This Spoiler-Free Review of SKYFALL Was Published October 18, 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
James Bond a 50 The
JAMES BOND: SIGNIFYING CHANGING IDENTITY THROUGH THE COLD WAR AND BEYOND By Christina A. Clopton Submitted to Central European University Department of International Relations and European Studies In partial fulfillment of the requirements for the Masters of Arts Supervisor: Professor Alexander Astrov CEU eTD Collection Budapest, Hungary 2014 Word Count: 12,928 Abstract The Constructivist paradigm of International Relations (IR) theory has provided for an ‘aesthetic turn’ in IR. This turn can be applied to popular culture in order to theorize about the international system. Using the case study of the James Bond film series, this paper investigates the continuing relevancy of the espionage series through the Cold War and beyond in order to reveal new information about the nature of the international political system. Using the concept of the ‘empty signifier,’ this work establishes the shifting identity of James Bond in relation to four thematic icons in the films: the villains, locations, women and technology and their relation to the international political setting over the last 50 years of the films. Bond’s changing identity throughout the series reveals an increasingly globalized society that gives prominence to David Chandler’s theory about ‘empire in denial,’ in which Western states are ever more reluctant to take responsibility for their intervention abroad. CEU eTD Collection i Acknowledgements I would like to extend my deepest gratitude to Professor Alexander Astrov for taking a chance with me on this project and guiding me through this difficult process. I would also like to acknowledge the constant support and encouragement from my IRES colleagues through the last year. -
LACMA Presents …Is James Bond, Co-Organized with LMU's School Of
LACMA presents …Is James Bond, co-organized with LMU’s School of Film and Television, June 9 – September 9, 2012 Exhibition features all twenty-two James Bond opening credit sequences, fourteen of which were created by film title designer Maurice Binder, in celebration of the fiftieth anniversary of the Bond franchise (LOS ANGELES, June 4, 2012) – The Los Angeles County Museum of Art (LACMA) presents …Is James Bond, the first exhibition to feature the complete opening credit sequences from twenty-two James Bond films produced by Eon Productions. Co-organized by LACMA and Loyola Marymount University’s School of Film and Television (SFTV), the exhibition celebrates the fiftieth anniversary of one of the most successful and long-lasting film franchises of all time: James Bond. SFTV Dean Stephen Ujlaki says, “Bond’s impact on popular culture is immense, from music to fashion and automobiles, and on the business side, the people who advanced the franchise deserve immense credit, among them LMU alumna Barbara Broccoli, and Eon Productions.” Over the course of fifty years and twenty-two films (soon to be twenty-three with the release of Skyfall), James Bond has gone from Sean Connery to Daniel Craig, from the Soviets to the North Koreans, from M as a man to a woman, from secret nefarious organizations to power-mad tycoons. And while 007 was changing, the opening credit sequence remained constant. “Beginning with Dr. No, the opening credits, created by Maurice Binder, have functioned as pieces of art that comment on the films, while remaining separate from them,” says Elvis Mitchell, curator for Film Independent at LACMA. -
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. -
International Spy Museum
International Spy Museum Searchable Master Script, includes all sections and areas Area Location, ID, Description Labels, captions, and other explanatory text Area 1 – Museum Lobby M1.0.0.0 ΚΑΤΆΣΚΟΠΟΣ SPY SPION SPIJUN İSPİYON SZPIEG SPIA SPION ESPION ESPÍA ШПИОН Language of Espionage, printed on SCHPION MAJASUSI windows around entrance doors P1.1.0.0 Visitor Mission Statement For Your Eyes Only For Your Eyes Only Entry beyond this point is on a need-to-know basis. Who needs to know? All who would understand the world. All who would glimpse the unseen hands that touch our lives. You will learn the secrets of tradecraft – the tools and techniques that influence