Brokeback - Understanding Propaganda
Dr.
R. Winfield | Feb 1 2006
The most effective propaganda comes in under the
radar, it's innocuous and appeals to our humanity and emotions. Having
studied propaganda and its effects on societies for over 50 years, I
can state unequivocally that the film Brokeback Mountain is one of the
most blatant propaganda pieces of recent times.
In a society that is purposely and effectively dumbed down, the rarest
and most valuable of commodities is discernment. Increasingly crucial,
discernment is an attribute of astute acumen, and vital as your enemy
uses crafty subtlety. As a people, we have lost discernment. Logic,
rational and intellectual discourse, are shunned from the public square.
Feelings, emotional sentiment and compassion are no longer tempered
with intelligent reason. Now truth is sacrificed on the altar of "tolerance.
To even talk rationally about a film like this will endanger one of
causing immediate knee-jerk reactions with slogans; "homophobe,
bigot, narrow minded, etc. And God forbid you dare to insinuate that
there is an agenda behind such obvious propaganda, or you will surely
hear the two words designed to end all discussion or consideration of
facts.; "Conspiracy Theory.
Agendas and purposes behind what we are seeing, shall be dealt with,
but first, the film.
Yes, I saw Brokeback Mountain, and no I didn't spend any money to support
it. An actress friend lent me her "academy consideration DVD (a
crime that in many cases now carries a stiffer penalty than murder).
First and foremost, I,ve yet to hear anyone mention how boring this
film is. It's tediously long and in most parts just plain dull. But
let's look at some of the propaganda aspects, shall we?
Indeed nature is beautiful, and its grandeur is depicted with majesty
and uplifting music, great sweeping vistas instill a sense of awe and
splendor. It is of course in this setting that the "homosexual
romance blossoms. But even more significant, this is where the men discuss
the deeper things of life, theology, meaning, etc.
Contrast this with the scenes of marriage. Every time marriage is depicted
in the film, it is shot in a tiny dark squalid hovel, with screaming
children and absolute pandemonium. The house is a mess, the wife never
communicates on any kind of meaningful level. Wives in fact, are portrayed
as a constant annoyance, and more irritating than understanding. But
children receive the worst treatment in this slanted rant against family.
They are usually crying, often two at a time, or smashing things, the
general feeling the film presents, is that these joyless hellions are
an intrusion into life, an encumbrance and a terrible burden.
Making sure it drums in its message in no uncertain terms, the film
keeps switching back and forth between the two contrasts. The great
outdoors, wild and free, close to nature, close to God, close to hot
gay sex without any negative consequences. Back inside the dark little
messy box of marriage, with horrible in-laws, demon spawn children,
berating nagging wives, endless pressures and even the loveless, passionless
sex has hanging over it the dread of producing more parasitic offspring.
Special note must be taken of music and lighting, how they are carefully
manipulated to accentuate these contrasts in the manner outlined here,
bringing a much deeper impact of the propaganda message. Marvelous tools,
music and light illicit emotional responses, and penetrate the subject
to effect his core values. The use of props in the juxtaposition of
images adds power to the medium. There is a scene where the Heath Ledger
character is saddled with his wife and children, struggling among the
crowds to watch the fireworks. The opening shot depicts husband and
wife, each with a child in one arm, and great square bags full of baby
necessities in the other hand. The construction of this frame is identical
to the earlier shots of the pack mules heavily laden with similar square
heavy supplies. Marriage has turned him into a beast of burden, a theme
reinforced throughout.
Another common theme these days, is of course portrayed in the film;
that of "religious intolerance. Remember, the wilderness loving
gay fellas are close to God, out in the high places, whereas the church
folk are depicted as spouting "hellfire and brimstone. The film
also shows two horrific murders, and the connection is not lost, it
is precisely this type of religious thought that contributes to this
sort of bloody violence. The implication is, and this is the very strength
of propaganda, if you are in anyway opposed to two men "loving
each other, then you must be for brutally murdering them. Do you see
the way these things are subtly implied? Just like, if you are not for
abortion, then ipso-facto you must be for the murdering of doctors who
perform them. This is one the objects of propaganda, reduction of critical
argument down into well drummed slogans, therefore removal of discourse,
then total polarization of advocates and detractors into radical extremes.
