DOCSLIB.ORG

Die Figur Des Antagonisten in Den James Bond-Filmen - Film- Und Zeitgeschichtliche Kontexte Eines Öffentlichen Feindbildes"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Die Figur Des Antagonisten in Den James Bond-Filmen - Film- Und Zeitgeschichtliche Kontexte Eines Öffentlichen Feindbildes DIPLOMARBEIT Titel der Diplomarbeit "Die Figur des Antagonisten in den James Bond-Filmen - Film- und zeitgeschichtliche Kontexte eines öffentlichen Feindbildes" Verfasserin Daniela Müller angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Mag. Dr. habil Ramón Reichert Eidesstattliche Erklärung Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Wien, am Unterschrift: 2 Danksagung Mein besonderer Dank gilt meinem Betreuer Prof. Ramón Reichert, der mich während des Schreibens meiner Diplomarbeit gut betreut hat, indem er mich über den "Tellerrand" hinausblicken hat lassen und mich immer wieder motiviert hat. Weiters gab er mir die Möglichkeit über ein Thema zu schreiben, welches mir immer schon am Herzen lag. Ein weiterer und besonders großer Dank gilt meinen Eltern, die es mir ermöglicht haben, meine Leidenschaft zu studieren - Theater und Film. Besonders meine Mama, Eva Müller, möchte ich hervorheben, die meine komplette Arbeit gelesen und mir immer wieder neue mögliche Ansätze aufgezeigt hat. Auch meinen Freunden soll an dieser Stelle gedankt werden, die mich immer wieder motiviert und mit Interesse meine Arbeit verfolgt haben. Last but definitely not least, danke ich von ganzem Herzen meiner besten Freundin, Eszter Anghi, fürs Korrekturlesen. 3 4 Inhaltsverzeichnis 1. Einleitung S. 7 2. Zur Entstehung der Bond-Romane S. 12 2.1 Ian Fleming S. 13 2.1.1 Die narrative Struktur bei Ian Fleming S. 15 2.2 England: Abstieg einer Weltmacht und der Erfolg der Bond-Romane S. 19 3. James Bond und der Kalte Krieg - Am Beispiel von "Liebesgrüße aus Moskau " S. 22 3.1 Der Kalte Krieg S. 24 3.1.1 Der Kalte Krieg in Literatur und Film S. 29 3.1.2 Die britischen Schauspieler als Antagonisten in amerikanischen Spielfilmen S. 31 3.2 Filmanalyse: Durch Provokation und Konfrontation zur Weltherrschaft S. 36 3.2.1 " Liebesgrüße aus Moskau ": Skepsis versus Annäherung zwischen Ost und West und die Rolle der Frau in den Bond-Filmen S. 70 4. " Moonraker " - Die Idee einer "perfekten" Menschheit S. 75 4.1 Biotechnologie: Die Entstehung einer "neuen bzw. liberalen Eugenik" S. 76 4.1.1 Die Eugenik S. 79 4.2 Filmanalyse S. 82 4.3 Hugo Drax S. 104 5. " Der Morgen stirbt nie " - Macht- und Einflusspotenzial der Medien S. 106 5.1 Filmanalyse S. 108 5.2 Elliot Carver - Der Medienbaron S. 138 5 6. " Ein Quantum Trost " - Das moderne Feindbild S. 142 6.1 Die Privatisierung des Wassers S. 143 6.1.1 Die führenden Herrscher am Wassermarkt S. 145 6.2 Der Wasserkrieg in Cochabamba S. 146 6.3 Filmanalyse S. 148 6.4 Dominic Greene - Der "Gut-Mensch" als "unsichtbarer" Antagonist S. 166 7. Schlusswort S. 169 Quellenverzeichnis S. 172 Internetquellen S. 174 Filmquellen S. 175 Abbildungsverzeichnis S. 176 Abstract S. 181 Lebenslauf S. 183 6 1. Einleitung "History is moving pretty quickly these days and the heroes and villains keep on changing places." 1 (James Bond) 50 Jahre James Bond - dieses Jahr feiert der wohl berühmteste fiktive Agent sein 50 jähriges Jubiläum. Die Bücher von Autor Ian Fleming haben mittlerweile Kultstatus. Neue Bond- Filme kommen auch nach 50 Jahren in regelmäßigen Abständen in die Kinos. 