Next, Annie Proulx's popular American short story Brokeback Mountain (2006), as one of the three chosen texts, will be analyzed. First, the definitions of narcissism as illustrated in Sigmund Freud's ‘On Narcissism’ (1915) will be briefly introduced and compared with other works of literature and art expressing a similar motif, such as Ovid's Metamorphosis, William Shakespeare's Twelfth Night, Salvador Dali's Metamorphosis of Narcissus, Eric Stenbock Stanislaus's Narcissus as well as other sources from western psychoanalytic discourses, at the outset problematizing the Freudian narcissism yet without providing a concrete redefinition. ![]() Starting from and trajecting beyond Freudian psychoanalysis, the author attempts to deconstruct the presumed definitions of narcissism and male sexuality in order to provide another perspective on the psycho-sexual politics in the representations of such in both Chinese and Western queer literature and cinema. This paper, extracted from a chapter of the author’s completed research paper entitled ‘Narcissism in Male Sexuality: Lan Yu, Crystal Boys and Brokeback Mountain’, aims to complicate the analysis of and imagined correspondence between narcissism and male sexuality. Finally, I consider how the film might help us to understand our current situation in the midst of an often unacknowledged tension between not only love and marriage, but also romantic love and intimacy. Through the forum, the film points to a communal participation in the effects of traditional romantic love stories, enabled by new forms of sociability on the internet. I look in particular at one forum and its communal articulation of an emotional condition called “Brokeback Mountain Fever,” a curious amalgam of longing and grief. ![]() In so doing, the film invigorates romantic love as a political force both in its presentation of non-heterosexual men, but also in its spur to cultural activism through online forums. The film’s reception recalls for us the rebellious social and political power of romantic love, its traditional transgressions against patriarchal control of familial alliances and reproduction, and its fervent individualism. ![]() Instead I argue it is romantic love, intensified and rewritten, that is still capable of bestowing unique cultural authority. According to the cultural historian David Shumway, a new intimacy paradigm for couples, and not the older romantic love paradigm, accounts for the growth in support for gay marriage. “For one thing, it’s about a couple of sheepherders, not cattlemen.In this article I explore the broad appeal of one recent and unusual cinematic revival of an orthodox romantic love narrative. ![]() It is a beautiful film and I was thrilled for Ang, but it isn’t a Western,” Elliott said of the movie during a 2006 interview with writer Scott Holleran. “I didn’t really get what all the to-do was about. Some supporters are pointing out the actor’s review of the cult classic movie “Brokeback Mountain” starring Heath Ledger and Jake Gyllenhaal. In the past, Elliott was perfectly fine with another movie that included a same-sex couple in the storyline. Critics, however, are saying the 77-year-old actor is just a big homophobe who felt uncomfortable with the homosexual themes present in “The Power of the Dog.” Detractors would love to believe that actor Sam Elliott is a raging homophobe following his epic rant on Marc Maron’s “WTF Podcast.” The actor received a lot of criticism for eviscerating the Oscar-nominated Western film, “The Power of the Dog,” calling the movie a “piece of s***.”Įlliott specifically mentioned during his rant that themes of classic masculinity that used to be prevalent in Westerns are all but gone now.
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