. NY: Scribner.
Roger Ebert notes that the inarticulate male hero is another estern trope which he read about in: "McMurtry's Lonesome Dove trilogy, and as I saw the movie I was reminded of Gus and oodrow, the two cowboys who spend a lifetime together. They aren't gay; one of them is a womanizer and the other spends his whole life regretting the loss of the one woman he loved. They're straight, but just as crippled by a society that tells them how a man must behave and what he must feel" (Ebert, 2005). In a estern, the most heroic characters in the spare, lawless landscape of the Old est, often feel the deepest, and in "Brokeback Mountain" the characters who feel forbidden love, feel the most pain and joy in love. The two characters share a love that is greater than the love they feel for any feminine element of society, including…
Ebert, Roger. "Brokeback Mountain." The Chicago-Sun Times. 16 Dec 2005.
28 Oct 2007. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20051215/REVIEWS/51019006/1023
Holden, Stephen. "Brokeback Mountain." The New York Times. 12 May 2005.
28 Oct 2007. http://movies.nytimes.com/2005/12/09/movies/09brok.html?_r=1&oref=slogin
Even thei appoach to sexuality is taditionally masculine with Jack taking the initiative and making advances on his cowoke.
Moeove, both Jack and Ennis ascibe to thei gende oles such as by maying a female and beaing childen. Jack easily assumes the ole of husband and fathe. One of his most masculine scenes in when he bluntly efuses to un away with Ennis, citing the impotance of his ole as fathe. Being a fathe is a cetain expession of masculinity, epesenting the ability of the man to povide fo a family even without taking pat in the actual child eaing duties. Both Jack and Ennis seek out and thive in typically masculine caee oles, too. Thei ideal wok is emoved fom society, uggedly independent and decidedly masculine.
Masculinity is theefoe a sepaate issue fom male sexuality. The men in the movie ae staunchly masculine while being gay -- o at…
references. Homophobia therefore runs deep even within those with genuine feelings towards members of the same sex.
Straight men are like Jack and Ennis: they are cowboys, they have failed relationships, and they just want to express their individuality in rugged Wyoming. Society -- especially the society depicted in Brokeback Mountain -- expects all those born biologically male to act, dress, and communicate in certain ways. Men are supposed to be ruggedly individualistic, independent, and unemotional. Men are supposed to be heads of heterosexual households, allowing their wives to raise the children while they work outside the home. Men are above all supposed to be heterosexual, no matter what their heart might say.
In ode to be ethically sound it must be client-cented.
If a counselo entes into the theapeutic elationship with stess that s/he is not willing to addess accoding to thei own techniques, then even with the best of intentions towad the client it is not possible to be genuine. This does not mean that the counselo is not allowed to expeience the same stesses that his/he clients also expeience. It does meant that a counselo is equied to be honest fist and foemost with him/heself and if that is not possible then attempting honesty with one's clients becomes hypocitical and has an unspoken negative influence on the theapeutic elationship.
Pape #2 Discuss you views on the necessity of getting pesonal theapy duing counseling taining and, late on, as a pofessional counselo. Also, discuss the ethical implications of both tansfeence and countetansfeence. Discuss how you, as a counselo, will ethically handle…
references to the end of the page written. This is very informal. Most of these questions are personal opinions of the individual. Please just use your own belief. I don't have a strong view on any of this.
Capote was always clearly a film meant to appeal to a more educated and selective audience, and finding that audience is not as easy as for the major releases. Traditional methods of promotion and marketing are still widely used, but television has become the centerpiece of every campaign, with the advertising blitz in the week or so before a film opens being the determining factor in the success or failure of the effort. Much marketing effort today goes into developing ancillary markets and product tie-ins of various sorts, all to help recoup expenses and, if a film is very successful, to cash in to an even greater degree. Capote also advertised on television, but not with the sort of budget that would be available for a major studio release. Marketing a film like Capote on television would have been very difficult a few years ago when the primary outlet used…
Ancaster Film Fest Surveys (Winter/Spring 2006). http://www.ancasterfilmfest.ca/Survey3.html .
Box Office Mojo (2006). November 14, 2006. http://www.boxofficemojo.com/movies/?id=capote.htm .
