Women in James Bon films from a feminist perspective - Essay Example

Women in James Bond films from a Feminist Perspective Introduction The s “Pussy Galore” and “Peaceful Fountains of Desire” are just some of the names of the female characters and love interests in the James Bond films. The sexual allusion from these names is very prominent and has opened the James Bond films to criticism from feminists and from society in general. However, the James Bond films have long been known for portraying sexist roles for women, as well as highly charged testosterone roles for men, particularly the lead character, James Bond (Amis, 1965). Strong female roles however have also been portrayed in the Bond movies, especially in the last two reincarnations of James Bond under Pierce Brosnan’s and Daniel Craig’s lead. Some of the Bond women and Bond female characters are now seen as more than sexual interest for the lead character, but as characters also toting guns, karate chops, heroism, and villainy (Garland, 2009). Still, Bond women are viewed in general by society as simply entertaining eye-candy. This paper shall present an analysis of women in James Bond films from a feminist perspective, using some of the thoughts laid out by feminist philosopher Luce Irigaray. An analysis of the evolution of these female roles shall also be evaluated, mostly determining how the perspectives have changes and how feminism has impacted on how these female roles have been portrayed in the films. Body According to Jenkins (2005), the James Bond films have a persistent appeal based on the fantasy world from its parade of attractive female Bond characters. Such distinct female roles are often crucial to the story being told including the overall feel of these films. Each Bond movie has numerous female characters who are usually meant to distract and also help Bond in his spy mission. More often than not, there is one distinct, strikingly beautiful and, svelte Bond girl who is presented as a potential love interest for Bond; she is usually cunning, and judging from the name she goes by (Pussy Galore, Honey Ryder, Holly Goodhead), also self-assured (Rubin, 2003). Bond girls have become a staple in Bond movies and the casting of such female role has often attracted major global attention, with the chosen female often gaining much media attention even before the films start to shoot (d’Abo and Cork, 2003). The dominant preference of the Western culture for the lead female character in the Bond films to comply with such attractive and often sexist parameters have been viewed by feminists with much disdain (Carpenter, 2000). Through the many incarnations of James Bond and its female characters, these characters have been presented in ambivalent ways – vulnerable and independent as well as smart and weak. These women present with unique qualities and also strong personalities (Dodds, 2012). However, most times, towards the end of the film, Bond is still the one who rescues these women from his villainous antagonist (Neuendorf, et.al., 2007). In effect, while there is therefore an attempt on the part of the filmmakers to present the women in more than just the eye-candy roles or the female interest roles, in the end, the Bond films are still about the hero and main protagonist James Bond saving the day and their women from peril. This does not settle well for the feminists who often reject the sexist roles played by women in film, in the James Bond films in particular (Dodds, 2003). These feminists believe that the James Bond films objectify women and that they are often also presented as helpless or dumb. These feminists believe that any strong female roles are not usually paired with James Bond, but are presented as asexual women who are unlikely to stir Bond’s sexual interest (Moneypenny and Agent M). Luce Irigaray admits to the presence of Western culture bias against women (Donovan, n.d). She believes that culture and people often “project dominant imaginary schemes which then affect how that culture understands and defines itself” (Donovan, n.d). The Western culture has often been biased against women, often presenting them as sexual objects, as weak, and as dumb. Such image has further been spurred by the Bond movies, and others of similar ilk with their portrayal of women as sexual objects, as weak and dumb individuals. Irigaray also indicates that the culture of the western culture presents the male body as the imaginary body and that the western culture associates privilege with identity and sight, and these are all related to the male anatomy (Donovan, n.d). Freud himself, Irigaray argues, has had a limited perception of women, calling little girls, little men and subscribing to the one-sex theory – that men exist, but women are only another variation of men. Freud, as criticized by Irigaray believed that women were only experiences for men (Donovan, n.d). Irigaray admittedly has a point in relation to the Bond movies where some of the women are presented as characters to be experienced by James Bond. She also expresses that “if women are not understood in Western culture, it is because Western culture has yet to accept alternate paradigms for understanding them” (Donovan, n.d). Most notably in the original Bond movies, there were no alternative paradigms presented in understanding women. Only in the recent Bond films with Brosnan and Craig were some of the female characters presented in another way. Michelle Yeoh for instance portrayed a feisty character who could defend herself and who could match Bond’s action sequences (Donovan, n.d). Bond’s boss M was also portrayed as a highly intelligent, authoritative character who could order people about (Funnell, 2011). Halle Berry also played a strong female role, not necessarily as a sexual object for Bond. Despite these new empowered qualities for some of the Bond women, the dominant perception of the women in Bond films is that they exist only in relation to the main male character – James Bond (Neuendorf, et.al., 2007). Beyond that, they do not exist. In the movie Skyfall for instance, the role of Tonia Sotiropoulou does not even have a name, and