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Returning to  Brokeback Mountain  and its mountainous aesthetics, my contribution develops a three-part argument that reengages the cinematic landscape projected in Ang Lee’s ‘love story’ – a landscape that echoes, as I show, a national visual culture mapped and remapped by paradigmatic moments in art, photography, and film. In part one, ‘ Brokeback Mountain  and “the force-field of melodrama”’, I show how mountains figure and function in the central genre of film history where they foreground, yet also curtail, the political dimension of personal fears and longings. Calling on the tradition of the Western as much as on the work of Edward Hopper, Ansel Adams, Andrew Wyeth, William Eggleston, Richard Avedon, and beyond,  Brokeback Mountain  – so I delineate in my second part ‘(Im-)mobility, mediation, melancholy’ – superimposes its own version of the West on representations we are more familiar with, producing a visual space and soundscape that is bound to shift our perspective. In its third and final part, ‘Landscaping a desire that has no name – or art’, my contribution shows why, since then, mountains have never been the same in the US-American cultural imaginary, and why we look at Westerns, at Adams, and Avedon even more mournfully now, superimposing on them  Brokeback Mountain ’s gender melancholy.

Revisiting Brokeback Mountain – how mountains matter, or: melodrama, melancholy, (im-)mobility