“I Know Where You Keep Your Gun”: Daniel Craig as the Bond-Bond Girl Hybrid in Casino Royale

Funnell, Lisa

doi:10.1111/j.1540-5931.2011.00843.x

Cited by 45 publications

(7 citation statements)

References 2 publications

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“…Films in the Daniel Craig era beginning with Casino Royale (Campbell 2006) diverge from their predecessors, mobilizing a different heroic model for Bond. He embodies a more Hollywood‐style hard body masculinity as the Bond films attempted to compete against blockbusters dominating the global film market (Funnell 2011). Moreover, heterosexual romantic conquest does not serve as a tipping point in Craig's films; in fact, Bond does not end up with a love interest in any of Craig's origin trilogy ( Casino Royale [Campbell 2006], Quantum of Solace [Forster 2008], and Skyfall [Mendes 2012]), signaling the removal of lover from Bond's heroic identity.…”

Section: You Know My Namementioning

confidence: 99%

“…Roger Moore was known for his witty one-liners and 'eye-brow' acting; Pierce Brosnan was presented in a similar vein, only he relied on witty quips to bring comedic relief to his films' violence and high death tolls. Audiences have had strong feelings about such differences, generally responding more positively to the portrayals of Bond given by Connery, Moore, and Brosnan over the ones from Lazenby or Dalton (Funnell 2011). Whether light or dark, witty or melodramatic, Bond is depicted as a steadfast gentleman hero who fights to ensure the physical safety and geopolitical security of the United Kingdom, while safeguarding his love interest, the Bond Girl.…”

Section: You Know My Namementioning

confidence: 99%

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Nobody does it better: Identity, ideology, and the future of James Bond

Johnson

Funnell

2022

Social Science Quarterly

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We explore the possibility that ideology structures attitudes toward casting choices swapping the race, gender, or sexual orientation of existing characters within popular entertainment franchises. Methods: We conduct an original survey to gauge reactions to potential swaps within the James Bond film franchise. Results: American conservatives are significantly less interested in future Bond films should the main character be played by a black man, a black woman, a white woman, or someone who is gay or a lesbian. This relationship does not hold should the role go to someone under 25 or American. Conclusion: Ideology structures attitudes toward the world of popular culture in addition to and in similar ways to the world of politics.Decades of research on descriptive representation displays the benefits of having a diverse set of elected officials. These benefits include better substantive representation on issues salient to underrepresented groups (Mansbridge 1999; Haider-Markel 2007) and stronger relationships with systems of government, seen through increased involvement (Rocha et al. 2011;Clark 2019), increased efficacy (Bobo and Gilliam 1990;Banducci, Donovan, and Karp 2004;Atkeson and Carrillo 2007;West 2017), and decreased alienation (Pantoja and Segura 2003). The effects of descriptive representation extend beyond politics and into the world of media. Media present underrepresented groups with opportunities for empowerment (Alia and Bull 2005); when said groups are not represented in media, they are less visible to society (Dixon, Weeks, and Smith 2019). The construction of one's social identity can be influenced by media consumption; this is especially true for marginalized individuals (Brooks and Hébert 2006). More specifically, popular culture can drive "who we are as people and who we think we can become" (Trier-Bieniek 2019:14).Across the past decade or so, the entertainment industry has become more conscious of the need for greater diversity and inclusion. As Sarah Kate Ellis, director of the Gay & Lesbian Alliance Against Defamation (GLAAD) put it, "communities who have been left out of the seats at the table for decades and decades are finally starting to find their voice, and their footing" (Noveck 2019). Entertainment executives also realized money could be made in diverse programming, especially in reaching younger viewers "for whom diversity-racial, religious, sexual-is their world" (Morris and Poniewozik 2016). One strategy through which Hollywood has evolved is by swapping the race, gender, and sexual orientation of actors playing characters within already established films, television shows, and franchises, doing so through casting, reimagining, or rebooting.

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Section: You Know My Namementioning

confidence: 99%

Section: You Know My Namementioning

confidence: 99%

Nobody does it better: Identity, ideology, and the future of James Bond

Johnson

Funnell

2022

Social Science Quarterly

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“…Films about James Bond are worthy of separate mention. Although they are produced by the British company EON Productions, it is owned by the American holding Danjaq LLC, founded by the producer of most films made since 1962-Albert R. Broccoli who sought to make the screen image of the famous spy "more mid-Atlantic and less overtly British" (Funnell, 2011). Up until 1975, Broccoli had produced films with Harry Saltzman, another American producer who originally owned the film rights to British spy novels.…”

Section: Blockbustersmentioning

confidence: 99%

“Popcorn Diplomacy”: American Blockbusters and World Order

Artamonova¹

2022

RGA

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“…Silva strokes Bond's thighs as he attempts to diminish his attachment to his superiors: in a gesture at once sexual and ideological, Silva attempts to seductively coerce Bond away from political fidelity to England. This conflation of ideological subversion and sexual attention is an example of the return to the representational conservatism of the novels for which the Daniel Craig Bond films are known (Funnell, 2011;Kord and Krimmer, 2011: 133). In Fleming's canon, even more so than in Skyfall, Bond is continually made potentially available to male intimacy, and he continually resists it and the ideological conversion and betrayal that it represents.…”

Section: The Sexual Representation Of Torturementioning

confidence: 99%

‘The sweet tang of rape’: Torture, survival and masculinity in Ian Fleming’s Bond novels

Adams

2017

Feminist Theory

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Little scholarly attention has been paid to the torture scenes in Ian Fleming's canon of Bond novels and short stories (1953-1966), despite the fact that they represent some of the most potent sites of the negotiations of masculinity, nationhood, violence and the body for which Fleming's texts are critically renowned. This article is an intersectional feminist reading of Fleming's canon, which stresses the interpenetrations of homophobia, anticommunism and misogyny that are present in Fleming's representation of torture. Drawing on close readings of Fleming's novels and theoretical discussions of heteronormativity, homophobia and national identity, this article argues that Fleming's representations of torture are sites of literary meaning in which the boundaries of hegemonic masculinity are policed and reinforced. This policing is achieved, this article argues, through the associations of the perpetration of torture with homosexuality and Communism, and the survival of torture with post-imperial British hegemonic masculinity. Fleming's torture scenes frequently represent set pieces in which Bond must reject or endure the unsolicited intimacy of other men; he must resist their seductions and persuasions and remain ideologically undefiled. Bond's survival of torture is a metonymy for Britain's survival of post-Second World War social and political upheaval. Further, the horror of torture, for Fleming, is the horror of a hierarchy of hegemonic masculinity in disarray: Bond's survival represents the regrounding of normative heterosexual masculinity through the rejection of homosexuality and Communism.

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“I Know Where You Keep Your Gun”: Daniel Craig as the Bond-Bond Girl Hybrid in Casino Royale

Cited by 45 publications

References 2 publications

Nobody does it better: Identity, ideology, and the future of James Bond

Nobody does it better: Identity, ideology, and the future of James Bond

“Popcorn Diplomacy”: American Blockbusters and World Order

‘The sweet tang of rape’: Torture, survival and masculinity in Ian Fleming’s Bond novels

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