battles and sway governments. You will uncover extraordinary stories hidden behind the headlines. You will meet men and women living by their wits, lurking in the shadows of world affairs. More important, however, are the people you will not meet. The most successful spies are the unknown spies who remain undetected. Our task is to judge their craft, not their politics – their skill, not their loyalty. Our mission is to understand these daring professionals and their fallen comrades, to recognize their ingenuity and imagination. Our goal is to see past their maze of mirrors and deception to understand their world of intrigue. Intelligence facts written on glass How old is spying? First record of spying: 1800 BC, clay tablet from Hammurabi regarding his spies. panel on left side of lobby First manual on spy tactics written: Over 2,000 years ago, Sun Tzu’s The Art of War. 6 video screens behind glass panel with facts and images. -
The Depiction of Scientists in the Bond Film Franchise Claire Hines
The depiction of scientists in the Bond film franchise Claire Hines The James Bond film franchise began with the release of Dr No (Terence 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 organisation 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, where Bond is sent by the British Secret Service to Jamaica and uncovers an evil plot headed by a scientific mastermind. As the first of the Bond films, it is particularly significant that Dr No has a scientist as the very first on-screen Bond villain. Played by Joseph Wiseman, Dr No was based on the literary character from Fleming’s novel, and clearly followed in the tradition of the mad scientist, but also became the prototype for the many Bond villains that followed in the film series (Chapman 2007: 66). According to the stories that circulate about the preparation of Dr No, however, this was almost not the case. In his autobiography Bond producer Albert Broccoli recalls that he and Harry Saltzman rejected an early draft of the screenplay in which the screenwriters had departed from the novel and made the villain a monkey (1998: 158). Broccoli was adamant that the script needed to be rewritten and that Fleming’s Bond villain should be restored to the screenplay (1998: 158). -
A Letter to Emilija Škarnulytė Regarding Her Film Mirror Matter (Unpublished Essay Commissioned for a Book by Emilija Škarnulytė and Andrew Berardini, Ed.)
The Truth of the Matter: a Letter to Emilija Škarnulytė regarding her film Mirror Matter (unpublished essay commissioned for a book by Emilija Škarnulytė and Andrew Berardini, ed.) By Patrick J. Reed Emilija, I did something terrible. Emilija, I followed a whim. I strayed from the path set by your directive, the one that said “reflect on the aspect of sound specifically.” I profaned your work, perverting your intentions. I confess: I muted your videos and watched them sound synched to James Bond theme songs à la the Dark Side of the Rainbow, à la a stoner’s game. I silenced the gentle, albeit chthonic, soundtracks that you crafted with precision from cosmic noise, and replaced them with the dulcet tones of, for example, “Nobody Does It Better” because the Internet made my blasphemy possible and because, to a greater degree, your digital representation of the Super-Kamiokande Neutrino Observatory in Mirror Matter (2017) reminded me of a Bond villain’s hideout. Think Ernst Stavro Blofeld’s volcano lair in You Only Live Twice (1967) or Tiago "Raoul Silva" Rodriguez’s effortless occupation of Hashima Island in Skyfall (2012). I admit that my heart ached when Carly Simon sang “the way that you hold me, whenever you hold me, there's some kind of magic inside you…” as your LIDAR scans of the Large Hadron Collider at CERN, also in Mirror Matter, glided across the screen, and that I fully submitted to the pareidolic thrill of watching a factory building collapse in time with Radiohead’s (rejected) titled song for Spectre (2015).1 “I’m lost, I’m a ghost,” crooned Thom Yorke as the I-beams fell. -
Agency, Embodiment and Performance in Daniel Craig's
