In my paper, I want to examine the difference between a stereotypical western cowboy and the two main characters Jack Twist and Ennis del Mar of the short story “Brokeback Mountain” by Annie Proulx and its movie adaption by Ang Lee. This paper will analyze how the author, Annie Proulx, defies masculine cowboy norms when writing such an extravagant love story about two cowboys falling in love through an unexpected consultation. Ultimately, this paper will analyze the key differences, both physical, and emotional between the stereotypical western cowboy and the cowboys presented by Annie Proulx, Jack and Ennis. I will use the short story/film “Brokeback Mountain”, and the movie No Country for Old Men. I will also use secondary sources that explain in detail both the physical and emotional features of the masculine stereotypical cowboy. With this information I will contrast the stereotypical cowboy from Jack and Ennis. I will illustrate that societal pressures and the perception of a stereotypical cowboys lead society to think of Jack and Ennis as queers rather than cowboys.
The Western genre is unquestionably one that is governed by the stereotypical cowboy and his masculinity. Although this genre rarely breaks away from this mould, Annie Proulx’s short story and Ang Lee’s film defy the set expectations of the western celebration of cowboy masculinity. Because of their amazing love story, Jack Twist and Ennis del Mar, the protagonists of “Brokeback Mountain,” became momentous cowboy figures throughout society. However many critics condemn Jack and Ennis for not being “real cowboys” because of their defiance of societal norms and perceived lack of masculinity.
The cowboy image has become integrated into almost every aspect of America...
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...of a bar with someone in a car. Unable to keep his ground, Ennis was furiously beaten and pumped to the ground. These basic deficiencies in skill contributes to the fact that Jack and Ennis differ immensely from the stereotypical cowboy.
In society the cowboy is viewed as a heroic figure. Lacking very few flaws, the cowboy is known for his courage, his romanticism, his hard work, and his overall labor, making him a symbol of masculinity. These features are continuously portrayed by Llewellyn Moss from the movie No Country for Old Men. Unlike Moss, Jack and Ennis from Annie Proulx and Ang Lee’s “Brokeback Mountain” defy the norms of the stereotypical cowboy through the lack of both physical and mental features. It is because of these features Jack and Ennis turn away from masculinity because of their love for each other, which in turn does not make them real cowboys.
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
When comparing the characters we meet in The Oxbow Incident with Erik Baard's list on attributes a cowboy should possess, we find out that there are quite a few discrepancies. The novel as a whole is the story of a group of men who decided to form a lynch mob and go after a group of men who are responsible for murdering a townsman and for apparently stealing cattle from Drew's ranch. The lynch mob sets and tries to track the rebels who are responsible, they come across three men who they have decided are the trouble makers and all in all they decide to hang them men. At the end of the novel we find out that these three men were not the rebels, in fact they were wrongly accused by the mob, and now the mob were murdered because they did kill them wrongfully. The story is full of contradictions on what a cowboy should be, when it is being compared to Baard's list. In Baard's article he had a quote from Bonnie Wheeler who stated, "The idea of the American cowboy is the direct lineal descendant of the chivalric knight." While we could argue that the mob traveling out to find the rebels was brave, it did not make up for them acting as if they were the final law and judgment instead.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
In the novel All the Pretty Horses by Cormac McCarthy, the author shows how important the roles of the horses are in the story and how they relate to John Grady, the protagonist of the novel. The horse has played an important role in the development of America. It has been a form of transportation, easy muscle, and companionship. In the Wild West, it was an essential resource for a cowboy to do his daily chores. McCarthy describes horses as spiritual and as resembling the human soul; meaning that horses came in many different forms. Horses are pretty, ugly, wild, tame, etc. in the story, they have so many different descriptions and different types of personality that they appear to resemble humans. In the story, John Grady is able to communicate with horses beyond a level normal people could. He could look into a horse's eyes and be able to see into its heart; because of this distinct relationship Grady is able to compare the world of horses to the world of humans. Throughout the novel, he learns that what he thinks of men and about his romantic idea of living in the world is completely false and wrong. Therefore, McCarthy's title shows that life can be full of change; and, at times, it can be cruel and ironic. Because of this, McCarthy's title shows how much a perspective can change when a man goes on an adventure and experiences things he did not experience before. Meaning that, McCarthy wanted readers to think before they read the book that life is pretty and easy, but after they read the book he wants the readers to know that life is not always how it seems.
