Imperial War Museum - In Memoriam: Remembering the Great War - Term Paper Example

Bond, James Bond The Creation of a Legend by Ian Fleming: Bond, James Bond Bond, James Bond 2 The Creation of a Legend by Ian Fleming: Bond, James Bond The Imperial War Museum in London is devoted to exhibits that reflect the life and experiences of the citizens of Great Britain in reference to the sacrifices and triumphs that are related to war. A collection that ranges from tanks and aircraft to photographs and personal letters, with films sound recordings and some of the twentieth century’s best paintings, the museum has launched an exhibit that will highlight one of the twentieth century’s most well-known series of literature.. From 17 April 2008 to 1 March 2009 a fabulous exhibit at the Imperial War Museum in London will be exhibiting a collection “devoted to the life and work of the man who created the world’s most famous secret agent, James Bond.” (For Your Eyes) The exhibit will honor the work of Ian Fleming who wrote about the world’s most famous spy. The Imperial War Museum was founded on 9 June 1920 in the Crystal Palace by King George V. By 7 July 1936, the Dule of York who would soon become King George VI, reopened the museum in its current location, although the Museum was forced to close from September of 1940 to November of 1946 in order to protect the collections from the effects of World War II as it ravaged London. While most items were salvaged from the devastation, “a Short seaplane, which had flown at the Battle of Jutland, was shattered when a German bomb fell on the Naval Gallery on 31 January 1941 and some of the naval models were damaged by the blast.” (About IWM) After the Second World War, the Museum expanded to include exhibits from both World Wars and in 1953 it was again expanded to include “all military operations in which Britain or the Commonwealth Bond, James Bond 3 have been involved since August 1914.” (About IWM). With six floors of exhibits, a fabulous experience of culture can be found in the Imperial War Museum. The current location of the Imperial War Museum London is in what was formerly used as the Bethlem Royal Hospital. The building was designed by James Lewis and construction was done by 1815. In 1846, a dome designed by Sidney Smith was added on to the building. Currently, a park surrounds the Museum, which was built after the east and west wings were demolished in the early 1930’s. The hospital itself was created in 1247, “when Simon Fitz-Mary, a wealthy alderman and sheriff of London, founded the Priory of St Mary of Bethlehem on the site which is now part of Liverpool Street Station. In the fourteenth century the priory began to specialize in the care of the insane.” (About IWM) According to the Museum’s own history: Patients included Mary Nicholson who tried to assassinate George III in 1786; Jonathan Martin, committed in 1829 after setting fire to York Minster; the painters Richard Dadd and Louis Wain, famous for his cartoons of cats; Antonia White, author of Frost in May and Beyond the Glass; and the architect A W N Pugin who designed the Houses of Parliament and St George’s Roman Catholic Cathedral opposite the Museum. (About IWM) With a history of its own, the building and the treasures within the Imperial War Museum, are a treasure to the people of Great Britain. In writing the stories of James Bond, Ian Fleming created a character that would affect generations of fans, both in literature and in film. According to the Imperial War Museums website about the exhibit there: It will conclude with Fleming’s legacy, exploring how one man’s idea generated an entire industry, not only books and films, but also parodies, toys, games and clothes. Over fifty years after his first appearance in print, James Bond continues to exert a grip on the global imagination and Fleming Bond, James Bond 4 remains a classic writer of his generation. (For Your Eyes) This exhibit will include Ian Flemings desk and chair acquired from his Jamaican residence which he called Goldeneye, where he did all of his writing on the Bond books. It will also include, a map of the Mercury News Network established by Ian Fleming in the 1950s showing where all Sunday Times foreign correspondents were based; the jacket worn by Fleming on the Dieppe Raid of 1942; a selection of annotated Bond manuscripts; the Colt Python .357 Magnum revolver presented to Fleming by the Colt company in 1964; the manuscript for Chitty Chitty Bang Bang and a working model of an Aston Martin DB5 made for HRH Prince Andrew in 1966, complete with gadgets from the films Thunderball and Goldfinger. The ‘blood-splattered’ shirt worn by Daniel Craig in Casino Royale will be displayed for the first time along with prototypes of Rosa Klebb’s flick knife shoes in From Russia with Love; Halle Berry’s bikini from Die Another Day and Goldfinger’s golf shoes which have been loaned by the EON Productions’ archive.