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United States District Court for the District of Columbia
Case 1:07-cv-00098-RMU Document 52 Filed 11/15/07 Page 1 of 10 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA JANICE SCOTT-BLANTON, : : Plaintiff, : Civil Action No.: 07-0098 (RMU) : v. : Document Nos.: 30, 32 : UNIVERSAL CITY STUDIOS : PRODUCTIONS LLLP et al., : : Defendants. : MEMORANDUM OPINION DENYING THE PLAINTIFF’S MOTION TO PERMIT DISCOVERY PURSUANT TO RULE 56(F) I. INTRODUCTION The plaintiff, Janice Scott-Blanton, proceeding pro se, alleges that her novel, My Husband Is On The Down Low and I Know About It (“Down Low”), is the creative source for the award-winning film Brokeback Mountain. She requests that the court permit discovery pursuant to Federal Rule of Civil Procedure 56(f), because it would be premature for the court to decide the defendants’ outstanding motion for summary judgment without a period of discovery. While the plaintiff identifies specific facts she seeks to recover in discovery that would defeat the defendants’ summary judgment motion, she fails to show a reasonable basis to suggest that discovery would create a triable issue of fact. As a result, the court denies the plaintiff’s motion to permit discovery. Case 1:07-cv-00098-RMU Document 52 Filed 11/15/07 Page 2 of 10 II. BACKGROUND A. Factual History Annie Proulx (“Proulx”) wrote the short story Brokeback Mountain in 1997, which The New Yorker published and registered for copyright protection in October of that year. Am. Compl. ¶ 38; Decl. of Marc E. Mayer (“Mayer”) (D.D.C. Mar. 7, 2007) (“Mayer Decl.”), Ex. A. Shortly thereafter, Proulx agreed to allow two screenwriters, Diana Ossana and Larry McMurtry, to adapt the story into a screenplay. -
The Color Purple: Shug Avery and Bisexuality
Reading Bisexually Acknowledging a Bisexual Perspective in Giovanni’s Room, The Color Purple, and Brokeback Mountain Maiken Solli A Thesis Presented to The Department of Literature, Area Studies and European Languages in partial Fulfillment of the Requirements for the Master’s Degree UNIVERSITY OF OSLO Spring Term 2012 II Reading Bisexually: Acknowledging a Bisexual Perspective in Giovanni’s Room, The Color Purple, and Brokeback Mountain By Maiken Solli A Thesis Presented to The Department of Literature, Area Studies and European Languages in partial Fulfillment of the Requirements for the Master’s Degree Supervisor: Rebecca Scherr UNIVERSITY OF OSLO Spring Term 2012 III IV © Maiken Solli 2012 Reading Bisexually: The Importance and Significance of Acknowledging a Bisexual Perspective in Fictional Literature Maiken Solli Supervisor: Rebecca Scherr http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo V Abstract In literary theory, literary criticism and in the Western literary canon there is evidence of an exclusion or erasure of a bisexual perspective, and this has also been the case within much of the written history of sexuality and theory, relating to gender, sexuality and identity. This thesis examines and analyses three literary classics; ‘Giovanni’s Room’ by James Baldwin, Alice Walker’s ‘The Color Purple,’ and ‘Brokeback Mountain’ by Annie Proulx, from a bisexual perspective. I have sought out to reveal, emphasize, and analyze bisexual elements present in the respective texts from a bisexual literary standpoint. This aspect of the texts has been ignored by most critics, and I believe it is paramount to begin to acknowledge the importance and significance of reading bisexually. -
Brokeback Mountain,” Salon, Dec
Stephanie Zacharek, “Brokeback Mountain,” Salon, Dec. 9, 2005 http://entertainment.salon.com/2005/12/09/brokeback_2/ The premise of Ang Lee’s “Brokeback Mountain,” based on an Annie Proulx short story, is something we’ve never seen before in a mainstream picture: In 1963 two young cowboys meet on the job and, amid a great deal of confusion and denial, as well as many fervent declarations of their immutable heterosexuality, fall in love. Their names — straight out of a boy’s adventure book of the 1930s, or maybe just the result of a long think on the front porch at some writers’ colony — are Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger). The attraction between Jack and Ennis is at first timid and muted, the sort of thing that might have amounted to nothing more than a vague, sleep-swollen fantasy. But when they finally give in to that attraction, in a cramped tent out in rural Wyoming — the sheep they’re supposed to be guarding are far off on a hillside, most likely being circled by lip-smacking coyotes — the very sound of their urgent unbuckling and unzipping is like a ghost whistling across the plains, foretelling doom and pleasure and everything in between. This early section of “Brokeback Mountain,” in which the men’s minimal verbal communication transmutes into a very intimate sort of carnal chemistry, is the most affecting and believable part of the movie, partly because young love is almost always touching, and partly because for these cowboys — living in a very conventional corner of the world, in a very conventional time — the stakes are particularly high. -