50 Jahre sind eine lange Zeit, somit kann man durchaus sagen, dass die Bond-Filme als Film-Serie absolut einzigartig sind. Mit mittlerweile 22 Filmen 2 ist diese Film-Serie wohl die nachhaltigste in der Filmgeschichte. Ein Ende ist nicht in Sicht, denn bereits November dieses Jahres startet Bond-Film Nr. 23 mit dem Titel " Skyfall " (Skyfall, 2012) weltweit in den Kinos und Daniel Craig, aktueller Bond-Darsteller, soll angeblich einen Vertrag für fünf weiter Bond-Filme unterschrieben haben, die in den nächsten zwölf Jahren gedreht werden sollen.3 Besonders die Bond-Filme bieten eine gute Möglichkeit, eine interessante Analyse des Antagonisten zu machen, da es Bond schon lange gibt und man dadurch eine Entwicklung und Veränderung aufzeigen kann. Von der Darstellung über das Aussehen bis hin zum jeweiligen Motiv des Antagonisten, lassen sich in 50 Jahre Bond viele Veränderungen feststellen, die aber zu ihrem jeweiligen Zeitpunkt immer aktuell oder vielleicht sogar einen Schritt voraus waren. Ian Fleming verarbeitet in seinen Bond-Romanen, in der Figur des Antagonisten, westliche Feindbilder. Besonders der Osten und nicht-anglosächsiche Länder repräsentieren in Flemings Romanen den Feind. Dadurch, dass diese Feindbilder in den Anfängen der Film-Reihe aus den Romanen übernommen wurden, lassen sich durch die lange Zeitspanne zwischen dem ersten und dem letzten Film viele wechselnde Feindbilder finden. Die Bond-Filme "schwimmen" immer mit der Zeit mit. Dies mein ich nicht nur bezogen auf die Filmtechnik und die Umsetzung des Films, sondern auch bezogen auf die Thematiken, die die Bond-Filme aufgreifen. Die ersten Bond-Filme sind stark geprägt vom Kalten Krieg, womit dem Leser 1 Vgl. BLACK, Jeremy, The Politics of James Bond. From Fleming´s Novels to the Big Screen, Westport 2000, S. 4. 2 Anmerkung: Diese 22 Filme wurden von der Produktionsgesellschaft EON Productions Ltd. gemeinsam mit der Filmgesellschaft United Artists produziert. Abseits dieser Produktionen, entstanden drei weitere Bond-Filme, welche nicht von EON Productions produziert wurden - nämlich zweimal " Casino Royal " (Casino Royal, 1954 und 1967) und " Sag niemals nie " (Never Say Never Again, 1983). 3 Vgl. Verfasser unbekannt, Zwölf Jahre 007. Daniel Craig soll fünf neue Bond - Filme drehen , http://www.focus.de/kultur/kino_tv/zwoelf-weitere-jahre-007-daniel-craig-soll-fuenf-neue-bond-filme- drehen_aid_695748.html (Zugriff am 02.08.2012). 7 und dem Zuseher die Kommunisten als Feindbild präsentiert werden. Mit neu aufkommenden Themen, die die Welt und die Menschen beschäftigten, änderten sich auch die Thematiken in den Bond-Filmen und somit auch die Feindbilder. Dies kann man sehr deutlich an der Figur des Antagonisten in den Bond-Filmen festmachen, da diese als Repräsentant des Feindbildes gilt. Der Antagonist stellt ein Feindbild dar, welches gleichzeitig die Ängste, vor allem der westlichen Zivilisation, widerspiegelt. Somit ist der Antagonist nicht nur eine Figur, die den Helden, in dem Fall James Bond, zum Handeln zwingt, sondern auch ein Repräsentant von aktuellen Bedrohungen. Da es mittlerweile 22 Bond-Filme gibt, musste eine Entscheidung getroffen werden, welche von den 22 Filmen genauer analysiert werden sollen, da alle Filme meinen möglichen Rahmen überschreiten würden. Ich entschied mich vier Filme auszuwählen und diese dafür wirklich genau und Szene für Szene zu betrachten. Folgende wichtige Aspekte sollten bei der Auswahl entscheidend sein: Es sollte mindestens ein Film dabei sein, der auf einer Romanvorlage von Ian Fleming basiert. Filme mit unterschiedlichen Bond-Darstellern war ein weiterer wichtiger Aspekt. Somit fiel die Wahl auf jeweils einen Film mit Sean Connery, mit Roger Moore, mit Pierce Brosnan und mit Daniel Craig. Besonders wichtig war mir auch, dass ein Film dabei ist, wo eine Frau Antagonistin ist, da dies leider eine Seltenheit ist. Nicht nur in der Bond-Reihe. Anfangs soll ein kurzer Überblick über das Leben von Ian Fleming, dem Erfinder der James Bond-Figur, gegeben werden. Im selben Kapitel soll weiters auf Umberto Ecos Aufsatz "The narrative structure in Fleming " genauer eingegangen werden, da Eco gut aufzeigt, wie die James Bond-Romane - und somit auch die Filme - "funktionieren". Weiters soll in diesem Kapitel aufgezeigt werden, warum gerade die Figur James Bond so erfolgreich geworden ist und wie Englands Situation nach den beiden Weltkriegen war. Danach folgen die vier Filmanalysen in jeweiligen Einzelkapiteln. Folgende vier Filme habe ich ausgewählt: Bei den Sean Connery Filmen fiel die Wahl auf " Liebesgrüße aus Moskau " (From Russia With Love) aus dem Jahr 1963. Es gibt in diesem Film sowohl eine Romanvorlage von Ian Fleming, als auch eine Frau als Hauptantagonistin. In diesem Kapitel soll neben der Filmanalyse auch der Kalte Krieg im Vordergrund stehen, da dieser während des ganzen Films immer wieder thematisiert wird. Für das Thema "Kalter Krieg" habe ich das Buch von Bernd Stöver "Der Kalte Krieg " und Jeremy Isaacs und Taylor Downings Buch " Der Kalte Krieg " genutzt, um ein besseres Verständnis für die Zusammenhänge von Film und Realität zu bieten. Ein kurzes Unterkapitel beschäftigt sich mit britischen Schauspielern, die während und nach dem Kalten Krieg vermehrt die Rolle der Antagonisten in Hollywood-Blockbustern 8 angenommen haben, da sich viele amerikanische Schauspieler um ihr Image sorgten, wenn sie eine Antagonisten-Rolle annehmen. Bei der Filmanalyse selbst werde ich immer wieder darauf aufmerksam machen, wo und wie die Thematik des Kalten Krieges in der jeweiligen Szene verarbeitet wird. Am Schluss dieses großen Kapitels, soll noch kurz die Rolle der Frau in den Bond-Filmen betrachtet werden, die sich ebenfalls im Laufe der Jahrzehnte verändert hat. Dafür war Julia Kulbarsch-Wilkes wissenschaftliche Arbeit zum Thema " Frauen, Politik und Action. Das Phänomen der James Bond Spielfilmreihe im Spiegel der Zeit. Eine Analyse der Filme im Zeitraum
Load more

Recommended publications
  • A Queer Analysis of the James Bond Canon
    MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information.
    [Show full text]
  • 2016 James Bond Archives - Spectre Edition Checklist
    2016 James Bond Archives - Spectre Edition Checklist Base Cards Card # Card Title 01 Spectre 02 Spectre 03 Spectre 04 Spectre 05 Spectre 06 Spectre 07 Spectre 08 Spectre 09 Spectre 10 Spectre 11 Spectre 12 Spectre 13 Spectre 14 Spectre 15 Spectre 16 Spectre 17 Spectre 18 Spectre 19 Spectre 20 Spectre 21 Spectre 22 Spectre 23 Spectre 24 Spectre 25 Spectre 26 Spectre 27 Spectre 28 Spectre 29 Spectre 30 Spectre 31 Spectre 32 Spectre 33 Spectre 34 Spectre 35 Spectre 36 Spectre 37 Spectre 38 Spectre 39 Spectre 40 Spectre 41 Spectre 42 Spectre 43 Spectre 44 Spectre 45 Spectre 46 Spectre 47 Spectre 48 Spectre 49 Spectre 50 Spectre 51 Spectre 52 Spectre 53 Spectre 54 Spectre 55 Spectre 56 Spectre 57 Spectre 58 Spectre 59 Spectre 60 Spectre 61 Spectre 62 Spectre 63 Spectre 64 Spectre 65 Spectre 66 Spectre 67 Spectre 68 Spectre 69 Spectre 70 Spectre 71 Spectre 72 Spectre 73 Spectre 74 Spectre 75 Spectre 76 Spectre Diamond Are Forever Throwback Cards (1:6 packs) Card # Card Title 01 Diamond Are Forever Throwback Set 02 Diamond Are Forever Throwback Set 03 Diamond Are Forever Throwback Set 04 Diamond Are Forever Throwback Set 05 Diamond Are Forever Throwback Set 06 Diamond Are Forever Throwback Set 07 Diamond Are Forever Throwback Set 08 Diamond Are Forever Throwback Set 09 Diamond Are Forever Throwback Set 10 Diamond Are Forever Throwback Set 11 Diamond Are Forever Throwback Set 12 Diamond Are Forever Throwback Set 13 Diamond Are Forever Throwback Set 14 Diamond Are Forever Throwback Set 15 Diamond Are Forever Throwback Set 16 Diamond Are Forever
    [Show full text]
  • Re a Kite Dancing in a Hurricane, Mr Bond’ the Elemental Encounters of James Bond
