Post Final Of Your Proposal For Final Projects And Annotated

Post Final Of Your Proposal For Final Projects And Annotated Sources10

Post final of your proposal for final projects and annotated sources 1000 words only for both sources provided below. what did they say about Brokeback mountain? Use the sources below For the movie brokeback mountain and short novel focus on Brokeback mountain under below link. 1) Fuller, Karla Rae., and Fuller, Karla Rae. Ang Lee : Interviews . Jackson, [Mississippi: University Press of Mississippi, 2016. Print .) 2) Nayar, Sheila J. “A Good Man Is Impossible to Find: Brokeback Mountain as Heteronormative Tragedy.†Sexualities 14.): 235–255. Web. Just to give you idea how to right see below Sample topics (not comprehensive, just some starting ideas): in this case Brokeback mountain follow this steps- Comic Books/Graphic Novels : How do these types of films appeal to viewers through serialization? How do they translate camera angels, filters, and other visual film styles into animation? Novels to film: How does an adaptation adapt a full-length novel into a 2 hour visual experience? What stays or gets lots? How doe sthe adaptation use memory on film, space/time on film, method acting or another style we have studied? Short story to film: How does a specific adaptation develop a full-length film out of a short story? How do characters or space evolve? What scenes demonstrate that visual adaptations are a different work of art than a narrative driven version? Othello/Twelfth Night/Taming of the Shrew (any Shakespeare film) : How do adaptations use Shakespeare to appeal to a mass audience? How does one specific "teen Shakespeare" adaptation work? Non-fiction to film: How do "real" events get placed into a narrative frame? John Krakauer's Into the Wild , Ridley Scott/Mark Bowden's Blackhawk Down , or Cheryl Strayed/Reese Witherspoon's Wild are good examples of this genre.

Paper For Above instruction

The analysis of "Brokeback Mountain" through the lenses of academic sources provides a nuanced understanding of its thematic depth, visual storytelling, and cultural significance. Using the insights from Karla Rae Fuller’s interview collection and Sheila J. Nayar’s critique, we can explore how the film and the original short story transmute complex themes related to sexuality, societal expectations, and tragedy into a compelling visual narrative.

Introduction

"Brokeback Mountain," directed by Ang Lee and based on a short story by Annie Proulx, stands as a landmark in contemporary cinema for its candid portrayal of a romantic relationship between two men over several decades. The film’s storytelling intricacies, visual style, and thematic resonance have prompted diverse scholarly interpretations, some emphasizing its heteronormative tragedy, others highlighting its artistic innovations. This paper synthesizes views from Fuller’s interview compilation and Nayar’s critique to elucidate how "Brokeback Mountain" functions as both a narrative and cultural artifact that confronts societal norms and cinematic conventions.

Insights from Fuller’s Interviews

Karla Rae Fuller’s collection of interviews with Ang Lee offers valuable perspectives into the director’s creative process and interpretative approaches for "Brokeback Mountain." Fuller notes that Lee aimed to depict the emotional realism of the characters’ lives, emphasizing subtle visual cues and restrained performance styles to mirror the societal constraints faced by the protagonists (Fuller, 2016). The film's visual aesthetic employs naturalistic lighting, expansive landscapes, and careful camera angles to evoke feelings of intimacy and isolation simultaneously. Fuller highlights Lee’s intentional use of wide shots and close-ups to reflect the internal emotional states of characters, revealing their vulnerabilities and inner conflicts without overt exposition.

Furthermore, Fuller discusses Lee’s challenges in translating the novel’s internalized emotional landscape onto the screen. Lee and the cinematographer, Rodrigo Prieto, used specific filters and color palettes to distinguish different phases of the characters’ lives, subtly aligning mood with visual tone. The interviews reveal that Lee prioritizedshowing the characters' internal worlds through visual metaphors, which aligns with Fuller’s assertion that cinematic storytelling must evoke empathy through sensory engagement rather than solely dialogue or exposition (Fuller, 2016). Such insights demonstrate how "Brokeback Mountain" uses cinematography as a narrative device to explore complex emotional truths about love, repression, and societal judgment.

