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“Melted Your Cold Heart Yet?” Amatonormative Masculinity in Casino Royale and Spectre

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“Melted Your Cold Heart Yet?” Amatonormative Masculinity in Casino Royale and Spectre “Melted Your Cold Heart Yet?” Amatonormative Masculinity in Casino Royale and Spectre COLIN GÖRKE When discussing James Bond, whether the literary or flm version, one cannot escape the topic of masculinity. An assertive, violent, muscular womaniser, Bond may be what comes to mind if asked for an example of stereotypical or even hy per masculinity. !n popular culture as well as in academic discourse, Bond"s masculinity has been a site of contention among scholars. #specially with the re boot of the Bond flms, the topic has gained new prominence. While some schol ars argue that $raig is the most progressive Bond yet %$hapman &''(, $unning ham and )abri &''*, Johnson &''*+, others maintain that little has changed and that Bond is still ,ust as sexist, racist, and all-around bigoted as he always has been %-incknell &''*, .acioppi and -remonte &''*, Anderson &'/(+. 0uch research has been done on sexuality regarding both the Bond Women and Bond himself, but an analysis of romance and romantic attraction has been largely missing. 1owever, romance plays a crucial role in the rebooted flms, specifcally Bond fnding, losing, and mourning his romance with 2esper 3ynd, as well as eventually fnding a new romantic love with 4r. Madeleine 5wann. -he importance of these relationships and romance itself is emphasised by other characters" comments, which construct and functionalise romance as something Colin Görke is .omple)ing his 01 degree in 1nglophone 2n* Germ2n S)u*ies 2) )he -ni3ersi)4 o5 Duis(urg Essen% 6is rese2r./ in)eres)s in.lude 7ueer s)udies8 m2s.ulini)4 s)udies8 2nd )he 92mes +ond 5r2n.hise% Volume 2 · Issue 1 · Spring 2019 ISSN 2514 21!" DOI$ 10%24"!!&'bs%44 Dis)ribu)ed under CC +, 4%0 -K Bond should strive for above all else. -his predominance of romance as the key to and ultimate raison d’être of interpersonal relationships ofen goes unremarked upon because it seems to be the natural way of life. 7ollowing the lead of Eli8a beth Brake in Minimizing Marriage: Marriage, Morality, and the Law %&'/&+, ! use the term amatonormativity to refer to this phenomenon9 the prioritisation of ro mantic love over everything else. -his essay explores how even though the rebooted Bond franchise is, by some, lauded as progressive, especially with regard to gender expectations and gender expression %$unningham and )abri &''*+, a di:erent perspective reveals other fndings. Bond"s seeming liberation from stereotypical masculinity and the apparent turn of Bond Women %love interests 2esper 3ynd and 4r. Madeleine 5wann in particular+ towards an explicit and outspoken embodiment of femi nism, is instead a pseudo-progressive attempt to appear more liberal. 1owever, in Casino Royale %&'';+ and Spectre %&'/<+, amatonormativity can be seen to rein force Bond"s normative masculinity. -he normative masculinity that is part of each of the flms’ gender relations can be di:erentiated into two types: =ormative Masculinity -ype / and =orma tive 0asculinity -ype &. Both types are a version of an idealised masculinity which Bond displays on numerous occasions in the flms. -hey are characterised as follows. -ype / is essentially hypermasculinity as defned by Avi Ben >eev et al., which will be called -ype / in this paper for the sake of clarity9 -he hypermasculine male is characteri8ed by the ideali8ation of stereotypi cally masculine traits, such as virility and physicality, while concurrently re ,ecting traits seen as feminine and thus perceived as antithetical and even inferior to machismo, such as compassion or emotional expression. %&'/&, <?+ -hese traits are further expanded by 0osher and Sirkin"s 1ypermasculinity !n ventory. !t contains three aspects: @%a+ callous sex attitudes towards women,/ %b+ violence as manly, and c+ danger as exciting” %/*B?, /<'+. 1ypermasculinity, then, is how -ype / manifests. -ype / presents itself when Bond"s ,ob and his country are his priority and he has no romantic interest %or said interest is unattainable+. 1e is an agent, a killer, and capable of great and unCinching violence. 1e is also / Arguably, this is not entirely accurate for Bond"s liaisons, but the franchise certainly portrays it that way. An in-depth analysis of Bond"s promiscuity as morally Duestion able will be available in a forthcoming article in the Journal of the nternational Sym! posium of Students of "nglish, Croatian and talian Studies. 2 In)ern2)ion2l 9ourn2l o5 92mes +on* Stu*ies · Volume 2 · Issue 1 · Spring 2019 demonstratively heterosexual, promiscuous, and emotionally closed of E all traits that are covered in the 1ypermasculinity !nventory. -he violation of such aspects means that Bond"s status as a @real manA is threatened. A loss of -ype / masculinity means a loss of masculinity altogether. -his comes with several con sequences because, as Judith Butler reminds us, @gender transgression is invari ably punishedA %&'//, //'+. 