Arbiter, March 2 Students of Boise State University
Boise State University ScholarWorks Student Newspapers (UP 4.15) University Documents 3-2-2006 Arbiter, March 2 Students of Boise State University Although this file was scanned from the highest-quality microfilm held by Boise State University, it reveals the limitations of the source microfilm. It is possible to perform a text search of much of this material; however, there are sections where the source microfilm was too faint or unreadable to allow for text scanning. For assistance with this collection of student newspapers, please contact Special Collections and Archives at [email protected]. TH U~SDAY MA~CH 2 2006 THE INDEPENDENT STUDENT VOICE OF BOISE STATE SINCE 1933 VOl.UME18 FI~ST ISSUE F.~EE ISSUE 45 , i Ie. r. ) \ " • ~~<~ ~~ • •••• , •• ' v· the p.6 Voting begins Wednesday for '06- '07 ,ASBSU election ..... BY TESSA SCHWEIGERT WednesdayandThursday. They are JeffreyDart for the Collegeof Union Building. turnout. Assistant News Editor If students need further assistancein AppliedTechnologySenateposition,which About 10percent of BSUstudentsvoted Sinceonline voting beganin 2004,Grow the voting process,help is availableat the isvacantontheballot,andTiffanyRiveraasa in last spring's election. According to last said they have seena gradual increasein All registered students will be able to ASBSUofficesfrom 8 a.m.to 5p.m. graduatestudentSenator. year'sElectionBoardChairman JimWolfe, studentvoting participatiun. cast their votes for the future Associated Three candidate pairs are seeking the At-Large Senatecandidate David Baltz averagevoterturnout atuniversitiesaround "There are so many-benefits [of online Studentsof BoiseStateUniversity leaders presidentand vice presidentpositions and withdrew his name from the ballot on the nation isonly 2 to 4 percent. voting]," Grow said. -
You Know I Ain't Queer … Queering Mediation And
You Know I Ain’t Queer … Queering Mediation and Sexuality in Midnight Cowboy and Brokeback Mountain Isabell B. Johansen Master’s thesis, Media Studies Spring 2009 Department of Media and Communication, University of Oslo 2 “It’s been more than 35 years when people would watch Midnight Cowboy and say ‘What the hell was that all about?’ Well, now we have fully accepted this new genre of cinema: gay westerns!” - Jon Stewart, The 78th Annual Academy Awards (Horvitz, 2006:3). 3 4 ABSTRACT ENGLISH Gay western – why does that sound like a paradox? This is a question that colours this thesis. It is easy enough: Homosexual men are feminine on film and the western is the ultimate masculine cinematic expression. These are established conventions and they colour our expectations. I have studied how Midnight Cowboy (1969) and Brokeback Mountain (2005) mediate the sexuality of the protagonists, and how these representations relate to traditions of Hollywood film. This study of mediation of queer sexualities in American mainstream film is situated within a queer theoretical framework, providing a critical/inquisitive perspective to norms of mediation. Gender and sexuality are mediated through characters, but they are also expressed through other cinematic aspects like setting, soundtrack or genre. In both of the movies western genre elements enhances and underlines the masculinity of the protagonists. Since masculine men in movies are expected to be heterosexual, the sex and the intimate relationships between men become a surprise—both within the diegesis (film universe) and in a film historical context. Sex between men rarely takes place at all in American mainstream movies. -
Amy Brancolli, “'Brokeback Mountain': a Tragedy
Amy Brancolli, “‘Brokeback Mountain’: A Tragedy of Love, Lies, Silence,” Houston Chronicle, Dec. 16, 2005. (4 stars) http://www.chron.com/entertainment/movies/article/Brokeback-Mountain-1510394.php Yes, it's a gay cowboy movie. But lazy designations will go only so far with Brokeback Mountain, a film about love and the cost of lying that's exquisite in its beauty, painful in its truths. Directed by Ang Lee (back from The Hulk) and based on a story by E. Annie Proulx, Brokeback Mountain begins in 1963 and ends around 20 years later, at the heart-sore conclusion of an off-and-on affair. Except it's never off and rarely on — and even when it's over, it isn't. For the tragedy that colors this broad Western canvas is a tragedy of inaction as much as action, of fear as much as love. It's the tragedy of silence. In the world of Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger), two men can't keep house together. They first meet while tending sheep for a rancher (a gruff, steady Randy Quaid) in Wyoming. Ennis stays at base camp on Brokeback Mountain, in charge of supplies and meals. Jack sleeps with the herd to keep predators at bay. It's just the two of them, shell-mouthed Ennis and voluble Jack, and for a while Lee's movie has the homespun, companionable feel that comes from roasting hotdogs by the fire. When a single frigid night turns friends into lovers, these mountain scenes become something more — a refuge, or an island of denial. -
