Interaction of Food with Power and Masculinity Within "Pariah" and "Brokeback Mountain"

Scenes involving food and male characters in Dee Rees’ Pariah (2011) and Ang Lee’s Brokeback Mountain (2005) serve to illustrate the complex dynamics of power and masculinity. Through cinematic techniques, the types of food depicted, and the roles of those preparing the meals, these films engage audiences in a deeper understanding of how masculine ideals manifest in relation to food. Notable scenes, such as Arthur’s post-work dinner amid family tensions in Pariah and Jack Twist’s competition with Lureen Newsome’s father, L.D. Newsome, over Thanksgiving dinner in Brokeback Mountain, highlight these themes effectively.

The Power Dynamics of Food in Pariah

In Pariah, the relationship between Arthur (Charles Parnell) and Audrey (Kim Wayans) is reinforced through food, illustrating the underlying power imbalance shaped by gender norms. This dynamic becomes evident early in the film during a brief argument between Audrey and their daughter Alike (Adepero Oduye) about appropriate church attire. Although the scene is short, it serves as a critical lens into Arthur and Audrey's troubled marriage. The composition of the scene emphasizes Arthur's dominance: when he enters, he is initially out of focus, but as Audrey and Alike rush toward him, he is placed centrally in the frame, commanding the viewer's attention. In contrast, Alike and Audrey are positioned to the sides, visually supporting the notion of Arthur’s authority.

As the scene unfolds, Arthur is portrayed as the focal point. While eating, Audrey stands off to his side, her body language passive and submissive, further reinforcing his central role in the family hierarchy. The power dynamic becomes increasingly clear as Audrey prepares Arthur’s meal—a plate of spaghetti—which symbolizes her adherence to traditional gender roles. The act of serving Arthur not only affirms his authority but also reflects societal expectations of married life, where women are often expected to cater to their husbands.

Competing Masculinities in Brokeback Mountain

In contrast, Brokeback Mountain presents a different struggle for power through the Thanksgiving dinner scene, where Jack Twist (Jake Gyllenhaal) contends with L.D. Newsome (Graham Beckel). Unlike Arthur, Jack does not initially wield power; instead, he grapples with his desire to assert his masculinity in the face of L.D.'s dominance. The scene begins with both men at eye level, but as L.D. takes control of the turkey carving, Jack is seated and appears submissive. This visual metaphor of height disparity underscores the power shift, with L.D. embodying the traditional patriarchal role.

Jack's attempt to reclaim his authority occurs when he stands up to turn off the television, briefly leveling the playing field. However, L.D. quickly reestablishes his dominance, illustrating the ongoing struggle for masculine power between the two men. Their conflict over the turkey—symbolic of patriarchal provision—serves as a backdrop for a deeper commentary on masculinity and power dynamics within familial structures.

Food as a Symbol of Masculinity

The types of food consumed and the manner in which they are presented play significant roles in reinforcing masculine identities in both films. In Pariah, Arthur's meal of spaghetti, likely leftover, indicates his status as a man not responsible for his sustenance, as Audrey dutifully prepares his meals. This act of cooking, while not inherently demeaning, places Arthur in a position of power where he is seen as the recipient of care rather than a participant in domestic responsibilities. The choice to eat the meal cold further emphasizes his rugged masculinity; he views food as merely functional rather than comforting, adhering to traditional masculine stereotypes.

Conversely, in Brokeback Mountain, the Thanksgiving turkey embodies Jack's struggle for masculine validation. The act of carving the turkey is laden with cultural significance, traditionally associated with patriarchal authority. The turkey's prominence in the scene signifies Jack's desire to assert himself as a provider, despite his initial lack of power. L.D.'s dominance over the carving process symbolizes a deeper commentary on the expectations placed on men within familial structures.

Gender Norms and Food Preparation

Another layer of analysis arises from who prepares the meals in both films. In Pariah, Audrey’s role as the cook is indicative of her compliance with gender norms, reinforcing Arthur’s position of power. Despite her efforts to care for him through food, Arthur's rejection of her meals by bringing home takeout challenges the traditional dynamics of their marriage. His actions suggest a desire for autonomy, undermining the power Audrey attempts to wield through her domestic contributions.

In Brokeback Mountain, Lureen's role as the preparer of the Thanksgiving feast is overshadowed by the ensuing power struggle between Jack and L.D. Her passive presence during the male confrontation highlights the marginalization of female contributions within patriarchal narratives. The symbolic labor of carving the turkey is prioritized over the actual work of meal preparation, further solidifying the gendered expectations that dictate power dynamics at the dinner table.

Conclusion

Through the exploration of food and its association with power and masculinity in both Pariah and Brokeback Mountain, it becomes evident that these films utilize culinary imagery to comment on societal norms. The interactions between Arthur and Jack with food reveal the complexities of masculine identity and the expectations placed on men and women within familial structures. Ultimately, these cinematic representations challenge audiences to reflect on the deeper implications of food as a site of negotiation for power, identity, and gender roles.

Works Cited

Charles, Nickie, and Marion Kerr. "Food for Feminist Thought." Sociological Review, vol. 34, no. 3, Aug. 1986, pp. 537-572. EBSCOhost, doi:10.1111/1467-954X.ep5473800.

Roth, Luanne. "Beyond Communitas: Cinematic Food Events and the Negotiation of Power, Belonging, and Exclusion." Western Folklore, vol. 64, no. 3/4, Summer/Fall 2005, pp. 163-187. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=21216983&site=ehost-live.

Roth, Luanne. "Sexing the Turkey: Gender Politics and the Construction of Sexuality at Thanksgiving." Unsettling Assumptions: Tradition, Gender, Drag. Boulder: Utah State U Press, 2014. N. pag. Print.