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The Portrayal of Continental Latin America in the James Bond Films

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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$# Antti Korpisaari is Uni0ersi+1 Lec+urer in La+in Ameri23n S+udies 3+ +he Uni0ersi+1 o5 Helsin6i7 8inland. Outi J. Hakola is 3 Senior Rese3r24 8ello9 in Are3 3n, -ultur3l S+udies 3+ +he Uni0ersi+1 o5 Helsin6i7 8inlan,. Volume 4 · Issue 1 · Spring ! 1 ISSN "14# 1$% DOI& 1!. 4%$$'(bs.** Dis+ribu+ed under -- ./ 4.! UK To fll a void we see in the literature on the representational %olitics of James Bond0 this article discusses the %ortra$al of continental 8atin American countries, %laces, s%aces, and culture(s) in these Bond flms. Cur a%%roach is founded in cultural studies, which emphasises that representations are never neutral# >ather0 the$ create, reproduce, and sometimes challenge existing %ower structures, such as colonial legacies, and need to be criticall$ studied (e.g. 2all ()-*0 --6)# Furthermore, the representations of %laces and s%aces, as with an$ cultural %henomena, need to be understood in multi%le contexts (e.g. ?rossberg ()-))# Elaces as (geographical) locations and sites are defned b$ human e!%eriences F such as national borders, cit$ identities, or named rivers and mountains. In comparison0 spaces are more abstract+ the$ occur in time as %art of human activities (Seamon and Sowers ())3)# /errifeld (-@@*)0 among others, has emphasised the interconnectivit$ of %lace and s%ace; geographical %laces gain diGerent social0 cultural0 and %olitical meanings across var$ing s%atial and temporal dimensions. In the %ost-colonial world0 for instance, %olitical capitalism has hel%ed maintain economic as well as sociocultural %ower relations between the so-called First and Third Horld countries. Haterman argues that the landsca%es of the James Bond flms inform and represent both the overarching goals and the e!%licit %ractices and representations, initiall$ of state capitalism and colonialism, and more recentl$0 neoliberal capitalism" (()-30 -3D)# Thus, while the meanings related to s%ecifc %laces in the James Bond flms have evolved over the decades, the flms maintain global representational hierarchies where such %laces as Latin America ap%ear as other" in comparison to the leading %owers of the Hest"# In flm, the relationshi% between %lace and space ta&es shape through the use of cinematic landsca%es, where drama or action is enabled rather than sim%l$ ta&ing %lace. In the James Bond flms, landscape contributes to a sense of narrative realism when it is anchored in the flmic narrative to recognisable %laces and to Bond’s embodied e!%eriences of such %laces. The flms, therefore, invite the external world to be %art of their internal narrative logic, and this representational %ower includes %olitical0 social0 and cultural meanings (9ndermann ()-.+ 8u&inbeal ()),)# 1inematic landscapes can serve in the role of s%ectacle, where the$ momentaril$ and visuall$ entice the viewer (Lu&inbeal ()),)# In beautiful scenic shots, the focus is on e!cessive elements and on cinema’s tendency to show0 not tell# 1inematic s%ectacles of this &ind do not e!clude narrative elements, however0 and the$ are connected to the emotional0 embodied0 and inter%retative aspects of flms (Bordwell ())D)# In the Bond franchise, the tropical scener$ of the 1aribbean0 for example, carries with it In+ern3+ion3l Journ3l o5 J3mes .on, Studies · Volume 4 · Issue 1 · Spring ! 1 references to the histor$ of Euro%ean colonialism, slaver$0 and a troubled %olitical and economic relationshi% with the <S. 1onseAuentl$0 landscapes have meta%horical dimensions where representations of %lace become transformed into spaces that imbue the narrative with ideological meaning (Lu&inbeal ()),)# In this article, we argue that landscapes in the James Bond flms serve as both cinematic spectacle and as a connection to the historical0 external worldI recognisable %laces and s%aces of human action which add metaphorical meaning to the narratives. Funnell and 'odds (()-.+ see also 'odds ()),)0 among others, have argued that the James Bond flms hel% to create the spaces and %laces the$ %ortra$ in the minds of their viewers. ;ven when there is a disjuncture between where flming is actuall$ conducted and where the scene is set KLM artifcial %lace images hel% constitute that %lace K###M and therefore become %art of that %lace" ('ittmer and 'odds ()-*0 .