The release of Skyfall (Sam Mendes 2012) marked the fiftieth anniversary of the James Bond film franchise. The 23rd film in the series, Skyfall earned over $1 billion dollars (USD) at the worldwide box-office and won two Academy Awards. Amidst such popular and critical acclaim, many have questioned the representation of women in the film, viewing Skyfall in relation to the Bond franchise at large. From the representation of an aging and disempowered M, to the limited role of the Bond Girl, to the characterization of Miss Moneypenny as a defunct field agent, Skyfall arguably develops the legacy of Bond at the expense of women in the film. Although some might argue that the Bond franchise has adjusted its politics of representation—a notion promoted through a 2011 video celebrating International Women’s Day featuring Daniel Craig and Judi Dench in their Bond roles discussing gender equality—the most recent film Skyfall is decidedly regressive in its narrative treatment of female characters.
Bond has historically been defined by his relationships with women and particularly through heterosexual romantic conquest. As noted by Jeremy Black, Bond’s sexual partners provide a “visual guarantee of the maleness of the Secret Service” and these conquests offer “tipping point[s]” in the narrative (107-9). By indiscriminately sleeping with multiple women in each film, Bond helps to ensure the success of his mission by aligning his lovers with his moral plight. In light of Bond’s treatment of women—seducing, bedding, and discarding them—the franchise has been accused of being sexist and misogynistic. Although some might argue that the franchise has progressed in terms of gender equality, as Craig’s Bond sleeps with fewer women than his predecessors, the problematic representation of women in
Skyfall recalls the media-driven backlash against feminist gains in the 1970s, which impacted the depiction of women in the series. Indeed, Tony Bennett and Janet Woollacott note that Bond films of the 1970s featured the “putting-back-into-place” of women by “fictitiously rolling back the advances of feminism to restore an imaginarily more secure phallocentric conception of gender relations” (“The Moments” 28). Since
Casino Royale (Martin Campbell 2006) and its sequels
Quantum of Solace (Marc Forster 2008) and
Skyfall constitute a rebooting of the series, it leads many scholars, like myself, to question if there a place for women in the new world of James Bond and, if so, what role will these women play in the future of the franchise?
For His Eyes Only: The Women of James Bond seeks to answer these questions by examining the role that women have historically played in the franchise, which greatly contributed to the international success of the films. This anthology constitutes an important academic study on the women in the Bond franchise as it moves beyond the discussion of a single character (e.g. Honey Ryder), character type (e.g. the Bond Girl), or group of films (e.g. the Connery era). While scholars have examined this subject in previous works, their arguments can be found in broader studies on the Bond franchise (see Black [2001], Chapman [2007]) and edited collections (see Lindner [2003], Weiner et al. [2010]). This book redresses this critical oversight by providing a comprehensive examination of femininity and feminism in the Bond series. It covers all 23 Eon productions as well as the spoof Casino Royale (Val Guest et al. 1967) and considers a range of Bond women from primary characters to secondary figures to the women who lend their voices to the title tracks. More importantly, this book moves beyond a cursory discussion of casting and characterization to consider a range of factors that have helped to shape the representation of women in the franchise, including female characterization in Ian Fleming’s novels, the vision of producer Albert R. Broccoli and other creative personnel, the influence of feminism and other social and political factors, and broader changes/trends in British and American film and television. This anthology provides a timely and retrospective look at the depiction of women in the franchise, in light of the 50-year anniversary of the series, and offers new scholarly perspectives on the subject.
The anthology is divided into six sections. The first, From Novel to Film, considers the representation of women in the Bond novels and explores how these characters are adapted into the films. James Chapman argues that the representation of women is at once more conservative and progressive in the novels than the films. He contends that while the novels may be criticized for their casual sexism and misogyny, they provide greater scope for female agency as “the girl” often possesses skills and knowledge that Bond does not, and even rescues him on occasion. Boel Ulfsdotter examines the character design of Tiffany Case in Fleming’s novel Diamonds Are Forever (1956) and discusses the factors that influenced her transposition into the 1971 film. She argues that the filmic Case is a transitory figure as the series shifts from one Bond Girl concept to another, a situation that influenced the development of her screen persona. Jim Leach considers the performance of Judi Dench as M in relation to her novel and film counterparts. He argues that the presence of a female M unsettles the basic formula of the series and the extent of this disruption is not just a question of her gender but also one of political and technological developments in the world in which she exercises her authority.