(For Your Eyes) This exhibit will honor the influential writer for creating a work that translated into films that are still being created. The novels of James Bond, created by Ian Fleming who wrote the first fourteen of the series, created a world of intrigue and confidence. The imaginative plots were spellbinding, but the character of James Bond was mesmerizing. Bond had very specific habits - a martini shaken, not stirred - and accomplished his goals with intensity of style and masculine confidence. As Joseph Connelly wrote about his experience of reading a Bond novel, “have yet to meet a man, certainly one of my vintage, who does not remember, with awe and a shiver of something not quite understood, the first time that - pop-eyed and with tingling fingers - he turned the pages of a James Bond novel. I used to Bond, James Bond 4 gaze with longing at the racy paperback covers and inhale the very pages” (Connolly, 16 May 2008) Bond is a decidedly male experience that speaks to the hearts of young men. The character is bold and daring, while able to maintain a chilly cool in reference to women. The misogynistic character touches a part of the male psyche that is primal and suppressed. Through Bond, men can find the superiority over women that in real life they cannot live or express. Bond is, after all, fiction. The biography of James Bond is well known. Bond was a British Commander who has become an MI6 agent and attained the status of 007. According to a brief biography, “Details revealed throughout the books and movies tell he is the son of a Scottish father and Swiss mother, and he becomes orphaned when his parents are killed when he is 11.” (James, 2006) The biography also states that he speaks several languages including Russian, German, French and Japanese. He has no qualms about killing when he is required to do so for his mission. Woman, alcohol, and fast cars round out the rogue characterization of this international spy. Most people are exposed to James bond through the films created from the series. Although an unofficial film for television entitled Casino Royale was created in 1954, the first official film was Dr. No, starring the most famous Bond, Sean Connery. Actors that have played Bond have included Connery, Roger Moore, Pierce Brosnan, Timothy Dalton, George Lazenby, and most recently Daniel Craig. The bond of film has evolved over the years, but never more than in the latest adaptation. Sean Connery’s Bond, the original creation of the character, was sophisticated without a fear of getting his hands dirty. His confidence was overwhelming and his Bond, James Bond 6 sexual appeal was undeniable. He was smooth in the way he handled his enemies, his women, and his drink. When he was in peril, there was never a real glint of fear or pain. The tuxedo was the wardrobe choice most often associated with the character. The newest Bond that has been played by the actor Daniel Craig, has a raw quality not seen in any of the previous Bonds. His character has flaws, feels pain, can be vulnerable in a underdeveloped emotional way, and falls in love. In the films, none of these characteristics were ever truly explored. Craig has created a new twist on an old game. His first movie, Casino Royale, is a retelling of the first novel by Ian Fleming. The original manuscripts written by Ian Fleming are owned by the Lilly Library at Indiana University, Bloomington Indiana of the United States. With the exception of Thunderball, The Man With the Golden Gun, Octopussy and The Living Daylights, the original manuscripts are preserved in this institution. According to The Lilly, “Fleming had each one specially bound in leather.” Their information goes on to say that “Fleming also had all of his own first editions of the James Bond novels specially bound in leather and numbered on the spines. Several of them feature handwritten notes by Fleming. He took special care to have all the original dust jackets bound in with the novels so as not to lose the unique artwork.” (Thorton, 30 April 2003), These manuscripts will be on loan to the Imperial Loan Museum for their exhibit of Ian Fleming James Bond material. The character of James Bond is important in the history of war because he represents a frustration of a Great Britain that was “losing her role as a world power”. According to the Imperial War Museum’s educational value statement, educators can expect their students to learn from the exhibit “the impact of the Second World War on Bond, James Bond 7 post-war Britain and the impact of the Cold War on public consciousness with the rise of new enemies and the development of devastating weapons” By using the exhibit to represent the connection between cultural adaptations and historical realities, “The comparison between historical fact and fiction provides an interesting context to think about the Cold War and how it was perceived through popular culture.” (2nd Site For Your Eyes Only). By looking at how a culture idealizes its wartime activities, one can see how that culture perceives the valor and honor of its deeds. As well, in examining the novels and films, a greater perspective on cultural ideals can be gained. According to the educational information on the exhibit, “Students can look at the importance of James Bond as ‘propaganda’ and a national hero, fighting against foes such as the Soviet Union at a time when Britain was losing her role as a world power.”