Brokeback Mountain from Close Range: Wyoming Stories by Annie Proulx
Brokeback Mountain from Close Range: Wyoming Stories by Annie Proulx Ennis Del Mar wakes before five, wind rocking the trailer, hissing in around the aluminum door and window frames. The shirts hanging on a nail shudder slightly in the draft. He gets up, scratching the grey wedge of belly and pubic hair, shuffles to the gas burner, pours leftover coffee in a chipped enamel pan; the flame swathes it in blue. He turns on the tap and urinates in the sink, pulls on his shirt and jeans, his worn boots, stamping the heels against the floor to get them full on. The wind booms down the curved length of the trailer and under its roaring passage he can hear the scratching of fine gravel and sand. It could be bad on the highway with the horse trailer. He has to be packed and away from the place that morning. Again the ranch is on the market and they’ve shipped out the last of the horses, paid everybody off the day before, the owner saying, “Give em to the real estate shark, I’m out a here,” dropping the keys in Ennis’s hand. He might have to stay with his married daughter until he picks up another job, yet he is suffused with a sense of pleasure because Jack Twist was in his dream. The stale coffee is boiling up but he catches it before it goes over the side, pours it into a stained cup and blows on the black liquid, lets a panel of the dream slide forward. -
Male Homossexual Identity in Proulx's Brokeback Mountain
Available online at http://www.journalijdr.com International Journal of Development Research ISSN: 2230-9926 Vol. 11, Issue, 06, pp. 47512-47519, June, 2021 https://doi.org/10.37118/ijdr.22092.06.2021 RESEARCH ARTICLE OPEN ACCESS MALE HOMOSSEXUAL IDENTITY IN PROULX’S BROKEBACK MOUNTAIN: BEYOND MASCULINITY AND HETERONORMATIVITY *José Raymundo F. Lins Jr. Universidade Estadual Vale do Acaraú, Brazil ARTICLE INFO ABSTRACT Article History: Sexuality involves all human actions, which means to understand such concept differently from Received 18th March, 2021 those offered by biology and anthropology. Annie Proulx’s short story, Brokeback Mountain was Received in revised form an icon of male homosexual identity even before its film’s adaptation. As language constitutes 19th April, 2021 reality, the representation of what we are is evoked through our discourses. The dialogue Accepted 26th May, 2021 th between psychoanalysis and linguistics constitute the methodology of this study. The results show Published online 20 June, 2021 that specific lexicalgrammatical choices (within the meaning potencial oferred by the language) Key Words: establish representations that either maintain some culturally constituted structures (in this case, the construals of masculinity and feminility and their relation to active/passive attitudes in a Sexuality. Discourse analysis. homoaffective relationship) or destabilize such structures.Thus, Ennis del Mar’s and Jack Twist’s Systemic-funcitional grammar. male homosexual identity is constructed through a polysemic discourse, which, based on the *Corresponding author: analysis of Process types, Participants and Circunstances, can break up with the dichotomic role José Raymundo F. Lins Jr. active-passive in homoaffective relationships. Copyright © 2021, José Raymundo F. -
Peter Travers, "Brokeback Mountain," Rolling Stone
Peter Travers, “Brokeback Mountain,” Rolling Stone, December 2, 2009 http://www.rollingstone.com/movies/reviews/brokeback-mountain-20091202 Ang Lee's unmissable and unforgettable Brokeback Mountain hits you like a shot in the heart. It's a landmark film and a triumph for Heath Ledger and Jake Gyllenhaal, who bring deep reserves of feeling to this defiantly erotic love story about two Wyoming ranch hands and the external and internal forces that drive them from desire to denial. Directed with piercing intelligence and delicacy by Lee, the film of Annie Proulx's 1997 short story — the unerring script by Larry McMurtry and Diana Ossana is a model of literary adaptation — wears its emotions on its sleeve. That leaves the film vulnerable. The media keep tagging it as the gay cowboy movie, the queer Gone With the Wind, the Western that puts the poke in cowpoke. Coupled with the rise of homophobia as church and state shout down gay marriage, the film is up against it. Do me a favor: See the movie first and make your judgments later. It's an eye-opener. The story begins in 1963, when ranch boss Joe Aguirre (Randy Quaid) hires Jack Twist (Gyllenhaal) and Ennis Del Mar (Ledger) to herd sheep up on Wyoming's Brokeback Mountain. Ennis is quiet, but whiskey and Jack's talk about his rodeo riding loosens Ennis' tongue and his inhibitions. One cold night they share a bedroll. Jack gives the impression of experience. For Ennis, this is nothing he'd done before, but no instructional manual is needed. -
The Hidden Truth of Jack Twist's Characterization In