The
second section,
Desiring the Other, examines how the intersection of gender with race, ethnicity, and/or nationality impacts the narrative treatment of women in the franchise. Thomas Barrett examines the characterization of Tatiana Romanova in
From Russia with Love (Terence Young 1963) in relation to the shifting discursive terrain as the Soviet Union began opening up to the West. He argues that Bond, by escorting Romanova to the West, enacts a contemporary conversion fantasy that renders Soviet women ripe for Western consumption. Travis Wagner examines the relationship of Bond, a privileged white colonial figure, with the various black women who appear over the course of the series. He explores how racial stereotypes are mobilized in the representation of black women and how their treatment by Bond works to reaffirm and entrench his privilege. Charles Burnetts explores how the secondary woman or “fluffer” character is set up as a tool/commodity in the narrative to be exploited by Bond and/or the villain. He discusses the preponderance of black fluffer characters in the franchise and the ways in which this fluffer typology sits in tension with contemporary mandates for “positive” representation. Kristen Shaw examines the disciplinary process that is initiated when Moneypenny accidentally shoots Bond in
Skyfall. She argues that Moneypenny is put into her “proper” place as a racial and gendered “Other,” effectively transforming her from Bond’s equal to a supportive sidekick. Lisa Funnell examines the depiction of Asian women across three key phases of the Bond franchise. She argues that Asian femininity is depicted through the use of antiquated stereotypes; the films foreground the distinction of unacceptable and acceptable femininity in relation to the white status quo, that being James Bond.
The third part,
Feminist Critiques and Movements, explores female representation through the lens of feminism. Robert von Dassanowsky examines Ursula Andress’ Vesper Lynd in
Casino Royale (1967), arguing that she is the most remarkable female character of the decade’s espionage genre for her vast independent power and wealth. He contends that the character intertexts with the Eon Bond series and especially
Dr. No (Terence Young 1962), and conflates the other sexually domineering figures Andress previously portrayed. Marlisa Santos suggests that
On Her Majesty’s Secret Service (Peter Hunt 1969) fits the formula of the Hollywood Golden Age “woman’s film.” She explores how the film breaks the androcentric mold of the Bond film by centralizing the role of women, defining Bond through the main female character of Tracy di Vicenzo, as well as the symbolic female influence of Queen Elizabeth II, the locus of Bond’s professional identity. Dan Mills examines the representation of women in
On Her Majesty’s Secret Service, arguing that the film breaks generic conventions by depicting strong female characters (Tracy di Vicenzo, Irma Bunt, Moneypenny) who are more actively involved in the development of the narrative than their male counterparts (Bond, Blofeld, M). He contends that the depiction of women reverses gender roles in the Bond canon in a way that makes
On Her Majesty’s Secret Service an aberration in the series. Fernando Gabriel Pagnoni Berns argues that the representation of Bond women in the early 1980s is influenced by the radical feminist movement. He explores how
For Your Eyes Only (John Glen 1981) and
Octopussy (John Glen 1983) register the impact of second-wave feminism through a consideration of the Sisterhood communities that emerged in places like the United States and India. Alexander Sergeant examines the depiction of Electra King in
The World is Not Enough (Michael Apted 1999) and the various attempts made within the film to domesticate desire under the domain of the phallus. He argues that King both embodies and problematizes traditional gender roles, and through the use of masquerade she manages to hold Bond’s phallic authority at a distance.