. As well, the exhibit looks beyond the military and political impact. “In addition to the politics and intrigue, there is also information about the changing social scene, greater prosperity and consumerism, greater access to travel and new freedoms for women.” (2nd Site For Your Eyes Only). Using fiction and pop culture as a basis for research, it is possible to gain a greater understanding of how the time period faced its challenges and how it perceived its identity. This would not clearly define the identity, but would example an idealized version of that identity. Along with the physical exhibit, the Imperial War Museum has participated in setting up the availability of a virtual exhibit. While in the exhibit one can peruse the same items in the physical exhibit by accessing three rooms. The first room is the ‘Autobiography’ room where items such as personal literary notes, cablegrams, and the Bond, James Bond 8 Enigma machine that was the basis for a decoding device that Fleming wrote about in From Russia with Love can be studied. The other two ‘rooms’ in the virtual exhibit include a ‘Travel and Luxury’ room and a room entitled, ’Page to Screen’. In the ‘Travel and Luxury’ one can see study items that relate to Bond’s travels as experienced through Ian Fleming’s own adventures. In the ‘Page to Screen’ room, the way in which the books were translated into film is explored. According to the information in that section, “James Bond is the most valuable cinematic franchise in history, and each new Bond film earns more than the last.” (From Page to Screen). The virtual access is a wonderful addition to the exhibit, and despite an annoying snoring guard that interrupts the viewing, this work is a wonderful way to experience the exhibit when actual travel to the Museum is not available. Culturally speaking, this exhibit hits all the criteria for a successful exhibit. It is well rounded in that it will display a focused topic which can act as a compass for the time periods that are exampled by the various books and films. The films, in particularly, have had to change as the cultural expectations and identity has changed through the decades. During the first significant change in the 1970’s, Bond was no longer being played by Sean Connery, but by Roger Moore. The filmmakers were not only faced with a change in actor, but the changing times created new challenges in making the films relatable. “The Bond films of the 1970’s became more outlandish: visual spectacle, fantastic technology, and increasingly bizarre narrative situations were the order of the day”. (Chapman, 2000). These changes can be viewed as indicative of a world that was not taking the idea of war seriously because actual combat was a far removed concept. Bond, James Bond 9 Instead, with the cold war, the military aspect had faded. The films became imbued with a sense of comedy and parody. This need to change is also exampled in the newest film. In a world where actual danger and war exist, the new Bond must be taken more seriously. His role is vital and important because he participates in a world that saves us from the terrorist threat. Any humor that he uses is not flippant and with disregard to the importance of national security. He does not fight a world where outrageous technology is utilized in a plot that can be described as silly in the way that the Moore films could be described. As one goes through the film exhibit, it is easy to see how the decades have been involved in war by the reflection created in the Bond film of that period. The exhibit at the Imperial War Museum is part of a year long celebration of the birth of Ian Fleming, one hundred years ago. “A museum exhibit is the best device our culture has developed for the transmission of ideas to large numbers of people through the exhibition of genuine objects.” (Falk, 1992). To commemorate the work of Fleming is to express to the public the importance of iconic literature. The way in which the exhibit is arranged boasts of a modern look with clean lines and dashes of bold color. Visually, the color is daring as the majority of the exhibit is displayed on a gray toned background with a wall of yellow or a lighting in blue to enhance the experience. The warehouse style architecture of the room is balanced with the clean walls and simple phrases that are found written in clean text on both walls and on glass. One is drawn to the splash of red blood on the white shirt on display from Daniel Craig’s portrayal of Bond in Casino Royale, which is a striking visual component against a darker wall. Bond, James Bond 10 Down one hallway that reveals gray walls lined with movie posters and other film memorabilia, is a red floor which sets off the path and tones the area in a way that is different than the other halls. This lighter adaptation of the use of color highlights the complex relationship between the cultural identity associated with film, and the cultural identity reflected past the suspension of disbelief one attains when immersed in the fiction. The red helps the viewer to take a step back and re-create the veil between real and fantasy. One can see some of the grown-up ‘toys’ that Bond played with set against that red floor as well. The exhibit is displayed with a strong sense of modernity as it embraces the last century of cultural relevance that is the history of Bond. Items are displayed with a strong sense of the economical use of space with very clean messages and strong, solid backgrounds. The air of masculinity is undeniable. As one moves through the exhibit, there is a sense of time within the content, while a strongly contemporary ambiance lends a sense of historical value to items that represent a time under the last hundred years. The bloody white shirt is a bold addition to the exhibit. As one examines the history of Bond, it is representational of the transitions that the character has undergone. It is difficult to remember another Bond film in which he actually bleeds, but in Casino Royale, Bond not only bleeds, but is seen in angry frustration and pain, desperately trying to clean his wound and bring his adrenaline level down from the fight he has just endured in order to walk calmly back into the casino and continue his mission. Roger Moore wrote an article that spoke of Craig’s new Bond. Craig’s interpretation was like nothing we’d seen on screen before; Jimmy Bond, James