Capote." The Hollywood Reporter (12 Sept 2005). November 13, 2006. http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1001096151 .
Capote,' Hoffman, Witherspoon cop top critic nods" The New Zealand Herald (9 Jan 2006),. November 13, 2006. http://www.nzherald.co.nz/event/story.cfm?c_id=1500860&ObjectID=10362949 .
Moreover, population groups "…pull up roots and seemingly go out of their way to avoid one another…" throughout Southern California, Worster writes (242). An example of the concept of "pulling up roots" is the community of Watts, which in the 1960s, Worster continues, was "an almost entirely black populace" but by the mid-1990s is "predominately Mexican-American" (p. 243). And Little Tokyo, positioned just south of Los Angeles' City Hall, is now home to a "dwindling population of Japanese-Americans" who have scant interaction with the colonies of artists "who began reclaiming and inhabiting factory and loft buildings" in Little Tokyo. Armenians that once dominated the eastern fringes of Hollywood have "relocated to suburban Glendale" and South Koreans have "settled in the Mid-Wilshire district" which has caused the "displacement of a sizable community of Central Americans," Worster explains. This movement of cultures and ethnicities around the sprawling great Los Angeles region…
Berry, Mary Frances, 2000, Racial and Ethnic Tensions in American Communities: Poverty, Inequality and Discrimination. DIANE Publishing: Darby, Pennsylvania.
Crash. Lion's Gate Home Entertainment. Rated R. (2005)
Erie, Steven P., Freeman, Gregory, and Joassart-Marcelli, Pascale, 2004, W (h)ither Sprawl? Have Regional Water Policies Subsidized Suburban Development? In Up Against the Sprawl: Public Policy and the Making of Southern California, Eds. J. Wolch, M. Pastor, and P. Dreier. University of Minnesota Press: Minneapolis, MN.
Frommer, Marcos, 1992, 'An Interview with Mike Davis,' Chicago Review, vol. 38, issue 4, 21-44.
edding Banquet does not deliberately set out to be a "queer film" but rather uses homosexuality as a narrative device; the conflicts that arise from ei-Tung and Simon's homosexual relationship are mirrored in "Little Mao's" heterosexual relationship as both ei-Tung and "Little Mao" attempt to break from tradition and are engaged in a relationship with a white man. It is important to note that the marriage arrangement within the film is also a matter of convenience -- the marriage not only enables ei to get a green card, but also helps ei-Tung satisfy his parents' desire for him to marry and have children. The edding Banquet does not set out to depict the issues that may arise because of an individual's homosexuality, but rather depicts the conflicts that arise when an individual tries to placate others while sacrificing a part of themselves. In this comedy of errors, the main characters…
Chua, Ling-Yen. "The Cinematic Representation of Asian Homosexuality in The Wedding
Banquet." Multicultural Queer: Australian Narratives. Ed. Peter A. Jackson and Gerard
Sullivan. New York: The Haworth Press, 1999. pg. 99-112. Print.
Lee, Ang, dir. The Wedding Banquet. Samuel Goldwyn Company, 1993. Film.
Cultural Representations of GLBTQ Peoples and Communities in the Mainstream Media
Attitudes and laws in American society concerning the gay, lesbian, bisexual, transsexual and queer (GLBTQ) communities have changed in substantive ways in recent years, and many observers credit the cultural representations of these communities in the mainstream media as contributing to this progress. Notwithstanding the progress to date, though, some observers suggest that the status of the GLBTQ communities today is still comparable to the status of women and blacks a half century ago and there is clearly a need for greater understanding of these alternative lifestyles communities by the general American public. To this end, this paper provides a review of the literature concerning current GLBTQ issues in American culture followed by a discussion concerning the manner in which interpretation of mainstream media content such as films, television shows, books, plays or events can provide fresh insights into…
About. (2016). The Backlot. Web.
Clifton, Derrick. (2014, July 1). "11 Major Obstacles to Equality that LGBT Americans still face." Identities.Mic. Web.
Doughty, Howard A. (2013, January 1). "What's the Trouble with Human Rights?" The Innovation Journal 18(1): 1-4. Print.