    ‘You’re a kite dancing in a hurricane, Mr Bond’ The Elemental Encounters of James Bond LISA FUNNELL AND KLAUS DODDS What would it mean to describe James Bond as a man in his element? As an ex- pression in English, being “in one’s element” usuall refers to someone or some- thing well suited to what the are doing. #he term often con%e s, when a human actor is in%ol%ed, a sense of comfort, en&o ment, and e%en pleasure. 'on%ersel , when we note that someone or something is “out of their element”, we highlight other emotions and sensations such as discomfort, dislocation, and distress. (ore often than not, this phrase is used to describe social and professional cir- cumstances li)e embar)ing on a new &ob and*or socialising with people outside of our usual sphere. But we can also mobilise this phrase to draw attention to a relationship with something more elemental, describing human and non-human interactions with water, air, earth, and +re. While being in our element is usu- all seen as a good thing, we use elemental expressions li)e “out of our depth” and “!eel the atmosphere” to suggest that social and ph sical pressures and !orces ma ha%e got the better of us. As a hero, James Bond is defined b his actions, masculinit , and libidinal con,uests that are !ramed in a particular geopolitical context shaped b 'old War, post-Cold War, and, in the -aniel 'raig era, War on #error coordinates. Bond’s missions ha%e seen him tra%el the earth and be ond in his ,uest to !oil the e%il designs of ad%ersaries, ranging !rom crooked So%iet and 'hinese operat- Lisa Funnell is Assistant Professor in the Women’s and Gender Studies Programme and Co-Director of the Centre for Social Justice at the University of Oklahoma.
    [Show full text]
  • Celebrate 50 Years of James Bond with Activision Publishing's 007™ Legends Video Game - Available Today
    Celebrate 50 Years Of James Bond With Activision Publishing's 007™ Legends Video Game - Available Today Latest Installment in Esteemed Franchise Delivers A First-of-its-Kind Bond Video Game Experience with a Story Inspired by Five Classic Bond Films - Goldfinger, On Her Majesty's Secret Service, Moonraker, Licence to Kill, Die Another Day - and the Upcoming Feature Film - SKYFALL SANTA MONICA, Calif., Oct. 16, 2012 /PRNewswire/ -- Today gamers can join in the celebration of 50 years of James Bond with the release of 007™ Legends from Activision Publishing, Inc., a wholly owned subsidiary of Activision Blizzard Inc., (Nasdaq: ATVI). Available at North American retail outlets today, across Europe on October 19th, and in Australia on October 31st, 007 Legends is the latest installment in the esteemed franchise, delivering a first-of-its-kind Bond video game experience featuring a story inspired by five classic Bond films — Goldfinger, On Her Majesty's Secret Service, Moonraker, Licence to Kill, Die Another Day. Additionally, 007 Legends will feature a sixth mission based on this year's highly anticipated Bond film — SKYFALL — which will be available to unlock as downloadable content. Timed to the North American release of the feature film, PlayStation®Network subscribers will gain exclusive early access to the SKYFALL mission on November 9, 2012, and then on November 20, 2012, the mission will be available on Xbox LIVE® online entertainment network. To view the multimedia assets associated with this release, please click: http://www.multivu.com/mnr/58457-activision- publishing-50-years-of-james-bond-007-legends-video-game (Photo: http://photos.prnewswire.com/prnh/20121016/MM88187 ) With each film hand-picked as they've defined Bond's personality over the years, 007 Legends explores Bond's gritty journey to his current status as the world's favorite secret agent.