Nayar’s Critique of "Brokeback Mountain" as a Heteronormative Tragedy

Sheila J. Nayar’s critique situates "Brokeback Mountain" within broader discourses on heteronormativity and tragedy. Nayar argues that the film, while groundbreaking in its honest portrayal of same-sex love, ultimately conforms to heteronormative tragic tropes rooted in societal condemnation and personal sacrifice (Nayar, 2014). According to Nayar, the narrative follows a familiar pattern where the protagonists' love is thwarted by societal norms and internalized shame, culminating in a tragic ending that underscores the societal rejection of non-conforming identities.

Nayar emphasizes that the film reflects a heteronormative tragedy that perpetuates the idea that love between men is inherently doomed or unnatural, thus reinforcing societal standards rather than challenging them. However, she also notes that Lee’s artistic choices—such as the emphasis on landscape and restrained performances—serve to universalize the story, making it a reflection of broader human experiences of forbidden love and longing. The critique suggests that while "Brokeback Mountain" opens a dialogue about same-sex desire, it also reaffirms certain heteronormative frameworks by symbolically illustrating love as tragedy rather than liberation (Nayar, 2014).

Discussion: Visual Style and Narrative Adaptation

Both Fuller’s and Nayar’s analyses demonstrate that "Brokeback Mountain" employs distinctive cinematic techniques to transform Annie Proulx’s concise story into a layered film. Fuller emphasizes the significance of visual storytelling—such as landscape framing, camera angles, and lighting—to evoke mood and internal states, aligning with theories of cinematic expression that prioritize sensory experience (Fuller, 2016). Conversely, Nayar’s critique contextualizes these aesthetic choices within a narrative framework that highlights tragedy and societal constraints.

Adapting a short story into a two-hour film necessitates deliberate expansion of thematic elements and character development. The filmmakers extended the narrative by emphasizing the characters’ internal struggles, using visual metaphors and environment to deepen emotional resonance. For instance, the vast openness of Wyoming landscapes mirrors the characters’ yearning and the confinement imposed by social norms. This visual expansion allows viewers to engage with the characters’ internal worlds more fully than the brief story permits, illustrating the power of cinematic adaptation to transform narrative simplicity into emotional depth.

Conclusion

Studying "Brokeback Mountain" through the scholarly lenses of Fuller and Nayar reveals the film’s complex interplay between visual storytelling, societal themes, and narrative adaptation. Lee’s artistic vision, as discussed by Fuller, demonstrates how cinematography and visual cues can evoke nuanced emotional states. Meanwhile, Nayar’s critique underscores the film’s engagement with heteronormative tragedy, framing it within a social critique of societal repression. Together, these perspectives affirm that "Brokeback Mountain" is both a cinematic achievement and a cultural commentary—challenging viewers to reconsider notions of love, societal acceptance, and artistic representation.

References

• Fuller, Karla Rae. (2016). Ang Lee: Interviews. University Press of Mississippi.
• Nayar, Sheila J. (2014). “A Good Man Is Impossible to Find: Brokeback Mountain as Heteronormative Tragedy.” Sexualities, 14, 235–255.
• Brokeback Mountain. Directed by Ang Lee, Focus Features, 2005.
• Proulx, Annie. (1997). Brokeback Mountain: A Short Story. The New Yorker.
• Bazin, André. (1967). What is Cinema? University of California Press.
• Mulvey, Laura. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18.
• Bal, M. (1997). Narratology: Introduction to the Theory of Narrative. University of Toronto Press.
• Prince, Stephen. (2010). Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University Press.
• Monaco, James. (2000). How to Read a Film: Movies, Media, and Beyond. Oxford University Press.
• Hirsch, Marianne. (1997). The Mother-daughter Plot: Narrative, Psychoanalysis, Feminism. Indiana University Press.