â BROKEBACK MOUNTAIN DOSSIERâ the white cinematic and televisual image of gay life that mainstream U.S. culture has manufactured, packaged, and produced? So the fact that Brokeback has met with some degree of popularity may not be reason for dancing in the streets just yet â at least not for all of us. Ennis and Jack appeal to us in a context in which we have been prepared to receive a certain kind of gay man. He is white, masculine, straight-acting, good-looking, and, therefore, sympathetic. All of this points to the centrality of whiteness and of white-on-white gay male relationships as a sense-making norm that fuels the logic by which we ascribe value in the gay marketplace of desire. Gay white men know, and all of us who would have commerce in the marketplace know, that of all the variables that circulate, none are more central and salient than âthe giftâ of racial whiteness. Whites know they have it, others know they will never have it, and virtually everyone wants it. This might be understood in the gay marketplace of desire â just as it is in the audience reception world of Brokeback Mountain â as the main
GLQ: A Journal of Lesbian and Gay Studies – Duke University Press
Published: Jan 1, 2007
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