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Cultural Appropriation and Capitalism

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Cultural Appropriation and Capitalism Cultural Appropriation and Capitalism Co-opting Blaxploitation in the Filmic Live and Let Die CAMILLE S. ALEXANDER 1 In 1973 when United Artists released the eighth James Bond flmm Live and Let Die (LLD)m the flm industry had changed considerablly since the deblut of the frst flm in the !ranchisem Dr. No (19"#)$ %he &re'iew of Dr. No occurred during the (old )ar when *ennedy was still &resident+ the U, (i'il -ights .o'ement was acti'e; immigration had blecome a national concern in the U*+ and western lack audiences were still marginally willing to &ay to watch a flm that either ignored their existence or !etishised them and their cultures. LLD debluted at the end of the (i'il -ights .o'ementm during the Black 1ower .o'ementm and at the end of the 2ietnam )arm meaning thatm i! the Bond !ranchise was to sur'i'em the flms had to change with the times y ap&ealing to a wider audiencem which meant ac3 /nowledging bllack li'esm culturesm and e0&eriences 4 albleit in a comedic and out3 rageous way to a'oid alienating mainstreamm white audiences. %he flms also had to shi5 towards ac/nowledging bllack characters y incor&orating them into the &lotlines in &rimary roles. %his alteration to the ty&ical Bond narrati'e resulted in the co-o&tation of bllax&loitation flm elements within LLD$ In the flm 'ersion of LLDm Bond wor/s closely with the (IA to neutralise a criminal drugs trafc/ing organisation led y 7r$ *anangam /nown in the under3 1 %he author wishes to thank -ima 8ayed and *huloud Alshehhi !or their assistance in researching this article$ Camille S. Alexander is /n Assis)/n) 0ro1essor o1 Englis2 in )he Dep/r)men) o1 Langu/ges /n* Li)er/)ure /) -ni)ed Ar/( Emir/)es -ni3ersi)45 6here she )e/7hes C/ribbe/n5 Ameri7/n5 +ri)is25 /nd Children8s Li)er/)ure. Volume 3 · Issue 1 · Spring 2020 ISSN 251 !21"# DOI% 10.2 #""&'bs.55 Dis)ribu)ed under CC +, .0 -. world y his alter egom Mr$ Big. *ananga is the &resident of a smallm fctitious (ar3 iblblean island called San .oni9ue. 1layed y :aphet *otto 4 who 7onald Bogle contends ;&rojected an assured yet ne'er o'erstated blrand of masculinity= (#>>?m #"9) 4 *ananga was the image of the !ormerly colonised imperial su <ectm em3 &hasising Bond@s role as the Em&ire@s international &olice ofcer and its white sa'iour$ In the no'elm Bond and 'arious (IA o&erati'es wor/ to sol'e the case of resur!acing gold blars thought lost centuries blefore at the height of British and ,&anish colonisation in the (ariblblean$ %he sudden a&&earance of this treasure in the gold trade mar/et gains the attention of bloth British and American Intelli3 gence agencies. 1rofts !rom the sale of the gold in the no'el !und communist endea'oursm making this an international issue. Joyce Boggin contends that Cleming’s !ocus in the no'el was on western conDicts 4 specifcally the o'erall concern with the spread of communism. Eowe'erm in the flmm ;the !ear of com3 munism FGH !alls out entirely and Mr$ Big’s e'il &lans turn out to ha'e nothing to do with the So'iet Union and (old )ar &olitics= (Boggin #>1?m 1I")$ In the flmm Bond and the (IA wor/ to neutralise a heroin ring initiated in ,an .oni9ue y *ananga. As Mr$ Bigm *ananga@s goal is ;to dri'e out the Mafa y &ro'iding !ree heroinm to increase the numbler of drug addictsm and thenm ha'ing cornered the mar/etm to &ush u& &rices= (Black #>17m 11")$ %he timing of the flm@s release re3 duced the impact of the (old )ar and communism on western audiencesm while the emphasis &laced on the drugs trade in the flm &layed ;into American an0i3 etiesm although without threatening the !uture of the world= (i id$)$ In the waning days of the 2ietnam )arm the flm sublliminally sto/es ;!ears of lack &owerm the citiesm and crime= (iblid$) 4 all allegedly &er&etuated y African Americans. )hile the flm alters the communist element of the no'el@s original &lotlinem the inclusion of African Americans andm to a lesser extentm Afro-Cari bleans as memblers of *ananga@s crime syndicate remains critical to the story$ Because the no'el includes bllack charactersm the flmmakers decided that the blest way to situ3 ate these characters !or the flm@s audience was y co-o&ting elements of tradi3 tional bllaxploitation narrati'es. LLD ablandoned ;the more serious tone of Clem3 ing’s no'els in !a'our of FGH moti!s !rom the Blaxploitation tradition that shaped early 7>s cinema= (Schwetman #>17m 9J)$ %he flmm in ;/eeping with this blorrowed bllaxploitation narrati'e FGH indulged any numbler of archety&al genre clichés: !rom afro haircuts to wide-la&elled suitsm anti3white sentiments and e0cessi'ely3 adorned (adillac cars= (Semley #>1>m #9)$ ,tephane 7unn oblser'es that the flm@s ;long o&ening sequence with the dancing nude silhouettes and &rofles of bllac/ women strongly indicate= co-opting bllaxploitation (#>>?m ??)