    [Show full text]
  • Taira Teemu Reading Bond Films Through the Lens of Religion
    Teemu Taira Reading Bond Films through the Lens of “Religion” Discourse of “the West and the Rest” ABSTRACT “Religion” has been absent from the study of James Bond films. Similarly, James Bond has been absent from studies on religion and popular culture. This article aims to fill the gap by examining 25 Bond films through the lens of “religion”. The analysis suggests that there are a number of references to “religion” in Bond films, although “religion” is typi- cally not a main topic of the films. Furthermore, there is a detectable pattern in the films: “religion” belongs primarily to what is regarded as not belonging to “the West” and “the West” is considered modern, developed and rational as opposed to the backward, exotic and “religious” “Rest”. When “religion” appears in “the West”, it is seen positively if it is related to Christianity and confined to the private sphere and to the rites of passage. In this sense, representations of “religion” in Bond films contribute to what Stuart Hall named the discourse of “the West and the Rest”, thus playing a role in the maintenance of the idea of “the West”. This will be demonstrated by focusing on four thematic ex- amples from the films: mythical villains, imperialist attitude to “religion” outside “the West”, “religion” central in the plot (voodoo and tarot), Christianity in “the West”. This article also provides grounds for suggesting that reading Bond films through the lens of “religion” contributes to both Bond studies and studies on religion and popular culture. KEYWORDS Religion, Film, James Bond, Popular Culture, the West, Discourse, Representation, Myth, Colonialism, Imperialism, Christianity, Secular, Rationality BIOGRAPHY Teemu Taira is Senior Lecturer in Study of Religion, University of Helsinki, and Docent in Study of Religion, University of Turku.
    [Show full text]
  • Scientists in the Bond Film Franchise Claire Hines, Solent University
    Scientists in the Bond film franchise Claire Hines, Solent University Abstract The James Bond film franchise (1962–ongoing) has always relied on science and technology for topicality and spectacle. Over the years, the scientist figure has also made regular appearances in the Bond films, most often within the confines of some of the established character types and functions defined by the formula aspects of the series – the villain, the Bond girl and the Quatermaster, better known as Q. This article uses Bond scholarship to consider key examples of each of these depictions of the scientist in relation to the heroic masculinity of James Bond, and in the broader context of research examining images of scientists in popular fiction. In so doing the article contributes to ongoing debates about the representational politics of Bond and scientist stereotypes in popular culture. Keywords James Bond Bond girl Quatermaster scientist stereotypes Bond films mad scientist 1 The James Bond film franchise began with the release of Dr No (Young 1962), a film of many notable firsts for the long-running and highly formulaic series. These important firsts include the introduction of Sean Connery as James Bond, the introduction of the criminal organization SPECTRE and the first major Bond villain, the first of the Bond girls and a number of key recurring characters. Even though some changes were made to the novel written by Ian Fleming and published in 1958, the film nevertheless follows the same storyline: Bond is sent by the British Secret Service to Jamaica, where he uncovers an evil plot headed by a scientific mastermind.