The
fourth section,
Gendered Conventions, considers a variety of female-focused or feminine elements that have helped to define the Bond generic tradition. Sabine Planka examines the form and function of the Bond title sequence, an element that has helped producers to integrate more women and especially female sexuality into the franchise. She argues that the semi-nude female body is served up as an appetizer to a presumed male audience in order to peak their interest in the forthcoming film. Eileen Rositzka examines the representation of “Secondary Girls,” emphasizing the importance of mystique to female characterization in the franchise. She notes that once the (female) enigma is solved, she is rendered unremarkable and new enigmas are produced to take her place. Catherine Haworth considers the interplay of music with the representation of women in
Goldfinger (Guy Hamilton 1964). She argues that the musical and visual motifs of the title sequence spill over into the film’s narrative proper and create spaces within which female desire and agency can be articulated. Anna Piotrowska notes that while there is no Bond Girl musical theme, a female perspective is forwarded in the films through the song lyrics and female voices featured in the title tracks. She argues that, through the soundtrack, women remain immortalized in the form of disembodied voices and their eternal presence is asserted as voices of consciousness. Andrea Severson utilizes costume theory to explore the representation of femininity and power, particularly in relation to the Bond Girl. Two films serve as case studies for her analysis:
Dr. No (1962), which marks the beginning of the series, and
Casino Royale (2006), which marks the re-conceptualization of the franchise.
The
fifth section,
Female Agency and Gender Roles, examines gender equality in various facets of the Bond film. Stephen Nepa examines the relationship between Bond and Tracy di Vicenzo in
On Her Majesty’s Secret Service, focusing on the messages being relayed about gender through their secret agent nuptials. He explores how shifting gender roles in the film influence the representation of Bond women in subsequent films and 007’s relationships with them. Ross Karlan discusses how the Bond Girl operates like a magician’s assistant, as her performance is largely defined by her relationship with Bond and the audience of the films. He argues that when viewed through the lens of magic, the Bond Girl takes on a more active role in the Bond universe. Stephanie Jones examines how the car in Bond films serves as an object that reflects changing ideas about the role of women and technology. She examines three similar scenes in which Bond receives a new car from Q and traces the shift change in gender ideologies. Klaus Dodds explores the re-introduction of Moneypenny in
Skyfall and the ways in which her character is different from earlier incarnations. He argues that
Skyfall puts forward the impression that (older/experienced) male agents belong in the field over (younger/less experienced) female agents who serve better as sidekicks rather than professional colleagues. Jeffrey Brown explores how
Salt (Phillip Noyce 2010), an action film starring Angelina Jolie, is a self-conscious attempt to create a female Bond franchise and examines the ways that key Bond conventions are reconfigured due to the gender change of the superspy. In particular, Brown explores how Salt is de-sexualized in order to avoid the hero being diminished by objectification.
The
sixth section,
Judi Dench’s Tenure as M, offers critical perspectives on the representation and character trajectory of Dench’s M. Peter Kunze reads Dench’s portrayal of M through the lens of feminist critiques of postfeminist discourse and culture. He argues that while a female M gestures toward a productive revision of the traditionally sexist franchise, patriarchal logic persists in the so-called updated Bond films. Brian Patton maps the transformation of M as well as the Bond/M relationship over the course of seven films released between 1995 and 2012. He argues that the advent of a female M brings to the fore a new emphasis on female authority as the series’ producers work to situate Bond in a world where a woman in a position of power might be greeted with something other than contempt. Lori Parks examines the characterization of women in
Skyfall focusing specifically on the intersection between age and gender. She argues that the representation of M, an aging woman, contrasts with the typical depiction of the Bond Girl, and that the introduction of Moneypenny, as an inexperienced agent who trades in field work for a desk job, influences the perception of Dench’s M. Christopher Holliday notes that while the maternal overtones between Bond and M have gained momentum during the Craig era, the representation of M in
Skyfall is also reflective of the Bond Girl. He argues that the irresolvable tension between M’s maternal weight and her iconography as “lover” instigates the character’s demise in
Skyfall, and marks the culmination of Dench in the role. Michael Boyce examines the shift in the representation of Dench’s M from an unusually complex female character in the Brosnan era Bond films, to a domesticated, neutered mother-figure in the Craig era Bond films. He argues that within the limited gender perspective of the Bond world, mothers (like wives) are unnecessary and undesirable, and her exit is foreshadowed and required.