THE HIDDEN TRUTH OF JACK TWIST’S CHARACTERIZATION IN BROKEBACK MOUNTAIN MOVIE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: DONI DAMARA 13150006 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2017 i ii iii iv THE HIDDEN TRUTH OF JACK TWIST’S CHARACTERIZATION IN BROKEBACK MOUNTAIN MOVIE By: Doni Damara ABSTRACT Brokeback Mountain movie is one of homosexual movies. The story of this movie is complicated; where the main characters in the movie are homosexuals however they have a wife and children. This research focuses on sex, gender, and sexual orientation or desires, which these are, involved in a character in this movie. This movie is interesting to be analyzed because it tells about Jack Twist’s characterization. Jack Twist has two personalities to hide his real identity. In one side, he pretends to be a heterosexual man and plays a role as a straight male. In the other side, he plays a role as a female in the relationship with his boyfriend. The aim of Jack’s negotiation as a gay is to reject the discrimination from outside. It is because homosexual is a minority while heterosexual is majority among communities in the world. This is also the reason why the researcher focuses on homosexuality. The researcher wants to analyze how a homosexual person can live in a society, where he can hide his desire and his relationship with another man. This research uses queer theory of Michael Foucault, discourse theory of James Paul Gee, and film theory of Ami Villarejo to achieve the result of this problem, where Jack Twist successes to negotiate his real identity. -
Queering Lex Populi William P
Law Text Culture Volume 19 Troubling Waters: Speaking (of) Forbidden Article 10 (Legal) Subjects 2015 Brokeback’s Bareback: Queering Lex Populi William P. MacNeil Griffith University Follow this and additional works at: http://ro.uow.edu.au/ltc Recommended Citation MacNeil, William P., Brokeback’s Bareback: Queering Lex Populi, Law Text Culture, 19, 2015, 194-230. Available at:http://ro.uow.edu.au/ltc/vol19/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Brokeback’s Bareback: Queering Lex Populi Abstract One evening, almost a decade ago, at a smart dinner party held in Northcote, an inner suburb of Melbourne, the utterly fabulous and now, sadly, late Penny Pether turned to me after some discussion of the then recent American gay rights decision, the Supreme Court’s landmark Lawrence v Texas, and suggested, with her customary forthrightness that I should write about the case within the context of a film that both of us had only lately seen (her, on an aeroplane from America; me, at my local cinema in Brisbane), and which each of us, as we had discovered earlier in the conversation, had thoroughly enjoyed.1 The film was unique, having begun its cinematic life as a modest art house production made on what was, by Hollywood standards, a shoestring.2 By the time though that Penny and I spoke of the film, it had become a huge international blockbuster, winning a raft of prizes,3 garnering critical acclaim,4 and scoring staggering box office returns.5 That film was (and is), of course, Taiwanese Ang Lee’s masterful screen adaptation (2005; 2006)6 of Annie Proulx’s dazzling New Yorker short story, ‘Brokeback Mountain’ (1997; 2005). -
Queer Theory and Brokeback Mountain Discussion Questions Part I 1. How and When Did Sexology and Psychoanalysis Emerge to Explai
Queer Theory and Brokeback Mountain Discussion Questions Part I 1. How and when did sexology and psychoanalysis emerge to explain human sexuality? 2. What assumptions about human sexuality do sexology and psychoanalysis make? 3. How did the writings of Michel Foucault respond to the theories of psychoanalysis? 4. How did Foucault theorize the relation between language and gender/sexuality in institutions such as medicine and the law? 5. What are the distinctions between sex, sexuality and gender? 6. How does queer theory relate to feminism? 7. What did Eve Sedgwick mean by “homosociality” and how does it relate to homosexuality? 8. How does queer theory explain human sexuality in relation to practices such as marriage, reproduction, child-rearing, labor, and leisure? 9. What does Judith Butler mean when she describes human sexuality and gender as performative? 10. Why is cinema important for queer theory’s explanations of sexuality and gender? Part II 1. What aspects of the lives of Ennis del Mar and Jack Twist would queer theorists focus upon in order to make sense of the intimacy and sexual contact between them? 2. Why does the historical era in which Brokeback Mountain is set matter to its depictions of same-sex sexuality? 3. How would Michel Foucault’s ideas about biopolitics serve to explain the genders and sexualities we see at work in Brokeback Mountain? 4. What does Brokeback Mountain suggest about the lives of women in the historical period it depicts and how might feminism and queer theory explain these depictions? 5. How is the relation between Ennis del Mar and Jack Twist homosocial and homosexual? 6.