    [Show full text]
  • Information Retrieval Exercises Assignment 2: Boolean Information Retrieval
    Information Retrieval Exercises Assignment 2: Boolean Information Retrieval Mario Sänger ([email protected]) Boolean IR on full text • Last assignment: hard-coded queries on small data • This time: arbitrary queries on large(r) data • I will provide an movie corpus plot.list – Only for use in the exercise, do not redistribute! – Plain text are roughly 400 MB – Link: https://box.hu-berlin.de/f/93546ea9bdef4fac811b/?dl=1 • Task: Write a program which can find – arbitrary terms – arbitrary phrases – arbitrary conjunctions of them Mario Sänger: Information Retrieval Exercises – Assignment 2 2 Corpus structure (excerpt) MV: Moonraker (1979) PL: James Bond is back for another mission and this time, he is blasting off PL: into space. A spaceship traveling through space is mysteriously hi-jacked PL: and Bond must work quickly to find out who was behind it all. He starts PL: with the rockets creators, Drax Industries and the man behind the PL: organisation, Hugo Drax. On his Journey he ends up meeting Dr. Holly PL: Goodhead and encounters the metal-toothed Jaws once again. BY: simon PL: A Boeing 747 carrying a US space shuttle on loan to the UK crashes into the PL: Atlantic Ocean. When the British examine the wreckage they can find no PL: trace of the spacecraft and send agent James Bond to the shuttle's PL: manufacturers, Drax Industries, to investigate. BY: Dave Jenkins Mario Sänger: Information Retrieval Exercises – Assignment 2 3 Query syntax • Searchable fields are as follows: – title – plot (if a document has multiple plot
    [Show full text]
  • The Portrayal of Continental Latin America in the James Bond Films
    The Portrayal of Continental Latin America in the James Bond Films ANTTI KORPISAARI AND OUTI J. HAKOLA This article stems from our long-term fascination with the James Bond flms (and with Ian Fleming’s original Bond novels) and the British Secret Service agent’s adventurous travels around the globe in what have been labelled e!otic locales"# Scholarl$ discussions have recognised that Bond’s travels %la$ a role in the ma&ing and sha%ing of %opular geopolitics ('odds ())*+ 'odds ()),+ Fun- nell and 'odds ()-.+ /cMorrow ()--)0 flm tourism (1hevrier and 2uvet ()-3+ 4ulcsár et al# ()-.)0 and colonialism (/cClure ()--+ /et6 ())7)# These discus- sions reference continental Latin America while o:en refraining from in-depth anal$sis. Scholarl$ attention has mostl$ focused on the Bond franchise’s treat- ment of the Anglo-American connection and the East"0 ranging from the Soviet <nion=>ussia and Eastern Euro%e to 9sia (Funnell and 'odds ()-.0 7,-1*7+ see also ?ehrig ()-@+ Lawless ()-7)# As for the Latin American context0 studies have mostl$ focused on the 1aribbean and the Bond franchise’s racial %olitics (2allo- ran ()),+ /cClure ()--)# In a wa$0 this is onl$ natural0 as direct British colonial interests in continental Latin America were limited to Beli6e, ?u$ana, and the so-called /osAuito 1oast of 2onduras and Bicaragua. Still0 in Moonraker (-@.@)0 Licence to Kill (-@3@)0 and Quantum of Solace (())3) Bond operates extensivel$ in Brazil, 1entral America, and Bolivia, respectivel$# Antti Korpisaari is Uni0ersi+1 Lec+urer in La+in Ameri23n S+udies 3+ +he Uni0ersi+1 o5 Helsin6i7 8inland.
    [Show full text]
  • 1 “The Man with the Midas Touch”: the Haptic Geographies of James
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Royal Holloway - Pure “The Man with the Midas Touch”: The Haptic Geographies of James Bond’s Body Lisa Funnell and Klaus Dodds A version of this paper will be published in The Journal of Popular Film and Television (forthcoming). James Bond is frequently referred to as “the man with the Midas touch.” In Greek mythology, King Midas was believed to be able to turn everything he touched into gold. He was given this ability by God Dionyssus who warned Midas about the super-power. At first, Midas saw it as a blessing since everything he touched, from a grape to a table, turned into gold. However, after he accidentally transformed his daughter into a gold statue, Midas begged Dionyssus to relieve him of his golden touch and return his daughter to him. Once that happened, Midas began to share his wealth with others as a form of perpetual atonement for his previous avarice. The story about “the man with the Midas touch” is not only about the extraordinary power to touch and feel but also serves as a cautionary tale about how touch can be dangerous and disastrous. This descriptor “the man with the Midas touch” was first used in the title track for the film Goldfinger (Guy Hamilton 1964) and seemed rather apposite for a super-spy that was already thrilling audiences with sensual stories of seduction, revelation, and calculation. While the lyrics of the song are about the arch-villain and gold bullion merchant Auric Goldfinger, the opening credit sequence emphasizes the similarities between Bond and this villain by projecting images of both men onto a female body painted in gold.