7or Bond this would amount to loss of male privilege and loss of respect, narrative agency, and his heroic status in the patriarchal Bond universe. Fnless, of course, Bond does not lose his masculinity but shi6s to a di:erent, more socially acceptable kind E still unmistakably masculine, but de picted as a more mature and responsible alternative: =ormative 0asculinity -ype &. =ormative Masculinity -ype & functions less obviously with regards to its hegemonic base. !t contains a more %seemingly+ liberal attitude towards wo men and considers violence and promiscuity to be morally Duestionable. While -ype / manifests as hypermasculinity, -ype & manifests mainly as toxic mas culinity, which is @a %heterosexual+ masculinity that is threatened by anything as sociated with femininity %whether that is pink yogurt or emotions+A %Banet Weiser and Miltner &'/<, /(/+. -o be afected by toxic masculinity one could, in stark contrast to the traits listed in 0osher and 5irkin"s 1ypermasculinity !nvent ory, be a feminist, a pacifst, and put of by danger and still feel one"s masculinity threatened by pink yogurt or emotions. Bond exhibits -ype & when he has a ro mantic interest, which then becomes his new priority. !t sees him giving up his ,ob and the violence that goes hand in hand with it in favour of monogamy and displays of emotional vulnerability. !n other words, he gives up all that could be considered morally Duestionable %namely killing and being promiscuous+ and becomes a more @normalA or socially acceptable character, if one with a dark and hypermasculine past.& What triggers this shi6 from =ormative Masculinity -ype / to =ormative Masculinity -ype &G As mentioned above, one of the key di:erences between the two types is the absence or presence of a romantic interest. -he love interests in Duestion are 2esper 3ynd %Casino Royale+ and 4r. Madeleine 5wann %Spectre+ E many other Bond Women feature in the rebooted flms as well, of course, but & While Bond is recovering from genital torture in Casino Royale, 3ynd reassures him by saying @!f all that were le6 of you was your smile and your little fnger you"d still be more of a man than anyone !"ve ever metA. 3ynd hereby implies that Bond is so mas culine that nothing can threaten his masculinity, that no man can surpass it. 5he frames masculinity as a competition E not one that Bond should not participate in, but one that he has already won, which helps portray Bond"s shi6 to =ormative Mas culinity -ype & as a maturation and not a loss of masculinity. C. G:r;e · 1ma)onorma)i3e 02sculini)4 in Casino Royale 2n* Spectre < their relationships with Bond are not of a romantic nature. 3ynd and 5wann are awarded a special status within the rebooted franchise and are marked as decid edly di:erent from other Bond Women, in part because they are the ones who have attracted Bond"s romantic afection. 1owever, it is not ,ust Bond"s relation ship with them that is exceptionalH it is the fact that they are so di:erent from other Bond Women that makes Bond susceptible to romantic attraction to them. -he following scene in Casino Royale, showing Bond and 3ynd relaxing at a beach, acknowledges this: 3ynd9 @4oes everyone have a tellGA Bond9 @Ies. #veryone. #veryone except you. ! wonder if that"s why ! love you.A 3ynd9 @Iou love meGA Bond9 @Enough to Duit and Coat around the world with you.A -his is the only time this sentiment is explicit rather than implicit9 Bond loves 3ynd precisely because she is exceptional and worthy of the overhaul in his life style which such romantic attraction necessitates. -he implicit di:erences be tween 3ynd and 5wann and Bond"s many other sexual partners are numerous. Both 3ynd and 5wann are of equal professional standing with Bond. !n Casino Royale, 3ynd"s ,ob %as a treasury ofcial+ is crucial to the mission"s and thus Bond"s success: she controls the money Bond uses to try and win against antagonist Le $hi:re in a high-stakes poker game. She has the power to deny him more money, which is needed for him to continue playing and to have a chance of beating Le $hi:re. 5he is aware of her power from the very start of their profes sional relationship, pointing out to him that she will only approve further mone tary help if she @deem[sL it a prudent investmentA. 5wann is ,ust as crucial to the mission in Spectre. 1er knowledge is necessary to decrypt her father"s coded mes sage, which ultimately leads to the discovery of the antagonist"s secret lair and his %temporary+ demise. Both women are career oriented E if one more blatantly successfully so than the other. Bond points out 3ynd"s desire to be taken seri ously and to be respected by her colleagues and superiors, as well as her aspira tions to climb the career ladder of 1er Majesty"s treasury.
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