1 The New Brutalism: Agency, Embodiment and Performance in Daniel Craig’s 007 Sarah Thomas [Journal of Popular Film and Television, special edition of Daniel Craig’s era as James Bond. Article in press] Breaking ground on the long lead-in promotion for Spectre (Mendes 2015), the October 2015 issue of Esquire magazine asked cover star Daniel Craig to reflect on a decade as 007, where “he redefined the once cartoonish secret agent as a symbol of masculinity for the modern age” (Bilmes “Once More With Feeling” 164). The feature constructs Craig’s Bond in a way that deviates from established interpretations of the star-character with a distinct focus on Daniel Craig himself, here defined as much away from Bond as through him. In describing how Craig’s desire for “beer and fags” stems from the actor having to knuckle down and perform promotional duties (ibid), author Alex Bilmes uses a blunt language which mimics Craig’s own brusque reworking of Bond into what has been widely acknowledged as a more brutish and crude character. Craig’s interpretation matches Ian Fleming’s original description of Bond as a “blunt instrument” and the phrase is present in Craig’s first Bond film Casino Royale (Campbell 2006), used by Judy Dench’s M to describe the agent. Bilmes’ style also departs from conventional rhetoric that constructs an actor’s identity through their characters and emphasises how naturally they embody their roles, as seen in an earlier interview between the two, “[I] sat down 2 with James Bond for an afternoon pint” (Bilmes “Skyfall: the Daniel Craig Interview” online). -
The Quantum of Missus Guide to the James Bond Films
THE QUANTUM OF MISSUS GUIDE TO THE JAMES BOND FILMS Bond : Barry Nelson as CIA agent “card sense” Jimmy Bond Villains : Le Chiffre (Peter Lorre) Allies : Valerie Mathis Clarence Leiter Locations: France Villain’s Plot: Le Chiffre intends to win at baccarat in order to make money for the USSR The one with: black and white TV show Bond : Sean Connery Villains : Dr. No Allies : Honey Ryder (Ursula Andress) Felix Leiter (Jack Lord) M (Bernard Lee) Miss Moneypenny (Lois Maxwell) Sylvia Trench Gadgets: Geiger counter Locations: Jamaica Villain’s Plot: Jamming US and Soviet rocket controls and communications on behalf of SPECTRE and to get revenge for his seeking employment with both superpowers being declined. Theme song : James Bond Theme, Three Blind Mice, Under The Mango Tree The one with: the woman in the white bikini coming out of the sea; Bond being a “very nerrr-vus passin-jurr” Bond : Sean Connery Villains : Ernst Stavro Blofeld (unseen) Rosa Klebb “Red” Grant Allies: Tatiana Romanova Kerim Bey M Major Boothroyd/Q (Desmond Llewelyn) Miss Moneypenny Gadgets: Briefcase containing gold sovereigns, knife, exploding capabilities, compact rifle and ammunition Locations: Istanbul, Venice Villain’s plot: Recently defected SMERSH agent Rosa Klebb is charged by Blofeld, head of SPECTRE, with carrying out a plot to embarrass the Russians and the British by (a) stealing a coding machine from the Russians and (b) filming Bond having sex with the Russian cipher clerk who, believing she is working under Moscow’s orders, will entice him to Istanbul -
Hong Kong and Post-Colonial Identity in Skyfall
Situations Vol. 6(Winter 2012) © 2012 by Yonsei University Jen Hui Bon Hoa1 Assistant Professor of Comparative Literature (Underwood International College, Yonsei University) “That which we are, we are”: Hong Kong and Post-Colonial Identity in Skyfall ABSTRACT The most recent James Bond film, Skyfall, controversially depicts its aging hero as no longer equal to the physical rigors of his job, and yet unable to abandon it. A thinly-veiled cipher for the British Empire, Bond is beholden to a sense of his former glory, and to the metaphysical assertion of a stable identity, despite the disappearance of its material trappings. In posing the question, What is a hero without a heroic body?, Skyfall at the same time asks: What is an empire after the last colony has been surrendered? This essay considers how, on the one hand, Skyfall 1 Jen Hui Bon Hoa teaches critical theory, cultural studies, and 20th-century French and Anglophone literature at Yonsei University's Underwood International College. She received her B.A. in Comparative Literature from the University of Pennsylvania, and her M.A and Ph.D. in Comparative Literature from Harvard University. Her current research focuses on representations of collaboration in the work of Maurice Blanchot, Jean-Luc Nancy, and Giorgio Agamben, among others, as a way of addressing the elusive question of political practice in contemporary theories of community. 1 returns to the site of imperial trauma – the loss of Britain’s final colony, Hong Kong—in order to stage a therapeutic postcolonial confrontation and, yet, on the other hand, troubles a purely therapeutic narrative by relating the latency of imperial consciousness to extra-judicial state violence in the “war against terror” and the permanent state of exception exemplified by MI6. -