Of course this fits perfectly with the method of those purveying propaganda,
as they have chosen Hegelian dialecticalism to divide and conquer you
and I.
Earlier I mentioned that the homosexual sex was portrayed as without
negative consequences, some may take objection to this. You might say,
what about the violent deaths, how can you say without consequences?
Think about the film again, the violence is presented not as a result
of the sex, but rather the result of a backwards people, mindless ignorant
hicks, who's judgmental religious intolerance killed those beautiful
martyrs. See how they work it?
The film preaches quite a lot about sex, man's "need for it is
apparently only surpassed by his need to breath oxygen. The lies they
told about fishing demonstrate that gay sex was even more important
than food. Of course the Jake Gyllenhaal character when deprived of
this vital necessity has no other choice than to leave his wife and
child and search out Mexican male prostitutes. When even this leaves
him unable to find enough "manlove he is forced to lower his standard
and carry on an adulterous relationship with some woman he has no feelings
for, all perfectly justifiable because the evil society is hindering
the two gays total access.
So what about the "love, is this really a film about love? Having
spoken to a lot of women about this film, I can tell you, they think
it is. "Oh, it's a true love story. they pine. A married woman
told me, "Because it's about two men it's much more interesting,
a man and a woman would be banal. What's going on? When a woman tells
me it's about "true love, I ask her how she knows that? They don't
have much to say beyond what the film presents. When informed of the
statistics that the majority of male homosexuals are the single most
promiscuous segment of the world's population, having more anonymous
sexual partners per year than any other group, these women shut down.
"Oh I,m not interested in the real gay sex, I just like the love
story, one told me. Oh, so you,re Truthophobic, I said. You see, the
facts, statistics, recorded data on a subject are not important, in
fact they are rather a stark reminder of something we,d prefer to ignore.
Truth is something we want to completely tune out with our escapism,
hence fantasy is more to be desired than the mundane existence of reality.
The promotion of gay men to women has seen a real upswing in the past
10 years or so. Every sitcom has a funny gay character, and of course
he's the funniest, least inhibited and most able to communicate with
women. Queer Eye For The Straight Guy tells women that gay men are superior
to the knuckle dragging neanderthal you have at home. When the Queer
Eye fab five went on Oprah, "normal housewives screamed and swooned
like schoolgirls cheering rockstars. But the agenda goes deeper, the
plan is to get women interested in gay porn as an addictive and isolating
tool of division. Sex In The City, shows women sitting together giggling
while watching gay porn. The biggest thrust in this wave is coming out
of Japan and targeting your preteen daughters. It's called Yaoi.
Yaoi is a massive multi-million dollar subculture providing young girls
with comic books and animated films depicting gay romantic love between
handsome boys, culminating in explicit hard core homosexual pornography.
The tide of this material represents a generation of girls whose misdirected
sexuality is being warped in an unnatural direction. Traveling extensively,
I warn you this epidemic is rampant throughout Europe, Russia, Asia,
and now making heavy inroads into the Americas. Parents have no idea
what their young girls have tucked under their mattresses, or hidden
in closets and computers. Scores of websites are devoted to young girls
fiction describing their fantasies of young men in popular music, tv,
film, etc, all engaged in romantic "love and gay sex.
Teen girls rapidly become obsessed with Yaoi and find it an entry drug
to other shows like Queer As Folk, and gay hardcore. Many discuss openly
their confusion about sex, not wanting a husband or baby, or angst ridden
with their own experimentation towards bisexuality and lesbianism. Of
course, they,re all buzzing about Brokeback.
None are buzzing more than the critics who are falling over themselves
in trying to outdo one another in kissing this film's ass. Sad but so
predictable, as homoeroticism has been chosen as this year's politically
correct cause for film awards. Just like the year it was blacks and
everything black won everything great. Never mind that Oscar winner
Halley Barry is said to have a black and white parent, meaning she's
as much white as she is black. You see, in the brave new world of propaganda
soaked society, truth is no longer black and white. It's all gray now,
everything is blurred. Or as the popular group Blur sings ...
"Girls who are boys
Who like boys to be girls
Who do boys like they're girls
Who do girls like they're boys
Always should be someone you really love
Confused yet?
Good, that's what they want.
Dr. R. Winfield may be reached at
drrwinfield@mail.com
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