$ LLD@s &roduction era made the incor&oration of some elements of bllaxploitation critical to the 2 In)ern/)ion/l 9ourn/l o1 9/mes +on* Studies · Volume 3 · Issue 1 · Spring 2020 flm@s fnancial success. .el'in 2an 1eeblles@ flm Sweet Sweetback’s Baadassss Song (1971) inaugurated the cinematic Blaxploitation genrem which can ble classifed as a sublgenre of African American flm distincti'e !or its emphasis on African Amer3 ican cultures and e0&eriences. LLD co-opted bllax&loitation largely blecause the genre was blecoming more &o&ular than mainstream flms in the U, in the early 197>s; thereforem incor&orating elements of the genrem it was thoughtm would make the flm more competiti'e at the blo0 ofce. Mne of Eollywood@s major reasons !or co-opting laxploitation as a 'iablle commodity was audience dissatisfaction$ By the late 19">sm flm re'enues in the U, had decreasedm refecting African American !rustrations with flms that either e0cluded or !etishised them. Cilms li/e For Love of Ivy (19"?)m a 'ehicle !or Eolly3 wood !a'ourite Sidney 1oitierm repeated old tropes that continued to !rustrate African American audiences. (inematic depictions of bllack men and womenm such as those in For Love of Ivym were limited to &redictablle &lots &romoting com3 mon stereoty&esm which (oleman and :ochim note e0&ose ;the skewed treat3 ment of bllac/s in the media= while &in&ointing ;imagery@s social !unctions and !orms= (#>>?m 1)$ %he &lot of this flm re'ol'es around I'y .oore (Ablbley Nin3 coln)m an African American maid who decides to resign !rom her &osition and re3 turn to school (secretarial school instead of a uni'ersity) to a'oid li'ing in ignor3 ance. In a demonstration of white &ri'ilegem &atriarchym and toxic masculinitym her employers@ sonm %im Austin (Beau Bridges) bllackmails an African American trucking company e0ecuti'e named Jack 1ar/s (Sidney 1oitier)m who also o&er3 ates an illegal gamblling clublm to romance I'ym ho&ing that she will remain the !amily@s maid i! she !alls in lo'e. I'y and Jack do blegin a relationshi& of sortsm blut at the time of the flm@s release audiences had tired of the ;bllack maid= and ;bllack hustler= tro&es. As a resultm For Love of Ivy did not &er!orm well at the blo0 ofcem earning only O39>m>>> with an initial bludget of O#m59>m>>> (United ,tates (ongress 1971m "?IJ)$ %his &oor &roft margin was not e0&ected of 1oitierm who &layed the lead role in To Sir with Love (19"7)m which blegan with a bludget of O"#Jm>>> and earned OI#m43#m?>3 in the domestic mar/et (%homas #>17)$ %he &oor blo0 ofce &er!ormance of For Love of Ivy indicated an audience shi5m re3 Decting social changes in the U,+ in &articularm African Americans mo'ed away !rom the inDuence of the more acquiescent (i'il rights .o'ement to the radical Black 1ower .o'ement$ %he rejection of Eollywood@s ty&ical oferings was di3 rectly related to misrepresentations of lack li'es and e0&eriences and the mis3 ap&ro&riation of western lack cultures in mainstream flms. C. S. Alex/n*er · Co!op)ing +l/:ploi)/)ion in )2e Filmi7 Live and Let Die 3 Unli/e ty&ical Eollywood flmsm bllax&loitation was hi& and coolm refecting the imagery 4 albleit occasionally misinter&reting the ideology 4 of the Black 1ower .o'ement$ )ith intelligentm &ower!ul lack charactersm who were neither the ty&ical ;toms= nor ;coons= depicted in mainstream Eollywood flmsm bllax3 &loitation had an a&&eal that was unmatchablle 4 much li/e the Bond flmsm themsel'es. %o capitalise on the momentum of laxploitation cinemam LLD in3 cor&orated se'eral elements of the genrem such as the highly efcient networ/ of African Americans led y *anangam a sua'em intelligentm su&er-criminal and di&3 lomat with a secret identity only recognisablle in the underworld$ *anangam in his tailored suits and cli&&ed Mxblridge accentm was the ty&e of criminal mastermind that &roducers hoped bllack audiences wanted to seem in con<unction with his neatly attired gang of henchmenm who outwit (IA agents and ofen blest >>7$ In additionm flms had to e'ol'e with changing globlal &olitics of the time.
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