Die Macht Von WC-Papier Streiflicht WC-Papier Ist in Diesen Tagen Das Neue Gold
24 I Kultur Mittwoch, 25. März 2020 I www.tagblattzuerich.ch Die Macht von WC-Papier Streiflicht WC-Papier ist in diesen Tagen das neue Gold. Diesen Anschein erweckt jedenfalls die Obsession, welche auch in Zürich um dieses Alltagsprodukt entstanden ist. Schon vor der Coronakrise hat sich ein Zürcher Künstler mit ihm beschäftigt. Jetzt erhält seine Kunstinstallation eine ganz neue Bedeutung. Von Jan Strobel Es gibt in diesen Tagen des Aus- in der Galerie Cularta zu sehen nahmezustands, der ja bereits fast gewesen. «Für die Installation zur neuen Normalität wird, ein wollte ich einen Gegenstand von Produkt, das wertvoller scheint als möglichst geringem Wert verwen- Gold: das WC-Papier. Auch die den, um eine Debatte über die Zürcher scheinen diese merkwür- Wichtigkeit von materiellen Ge- dige, irrationale Obsession darum genständen anzustossen», sagt der entwickelt zu haben, die überall Künstler. «Welche Gegenstände – zumindest im Westen – Urständ sind wichtig für mich? Mein Auto, feiert. Freud hätte wohl von einer mein Handy, mein Computer? Wa- unbewussten frühkindlichen Fixie- rum sind diese Gegenstände wich- rung gesprochen, jedenfalls be- tig für mich? Welche Gegenstände schäftigt sich schon heute eine ge- sind nicht wichtig für mich? Wieso fühlte Myriade von Psychologen nicht? Wie (be-)werte ich Gegen- mit diesem Phänomen des WC-Pa- stände und warum? Brauche ich pier-Hortens. jedes Jahr das neuste Handy? Wel- chen Wert hat eigentlich WC-Pa- Eine Wertedebatte pier für mich?» Mit der Pandemie hat das Kunst- Auch in der Kunst ist das Produkt werk nun eine ganz neue Aktuali- ein Thema, zum Beispiel beim Zür- tät erhalten. «Mit der Coronakrise cher Künstler Marc B. -
“Old Dog, New Tricks” James Bond’S Digital Chaos
“Old Dog, New Tricks” James Bond’s Digital Chaos CHRISTOPHER HOLLIDAY The James Bond flm series has, since the turn of the millennium, evolved an in- creasingly vexed and ambivalent relationship to digital visual efects and com- puter graphics, one that can be squared to the perceived ideological and stylistic fracture between the opposing tones of the ierce Brosnan !"##$-2&&%' and (aniel )raig !%&&*-present' eras. The signifcance of &&,-s grittier, revisionist re- newal and the framing of more recent Bond cinema since )raig’s debut in Casino Royale !Martin )ampbell, %&&*' as an active /going against0, has been critically and culturally understood as a move intended to correct the franchise-s in- creased encroachment towards digital imagery and computer processes as vital support for Bond-s unique brand of suave endeavour, physical dexterity, and heroic heterosexual masculinity+ As 2rit 3ussfeld )ohen argues, /the gradual in- crease in digiti4ation0 across the James Bond franchise since the release of GoldenEye !Martin )ampbell, "##$' reached its pinnacle with the %&th instalment and 5&th anniversary feature Die Another Day !Lee Tamahori, %&&%', a flm that mar7ed a clear shi8 in aesthetic priorities from the /careful and discrete deploy- ment of digital technology towards a combination of multiple digital techniques0 !%&"*, "&9'+ :esponses to the flm in the ;ollywood trade and British press !both at the time, and particularly following )raig’s dar7er, moodier tenure as &&,' have routinely expressed reservations at how Brosnan-s fnal outing -
King's Research Portal
King’s Research Portal DOI: 10.1080/01956051.2018.1423210 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Holliday, C. (2018). London, the Post-7/7 Bond Films and Mourning Work. JOURNAL OF POPULAR FILM AND TELEVISION , 46(1), 56-63. https://doi.org/10.1080/01956051.2018.1423210 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.