{"title":"Femininity, Seriality and Collectivity:","authors":"M. Luckett","doi":"10.2307/j.ctv1850jbk.11","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.11","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114777620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter examines the chase sequences in Tomorrow Never Dies (1997) and in Skyfall (2012) in order to argue that 007’s varying relationships with women of color may be seen through the Otherness evoked by the Eastern bazaar: a site of visuality and mobility as well as a social space where both hybrid identity and cultural tourism are made visible. The earlier film (with Pierce Brosnan and Hong Kong action star, Michelle Yeoh) reflects what Mikhail Bakhtin casts as carnival, where inverted roles challenge social and cultural norms. In contrast, the later Bond (with Daniel Craig and a new Moneypenny, Naomie Harris), regresses to the Orientalist expression of an East-West relationship predicated on the colonial exercise of power based on exclusion and domination.
{"title":"Market Forces:","authors":"Lorrie Palmer","doi":"10.2307/j.ctv1850jbk.12","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.12","url":null,"abstract":"This chapter examines the chase sequences in Tomorrow Never Dies (1997)\u0000 and in Skyfall (2012) in order to argue that 007’s varying relationships\u0000 with women of color may be seen through the Otherness evoked by the\u0000 Eastern bazaar: a site of visuality and mobility as well as a social space\u0000 where both hybrid identity and cultural tourism are made visible. The\u0000 earlier film (with Pierce Brosnan and Hong Kong action star, Michelle\u0000 Yeoh) reflects what Mikhail Bakhtin casts as carnival, where inverted\u0000 roles challenge social and cultural norms. In contrast, the later Bond\u0000 (with Daniel Craig and a new Moneypenny, Naomie Harris), regresses to\u0000 the Orientalist expression of an East-West relationship predicated on the\u0000 colonial exercise of power based on exclusion and domination.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"834 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116422005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Unlike Men, The Diamonds Linger:”","authors":"M. Murugan","doi":"10.2307/j.ctv1850jbk.17","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.17","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122470715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1017/9789048532117.001
J. Verheul
{"title":"Introduction : Specters of 007","authors":"J. Verheul","doi":"10.1017/9789048532117.001","DOIUrl":"https://doi.org/10.1017/9789048532117.001","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130323167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1017/9789048532117.010
Anna Everett
This chapter examines discourses of race and of blackness in the James Bond film series, starting with post-imperial, Cold War-inflected “Negrophobic” themes in 1962’s Dr. No; to the post-Civil Rights, Blaxploitation sampling deployed in 1973’s Live and Let Die; to a black Amazonian, hypersexual badass vibe on display in 1985’s A View to a Kill; to a new millennial, color-blind casting sensibility at work in 2012’s Skyfall. Of particular concern are the Bond films’ racist portrayals of black womanhood, and their aestheticized violence in depictions of the spectacularized annihilation of bodies of color. Simultaneously, this chapter acknowledges that Bond fans routinely derive pleasure from negotiating the strange spectatorial sublime of James Bond’s troubling discourses on race and otherness.
本章研究了詹姆斯·邦德系列电影中关于种族和黑人的话语，从1962年的《诺博士》(Dr. No)中受冷战影响的后帝国主义“黑人恐惧症”主题开始;到1973年的《生与死》(Live and Let Die)中运用的后民权运动、Blaxploitation抽样;到1985年的《杀机出击》(a View to a Kill)中展现的亚马逊黑人、性欲亢进的坏蛋气质;到2012年《007:大破天幕杀机》(Skyfall)中的新千禧一代、色盲选角敏感度。特别值得关注的是，邦德电影对黑人女性的种族主义描绘，以及对有色人种大规模灭绝的美化暴力描写。与此同时，本章承认，邦德迷们通常会从詹姆斯·邦德关于种族和他者的令人不安的话语中，从奇怪的观赏性的崇高中获得乐趣。
{"title":"Shaken, Not Stirred Britishness: James Bond, Race, and the Transnational Imaginary","authors":"Anna Everett","doi":"10.1017/9789048532117.010","DOIUrl":"https://doi.org/10.1017/9789048532117.010","url":null,"abstract":"This chapter examines discourses of race and of blackness in the James\u0000 Bond film series, starting with post-imperial, Cold War-inflected “Negrophobic”\u0000 themes in 1962’s Dr. No; to the post-Civil Rights, Blaxploitation\u0000 sampling deployed in 1973’s Live and Let Die; to a black Amazonian,\u0000 hypersexual badass vibe on display in 1985’s A View to a Kill; to a new\u0000 millennial, color-blind casting sensibility at work in 2012’s Skyfall.\u0000 Of particular concern are the Bond films’ racist portrayals of black\u0000 womanhood, and their aestheticized violence in depictions of the\u0000 spectacularized annihilation of bodies of color. Simultaneously, this\u0000 chapter acknowledges that Bond fans routinely derive pleasure from\u0000 negotiating the strange spectatorial sublime of James Bond’s troubling\u0000 discourses on race and otherness.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116339795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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