    [Show full text]
  • 'A Thoroughly English Movie Franchise' Spectre, the James Bond Films, And
    ‘A thoroughly English movie franchise’ Spectre, the James Bond films, and Genre JAMES CHAPMAN The James Bond films are genre films par excellence: they demonstrate both the industrial processes of popular film-making and the narrative patterns of repeti- tion and variation that underpin the idea of genre in popular cinema. Indeed the Bond films are such a uni ue and distinctive brand in their o!n right that the term "Bondian# has been coined to describe both the professional discourses of the film-makers on the one hand and the style and content of the films on the other. $s Janet %oolacott noted after observing the making of The Spy Who Loved Me '()**+ for an ,pen -niversity case study of media production: ".Bondian/ !as the phrase used by 01ubby2 Broccoli and other members of the production team to mean .in the spirit of James Bond/...To a certain extent the term .Bondian’ !as used to describe the Bond films, !hich !ere seen as a distinctive formula, a spe- cific genre of film# '()45, 6(7+. The emergence of ne! approaches to genre studies !hich extend beyond the reductive structuralism of the ()*7s and !hich understand film genres and cycles in relation to their !ider industrial and cultural contexts has seen the Bond films find their place on the agenda of academic film studies. This is amply demonstrated over the last decade or so by the gro!th of Bond scholarship that has seen the films analysed from a range of critical and theoretical perspectives, James Chapman is Professor of Film Studies at the Uni- versity of Leicester.
    [Show full text]
  • IPA Review April Working Final.Indd
    THE POLITICS OF JAMES B ND The world of 007 reveals a deeper subtext to a landscape of high-tech gadgetry and martinis, writes Morgan Begg. keep and enjoy the fruits of your own In these cases and more, the labour as greedy, and which pushes individual is being asked to make MORGAN BEGG higher taxes as people paying their fair sacri ces for the ‘greater good’ of Research Scholar at the share. Or when laws are enacted to society. It is a classic calling card of Institute of Public A airs and Editor, FreedomWatch restrict free speech, on the basis that collectivism. A collectivist world-view o ensive speech might o end racial regards individuals as belonging to groups and cause untold social unrest. a wider society, and whose value as ore and more it seems Likewise, when mandatory data individuals extends only as far as it that the place and retention laws were passed in 2015, serves the purposes of the collective. importance of the Australians were told that everyone’s In contrast, an individualist Mindividual is taking privacy would have to be undermined world-view sees society as more of a backseat in Western societies. to combat terrorism (never mind that a free-association of individuals, Symptoms of this include political economic regulators such as the ATO whose value is inherent and discourse which regards the desire to and ASIC also enjoy these powers). inalienable. Individualism is at Volume 68 I 1 THE POLITICS OF JAMES BOND R the core of western liberalism, technology and high-tech gadgetry by the end of the 1950s, where and deserves modern day hero.
    [Show full text]
  • Speech Style Change and Mediatized Authenticity of 007’S Villains Irene Theodoropoulou Qatar University
    Goodbye, Mr. Bond! Speech style change and mediatized authenticity of 007’s villains Irene Theodoropoulou Qatar University This paper deals with the sociolinguistic construction of 007‘s villains in the 24 James Bond films from 1962 till 2015. More specifically, it provides a speech stylistic (Coupland 2007, Theodoropoulou 2014) investigation of the linguistic repertoires of the main villains (Cork & Stutz 2014: 36-107) in the Bond films as well as an indexical analysis (Silverstein 2003) thereof, with the ultimate goal of understanding how the 007 villain identity gets authenticated and how this identity has changed over the years. A corpus linguistic analysis (Baker 2014), which includes all the scenes between 007 and the aforementioned villains, aims at identifying the most frequently used words and collocations in those scenes; in this way, it establishes a quantitative backdrop of the statistically significant keywords associated with 007 villains and it illustrates how these have changed over the years. Against this quantitative backdrop, a more qualitative analysis focuses on 007 villain identity authentication (Bucholtz & Hall 2005: 601), namely a discursive verification thereof. The data for the investigation of villain identity authentication stem from a selection of iconic villains of 007, including Dr. No (1962), Ernst Stavro Blofeld (You Only Live Twice, 1967), Dr. Kananga (Live and Let Die, 1973), Hugo Drax (Moonraker, 1979), Aris Kristatos (For Your Eyes Only, 1981), Franz Sanchez (Licence to Kill, 1989), Renard (The World is Not Enough, 1999), Dominic Greene (Quantum of Solace, 2008) and Raul Silva (Skyfall, 2012). Regarding the latter, I argue that in the context of the 007 film villains there is construction of mediatized (Hepp 2014) authenticity in its own right, which over the years has employed shifting attitudes vis-a- vis language as used in popular culture (cf.
    [Show full text]