WHY I HATE THAT I LOVED BROKEBACK MOUNTAIN

WHY I HATE THAT I LOVED BROKEBACK MOUNTAIN   BROKEBACK MOUNTAIN DOSSIER  Dwight A. McBride Few can deny Brokeback Mountain’s accomplishments as a cinematic triumph. It featured phenomenal performances by an ensemble cast, none of whom were Hollywood royalty. It performed well at the box office. It addressed, by all accounts, “controversial” and provocative subject matter. And it made Ang Lee the first Asian to win a best director Oscar. The film was also touted, marketed, and much anticipated long before its initially limited release in theaters. Indeed, it had a successful life on the film festival circuit, commanding top awards in both Berlin and Venice. And in the gay community of Chicago where I live, there was great buzz near summer’s close about the new “gay western” that was soon to be released. A Wall Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them.” An MSNBC reviewer, Erik Lundegaard, also observed that much of Brokeback’s financial success rested with its ability to capture the hearts of middle-American women: http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png GLQ: A Journal of Lesbian and Gay Studies Duke University Press

WHY I HATE THAT I LOVED BROKEBACK MOUNTAIN

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Publisher
GL/QCML
Copyright
© 2007 by Duke University Press
ISSN
1064-2684
eISSN
1064-2684
D.O.I.
10.1215/10642684-2006-016
Publisher site
See Article on Publisher Site

Abstract

  BROKEBACK MOUNTAIN DOSSIER  Dwight A. McBride Few can deny Brokeback Mountain’s accomplishments as a cinematic triumph. It featured phenomenal performances by an ensemble cast, none of whom were Hollywood royalty. It performed well at the box office. It addressed, by all accounts, “controversial” and provocative subject matter. And it made Ang Lee the first Asian to win a best director Oscar. The film was also touted, marketed, and much anticipated long before its initially limited release in theaters. Indeed, it had a successful life on the film festival circuit, commanding top awards in both Berlin and Venice. And in the gay community of Chicago where I live, there was great buzz near summer’s close about the new “gay western” that was soon to be released. A Wall Street Journal reporter opined that Brokeback achieved its financial success “by surgically targeting where the movie would play in its initial release; selling it as a romance for women rather than a controversial gay-bashing tale; and opting out of the culture wars rather than engaging them.” An MSNBC reviewer, Erik Lundegaard, also observed that much of Brokeback’s financial success rested with its ability to capture the hearts of middle-American women:

Journal

GLQ: A Journal of Lesbian and Gay StudiesDuke University Press

Published: Jan 1, 2007

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