@)# This was even more the case %rior to the advent of the Internet age and global mass tourism, when Dr. No (-@D()0 Thunderball (-@D,)0 Live and Let Die (-@.*)0 Moonraker0 and Licence to Kill undoubtedl$ contributed to the wa$ man$ %eo%le saw (and continue to see) the 1aribbean and continental Latin America. Hhen Latin America is understood in its broadest sense, including what 1lawson calls the 1aribbean cultural fringe" (())D0 3-9)0 thirteen out of current twent$-fve Eon-produced James Bond flms see Bond operating in Latin America. Hhile 1aribbean settings are favoured0- onl$ four flms( situate Bond indisputabl$ within continental Latin America F the core" of this cultural and geographic entit$ (1lawson ())D0 .-8)# Three of these flms F Moonraker0 Licence to Kill0 and Quantum of Solace F are discussed in depth below+ the fourth0 Spectre (()-,)0 involves a length$ %re-title sequence set in /exico 1it$ during the 'a$ of the 'ead celebrations. This sequence highlights the %olitics related to flming locations, the touristic gaze, and %ublic relations: leaked emails revealed that the government of /exico ofered the %roduction team some () million dollars in ta! incentives to encourage them to flm in /exico 1it$ in order to ameliorate - This is in large part due to Fleming having purchased and developed the Goldene$e estate in Jamaica right a:er Horld Har II and subseAuentl$ spending time in the 1ar- ibbean ever$ winter (Ear&er ()-7)# Furthermore0 British colonial interests in this re- gion were much stronger than in continental 8atin 9merica# ( This article was written before the release of No Time to Die (()(-)# Based on the trailer and mar&eting material of the twent$-f:h ;on-%roduced flm0 No Time to Die seems to ta&e Bond to continental 8atin 9merica for a f:h time# 2owever0 the flm could not be included in this anal$sis# A. Korpisa3ri 3n, O.J. H36ol3 · T4e Por+r313l o5 -on+inen+3l L3+in Ameri23 in +4e J3mes .on, 8ilms : %otentiall$ negative connotations of /exico and /exicans in flm (Tuckman ()-,)# The end result is a d$namic and beautiful cinematic spectacle, where huge skeleton %rops, skeletal decorations, and face %aintings colour a festive image of the annual celebration# The sequence hel%ed to %opularise the 'a$ of the 'ead so much that0 to %revent tourist disap%ointment0 /exico 1it$ has begun to organise an annual %arade similar to the one seen in the flm. /an$ locals viewed such depictions of /exico and the holida$ as deliberate attempts to shi: the world’s critical gaze awa$ from the countr$’s rampant organised crime and drug- related violence (9gren ()-D)# In Spectre0 certainl$ the %re-title sequence avoids an$ such alienating inter%retations of /exico, and0 as such0 it ofers the %otential for onl$ Neeting social or cultural commentar$ on the countr$# Bond also visits certain unnamed S%anish-s%eaking countries F located either in the 1aribbean or in continental Latin America F during the opening sequences of Goldfnger (-@D7)0 ctopu!!" (-@3*)0 and Never Sa" Never #gain (-@3*)# Cf these flms, the %re- title sequence from Goldfnger is %articularl$ interesting, as Bond blows u% an installation to %revent a Mr# >amirez" from using heroin-favoured bananas to fnance revolutions"# The short sequence %rovides an earl$ reference in the flm series to Hestern fears of Latin American drug %roduction (later encapsulated b$ the Har on 'rugs" and the basic %lotline of Live and Let Die) and the spread of the 1uban >evolution to other countries in the region# The larger cor%us of Bond’s adventures in Latin America suggests a repeated ideological %attern whereb$ these locales are represented as spaces of action and intrigue for the British sp$ who is rarel$ seen in the com%an$ of his American allies in a %art of the world that was F and still %artl$ is F considered to be the <S’s back $ard"# Below0 we anal$se the depiction of continental Latin 9merica in Moonraker0 Licence to Kill0 and Quantum of Solace in turn0 examining those flms’ recognisable %ost-colonial0 1old Har0 and %ost-Cold Har %ower relations in the conte!t of Hestern colonial visual or narrative traditions and the socio-political histor$ of continental Latin America.
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