Bond 11 Bond was earning his stripes and making mistakes. It was intriguing to see him being castigated by M, just like a naughty schoolboy would be by his headmaster. The script showed him as a vulnerable, troubled and flawed character. Quite the opposite to my Bond! Craig was, and is, very much the Bond Ian Fleming had described in the books – a ruthless killing machine. It was a Bond that the public wanted. Damn him as well! (Moore, 4 October 2008) The humanity that is given to this character who was previously portrayed with a more ‘super hero’ like quality is indicative of the time. Choosing this shirt is a bold and declarative statement about the way in which times have changed. The concept of giving the public a new view on a culturally accepted icon that is taken for granted as just being part of the literary world can be rewarding in its portrayal of aspects of national identity. While many exhibits do not speak loudly about the topics they present, this exhibit has a clearly available message to the participant. “Museum exhibits are often designed to convey abstract notions; label copy often contains the minutiae of a topic, rather than big ideas.” (Falk, 1992) However, with the modern look of the display, the conveyance of the message is more clearly understood. Critical to understand is that this perceived fusion of interpretation and exhibition does not arise from any sense that these functions should be combined. It comes, rather, from the realization that these functions are so intertwined with one another as to be inseparable. What has become compellingly clear is the extent to which - like speech, like writing, like every other form of human discourse - an exhibition is shaped from its very outset by the values, attitudes, and assumptions of those who choose and arrange the objects that it contains. (Anderson, 2004) In a modern exhibit, such as is exampled by the exhibit at the Imperial War Museum on Ian Fleming and James Bond, the displays are designed with this concept of overall communicative responsibility. The exhibit utilizes bold and subtle cues to convey its Bond, James Bond 12 message. Other exhibits have taken place in London. London’s Science Museum took on the task to display items of scientific relevance from the films in 2002. On the high-tech interactive tour, you pass through the office of Bonds boss, M. But the highlight for most is a visit to the workshop of another character made famous by the Bond movies. That is Q, the long-suffering inventor who designed all those futuristic gadgets used by Bond. (Museum Exhibit, 16 October 2002) However, this exhibit had a different idea of what was relevant with Bond. The exhibit was not focused on the cultural identity, but on the innovative scientific technology, some of which is now in practical use. The James Bond exhibit is an example of modern communication techniques realized in visual form. Artistically speaking, the exhibit shows attributes that are reflective of good form and function. The use of color is well devised as the viewer is led through the gallery, lending importance and reverence when cued to do so, and then approaching the exhibits with a more lighthearted approach when this is appropriate. The exhibit is successful in evoking an emotional experience that can be translated into a revisit to cultural references that are readily accessed in the memories of many of the viewers. As well, younger visitors can get a sense of the time periods that Bond has exemplified. This is a successfully modern exhibit with many layers of relevance and information. Bond, James Bond 13 List of References “2nd Site For Your Eyes Only: Ian Fleming and James Bond”, Imperial War Museum Exhibit site [Online] Available online at http://london.iwm.org.uk/upload/package /fleming/education.html “About IWM London: History of Imperial War Museum London”, Imperial War Museum, [Online] Available at http://london.iwm.org.uk/server/show/nav.194 Anderson, Gail, (2004), Reinventing the Museum, Rowman and Littlefield Publishers, Inc. Lanham. Chapman, James, (2000) License to Thrill: A Cultural History of the James Bond Films, Columbia University Press, New York. Connolly, Joseph, (16 May 2008) “James Bond Books are Forever”, Telegraph, [Online] Available at http://www.telegraph.co.uk/culture/donotmigrate/3673504/James- Bond-books-are-forever.html Falk, John H. and Dierking, Lynn D., (1992), The Museum Experience, Howells House, Ann Arbor. “For Your Eyes Only: Ian Fleming and James Bond”, Imperial War Museum [Online] Available at http://www.iwm.org.uk/server/show/ConWebDoc.4910 “From Page to Screen” Ian Fleming Centenary Virtual Exhibit, [Online] Available at http://extras.timesonline.co.uk/flash/museum/ “James Bond”, (2006), Mahalo, [Online] Available at http://www.mahalo.com /James_Bond “James Bond and Ian Fleming” Times Online, [Online] Available at http://entertainm ent.timesonline.co.uk/tol/arts_and_entertainment/specials/for_your_eyes_only/ Moore, Roger, (4 October 2008) “Bye bye to Ian Flemings James Bond?: Don’t write off 007, says former James Bond”, Times Online, [Online] Available at http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/london_fi lm_festival/article4866756.ece “Museum Exhibit Marks 40 Years of James Bond Films”, (16 October 2002), Voice of America [Online], Available at http://www.voanews.com/english/archive/2002- Bond, James Bond 14 10/a-2002-10-16-4-Museum.cfm Thorton, Dawn, (30 April 2003), Lilly Library, Indiana University Bloomington [Online] Available at http://www.indiana.edu/~liblilly/fleming/novels.html Read More