Kilday, Gregg. (2000, October 10). "Queer as Folk in America." The Advocate 62. Print.
That is why I became Treasurer of the ives Club, out of gratefulness for this extended family. I know many people of my generation struggle to find 'who they are' but the structure of the military offers a potent and compelling answer to that question. To serve means always to be at home amongst people who understand exactly what you are going through: "Home is the place where, when you have to go there, they have to take you in" (Frost 118-119).
Being in the military does not mean, contrary to conventional wisdom, that one must obey an unthinking policy of 'my country right or wrong.' The men and women in the military must obey because soldiers cannot afford to question every order and live, however, this does not make them unthinking automatons -- far from it. In fact, soldiers think more about the great questions of life and death,…
Frost, R. (2009). The death of the hired man. In G. Perkins, & B. Perkins (Eds.), The
American Tradition in Literature (12 ed., Vol. 2, pp. 888-891). New York City:
McGraw-Hill Higher Education.
Iyer, P. (2000). The empire. In The global soul: Jet lag, shopping malls, and the search for home. (pp. 234-265). New York: Alfred A. Knopf.
S. Armed Services member thanking the protagonist for helping the cause of closeted homosexuals who risk jeopardizing their professional careers by acknowledging their sexual orientation.
In the 14 years since that sitcom episode, social perspective about sexual orientation has improved in a general sense, but probably much more so in areas where it was already accepted than elsewhere. Because popular perceptions are so profoundly influenced by the multimedia portrayal of cultural trends, the fact that high profile celebrities like Rosie O'Donnell and (most recently) former NSynch band member Lance
Bass have publicly acknowledged their homosexuality. Since 1993, bisexual experimentation" (particularly for women) has become a fashionable trend, especially within the entertainment industry. Like anything else that is publicized about celebrities in American culture, this change has also led to emulation among the masses, especially on the two coasts where the entertainment industry is based.
Naturally, progress in the area of…
Jack and Ennis, two-19-year-old were gay and involved in a mutually romantic relationship, although one is married with children whilst the other has an impetuous relationship with a woman. The relationship between the men is tempestuous and rocky with only fear of the local killing them due to their 'queer' identity' refraining them from living together. Jack, the more openly gay of the two, is indeed killed by a homophobic mob in 1980 for being "queer." The book is a celebration of two men and their love for each other, and their suffering and dying for this love.
They represent the possible difficulties of working with gay and/or lesbian clients. Actually, Jack and Ennis also present therapists with the additional challenge of working with clients who have undergone trauma, but since this is the lesser challenge of the first and the two combined are beyond the scope of this essay,…
DeCrescenzo, T. (ed.) (1994) Helping gay and lesbian youth. New York: Harrington Park Press
Cornstock, GF (2000) The work of a gay college chaplain. NY: Harper Collins
Lingiardi, V & Drescher J (Ed.) (2003) The mental health profession and homosexuality. New York: Harringotrn Park Press
Film Analysis: American Beauty
Film Analysis: American Beauty
Film Analysis: American Beauty
American Beauty (1999) was written by Alan Ball, creator of the HBO series 6 Feet Under, and directed by Sam Mendes. American Beauty centers around the Burnham family, who, on the surface seems like a picture-perfect, white, upper-middle class, suburban family. The protagonist of the film is the father and husband of the Burnham family, Lester, who, fed up with the boredom and monotony of his life, has an interesting "mid-life" crisis, that includes a very active crush on his adolescent daughter's Lolita-type best friend.
The film follows the Burham family as each member (mother, father, and daughter) transition into new stages of their lives. Lester's transition is the most notable and spectacular. He loses his high paying job and begins working at a fast food restaurant. While working the drive-thru, he discovers that his seemingsly…
Carroll, N., & Choi, J. (ed.) (2006). Philosophy of Film and Motion Pictures: An Anthology. Blackwell Publishing, Malden, MA.
LoBrutto, V. (2005). Becoming Film Literate -- The Art and Craft of Motion Pictures. Westport, CA: Greenwood Publishing Group.
Nichols, B. (2010). Engaging Cinema. New York/London: W.W. Norton & Company, Inc.