At the same time, the author makes clear the harsh realities and disappointments of John Grady’s chosen way of life. When John Grady leaves Texas at the age of 16, he seems to have a plan. He wants to become a cowboy and have a close relationship with nature. John Grady’s character is hopelessly romantic; he takes action without caring about repercussions. In All the Pretty Horses, John Grady falls in love with people or things that are unable to love him back at the same level.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
In reading “All the pretty horses” by Cormac McCarthy, we are introduced to the protagonist John Grady Cole. At the beginning of the story, John Grady is attending his grandfathers funeral in the ranch that he now shares with his mother. John Grady Cole, grew up in world where being a cowboy meant freedom and a ever growing relationship with the one thing he cared about more than anything… horses. The story seems to unravel in the early 1950s when the old west began to evolve to the new ways of the west and the definition of what made a man a cowboy increasingly blurred. As the story evolves, it becomes evident that the selling of his grandfather’s ranch leaves Grady feeling adrift and incomplete. Henceforth, he deicides to set foot on his own and find a new place to call his home. We see that the loss of his grandfathers ranch and the passing of the old west he knew, serves as a reflection of how John Grady’s character attempts to maintain this cowboy lifestyle that he witnessed growing up . John Grady Cole’s character tough young, serves as a hero in his journey of becoming a man. Combined with his passion and idealistic mentality, his love for horses and the open plains of Texas/Mexico sets him off into new adventures. Realizing that each scenario encountered paves the way towards a journey of harsh reality, this story serves as one of growth and the passionate search of the old cowboy life. Grady sets out on a journey to Mexico with his comrade Rawlins riding off into the sun with hopes of finding a new home; they rode in hopes of regaining their sense of beloning.
The cowboy hero, The Virginian, as portrayed in Owen Wister’s novel was the first of his kind and today is known as the stereotypical mythic cowboy figure which our view of the western frontier are based from. The Virginian was the first full length western novel apart from the short dime novels which marked the final stage in the evolution of the cowboy hero to a national icon. The Virginian was published in 1902 and at that time was wildly popular because of the settlement of the west. The story of the cowboy who had the skill and courage to take control of the untamed frontier enthralled people. The cowboy hero had a few distinguished qualities, he was a self-appointed vigilante, he had a very strict moral code, he had exceptional perception skills and he had the ability to adapt. Owen Wister’s The Virginian was the first to portray these qualities and really created a deeper cowboy character.
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
Over the years America’s ability to address taboo issues by channeling them through popular culture has become increasingly popular (Pruitt, 2007). Among the many taboo issues as evidenced by the number of mainstream films which minimally address the matter, is the issue of men living on the down low (Hamilton, 2009). An example of such is the 2011 film “For Colored Girls.” The film like many bring up the issue of men being on the down low, but they have neglected to go in-depth as to why men chose this lifestyle – rather than the age old notion that they fear social rejection (Pruitt, 2007). As it relates to the drama “Angels in America,” written by Tony Kushner, the work does a great job highlighting men who have secret lifestyles and two of the characters within the drama that exemplify characteristics of living on the down low – Joe Pitt and Ray Cohn (Kushner, 1993)
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
Contrary to the story’s focus on horses, the movie focuses on the romance between John Grady and Alejandra as its poster has the couple with a greater presence compared to the miniscule graphic of horses shoved on the bottom; whereas the book’s cover is graced with the image of a horse and only of that horse. Of all the events that were absent from the movie, the romance scenes are the most kept intact as well as an odd addition of an onlooker dancing when John Grady finishes talking with Alejandra on the phone after being bailed out of jail. In fact, it feels like horses are more of an afterthought in this adaptation because John Grady does not put any emphasis on them as he does in the novel. While in jail, John Grady had a dream about horses, “… in the dream he was among the horses running and in the dream he himself could run with the horses …” (McCarthy 161) In the fashion of flickering images for a subliminal message, brief, flashing visions of Alejandra are injected into this dream when there were none. Romance is pushed as the main focus of the story, but it fails to make the couple fulfilling since the dynamic between John Grady and Alejandra is not developed well enough to make it