is listed in the credits as Bond’s lover. Society also seems to expect that there should be Bond women in Bond movies, and that these women are beautiful, slim, sexy, and these women are not expected to be smart, to be witty, or to be skilled in fighting or shooting a gun (Dodds, 2003). They are also expected to wear skimpy outfits at some point in the movie, bathing suits are preferred, or figure-hugging and cleavage-bearing dresses (Cork and Stutz, 2009). These Bond women are also expected to have intimate relations with James Bond at one point in the movie. Once again, their role within the Bond universe bounces off of what James Bond himself represents for the story and the movie (Weiner, et.al., 2012). Irigaray’s critical tool – mimesis – has been used as a tool for redefining women into their stereotypical perceptions as a means of questioning such perceptions (Diamond, 2003). The focus for mimesis is based on the fact that stereotypical perceptions are not repeated as often. For instance, if women were to be viewed as illogical, women must speak out against such failure in logic. Women, specifically feminists have spoken against the illogical and stereotypical presentation of women in society, especially in films, especially in the older James Bond films where these women were very much objectified (Donovan, n.d). The more recent Bond films have been less stereotypical about women, with more strong female roles presented. However, in keeping up with the James Bond staple of sexy women, the gratuitous sexualized images of women still remain (Severson, 2013). While these sexualized and objectified perceptions of women remain, society has also come to recognize that these perceptions are illogical and that they should be negated and not encouraged (Severson, 2013). This would likely explain the fact that the more recent Bond movies have veered away from the sexually suggestive and often ridiculous names given to the Bond women. The more prominent and compelling names like Giacinta “Jinx” Johnson and Elektra King have now been used (Neuendorf, et.al., 2007). However, it has not stopped the Bond franchise from still opting for names like Strawberry Fields or Peaceful Fountains of Desire. These names are a nod to the amusing names given to the Bond women during the days of Sean Connery and Roger Moore; sexually objectifying these women through such names (Strawberry Fields, Peaceful Fountains of Desire) was not likely the goal for the writers (Wright, 2013). Irigaray discusses that in order to overcome the negative perceptions of women, these negative views cannot simply be ignored (Donovan, n.d). In the more recent Bond movies, some attempts at recognizing and reducing the stereotyped images of women have been made; as such, the recent Bond women are not anymore merely sexual objects for James Bond (Moniot, 1976). Still, Irigaray claims that male dominance has dominated Western culture for many centuries (Diamond, 2003). This dominance has been entrenched in societal culture, so much so that the image of the deformed and subjective female cannot be broken down without also preventing the repeat of the original norm of male dominance (Neuendorf, et.al., 2007). In other words, if the image of the stereotyped male is not changed, then the image of the stereotyped female is also unlikely to change. As the story of James Bond has evolved throughout the many incarnations of James Bond, the audience has also become more acquainted with his backstory, that he has had fallen genuinely in love with women in his past, with most of these women meeting unfortunate ends, mostly because of the dangers he has brought upon them (Neuendorf, et.al., 2007). The audience has therefore become more privy to the image of James Bond being less cavalier about women (Caplen, 2010). The audience sees James Bond (Daniel Craig) trying to desperately save Vesper Lynd from certain death; and the audience also sees a devastated James Bond (Pierce Brosnan) kissing his murdered ex-girlfriend Paris Carver (Severson, 2013; Caplen, 2010). In these images, James Bond has become less detached from the females, and has become emotionally invested in them. As such, the shift in the macho image of James Bond has been seen, with much benefit to the stereotyped image of the female. The females have become less objectified, and have become more celebrated as important and significant elements to the retelling of the James Bond adventures (Cox, 2006). As discussed by Neuendorf and colleagues (2007), the Bond girls “often play independent, highly intelligent roles as heroes, villains, other agents, or professionals”. The discussion above does acknowledge both the female stereotyped Bond girl, and also the strong female Bond girl. But regardless of their portrayal, these characters are not autonomous characters to James Bond. Most of the time, they are adjuncts to the Bond’s character and as was mentioned above, they are presented as sex objects or objects of violence for Bond (Jenkins, 2005). Such portrayals may affect the audience who is often introduced to a limited perception or perspective on women and their actual role in global diplomacy, politics, and culture. While Bond girls have become sexually objectified for James Bond, these girls have at least been portrayed in stronger roles as compared to other women in other action movies (Cork and Bruce, 2002). In the Bond movies, we see the women being worthy adversaries for James Bond as they are also often skilled spies or fighting. Espionage has been strongly associated to the days of the Cold War and many other popular films have emerged to represent the genre of action-spy movies (Adams, 2003). With the expansion of technologies however, including technologies in warfare, developments have been seen in warfare and espionage. James Bond’s work has now been focused on curtailing plans related to global domination using new technologies (Adams, 2003). Within this perspective, the relationship of James Bond with his female leads, including his relationship with other villains has become more empowered with gender ideologies within the contemporary societal setting (Adams, 2003). Espionage, including technological abilities as well as gender associate with each other to present the hierarchy of power among the people, both men and women. The competition between Bond and the villains to gain power over the latest advancement in technology reflect the battle versus good and evil. The stories also tell of the gender roles including the digital divide seen in the western civilization. In effect, the films also present “notions of masculinity and femininity in a post-feminist, post-Xena, post-Buffy world” (Adams, 2003, p. 4). These Bond girls are able to defend themselves as Buffy and Xena, but they can also program computers and outsmart as well as outwit the villains and also James Bond (Adams, 2003). Their relationship with James Bond is more conventional as it involves romance, and sexual interest. Such relationship actually provides a complicated contrast to the cultural fantasy as well as reality in movies as well as in general society. The movies or films are appealing because they present an escape from reality. They present ideal images and wish fulfillment (Hensher, 2002). Characters in the James Bond movies present images of fast and sleek cars, powerful weapons, beautiful women, as well as sophistication. They reflect ideal wishes and dreams meant to entertain viewers. It seems important therefore to divorce the ideal and the actual image of the woman, and not to use the image and the character of the Bond girl to define the reality of the woman (Penley, 2013). Even the strong female character who is beautiful and confident may not always be true, and when portrayed in a film for entertainment purposes, the exaggerations are present (Adams, 2003). Morefield (2002) discusses that Bond’s image has not changed much, he seems uncomplicated. He is a handsome and ageless playboy drifting from one relationship to another with hardly any emotional attachments to weigh him down. James Bond is within this context a sex symbol, but not a romantic prospect. Still, Morefield (2003) discusses how Sean Connery’s James Bond is not bound by ideas of romance or commitment; he was a sensual character who fortunately met beautiful women who were also sexually interested in him. Such characterization applies to the entire franchise. There is no female character, except Moneypenny and M are the only female characters which recur in the Bond franchise. Characters like Q and James Bond are consistent throughout the series. Bond girls on the other hand, seem to be one-night stands and when James has slept with them, they are often either killed or run out of scenes in the movie (Adams, 2003). In the Connery-Bond period, the Bond women like Honey Ryder and Pussy Galore have no choice but to fall helplessly prey to Bond’s charm. Even with their often assertive and independent nature they are trying to show, they fall hard for James Bond. The role of Ryder as the Bond girl wearing the bikini whilst emerging from the water was also echoed in Halle Berry’s Jinx character (Adams, 2003). In both bikini scenes, both women are objectified as sexual objects, watched without their knowledge by Bond and by the viewers. The viewer as well as Bond acknowledges the womanly form in all its sexual glory. The character of Pussy Galore presents an attempt to impress the power or omnipotence of Bond over women. Pussy Galore has presented herself as a lesbian, but also an independent woman and skilled pilot. She is also allegedly immune to James Bond’s sexual prowess (Ladenson, 2002). Still, Bond’s charm seems to be so strong that Pussy Galore’s resistance melts away. Ladenson (2002) cites how “the very phallic Pussy succumbs to the even more phallic James Bond”. Under these conditions, the lesbian seems to have cowed to what is presented as the more dominant masculine form that is James Bond. Pussy Galore is considered at some point as the equal of James Bond, but is eventually defeated by Bond’s superior and actual masculinity (Adams, 2003). In other words, the masculinity of Bond is unquestionable and more dominant. On the other hand, the femininity of the Bond girls is submissive as well as complete. These women are therefore nothing more than desired objects which would be used by Bond to complete his mission. Conclusion Feminism has always engendered the image of the independent and strong woman, the woman who stands equal to men. The feminist ideals and movement came about as a result of the previous unfair treatment women have experienced throughout history. This includes no equal rights as men, no freedom of suffrage, no decision-making responsibility, and being considered merely as sexual objects or individuals meant to fulfill the needs and wants of man. With the dawn of more enlightened and modern times, women have asserted and have demanded equal rights and treatment with men. However, it has generally been difficult for women to gain such equal rights and treatment, especially in the light of societal expectations and culture which have long been used to the perception of women subjugated to men. Films, TV shows, magazines, and other forms of media present women as sexual objects and while the feminist movement is very much alive, it has not sufficiently ended the objectification of women in these media. In the Bond films, for instance, it is apparent that the Bond women present both the stereotyped image of women, as well as the strong female character. However, the existence of these characters is still based on the male character of James Bond. In other words, these women do not play a role beyond that dictated by James Bond’s story and character. They are there to be sexual playthings for Bond, they are there as antagonists to Bond, to be romantic interests for Bond, or they are there to simply help Bond in his mission. Within the feminist perspective, the Bond women or the female characters in James Bond are not independent and autonomous individuals. However, it is also important for the viewers and for general society to understand that the Bond movies have been conjured for entertainment purposes (Tippins, 2012). The eye-candy and the entertainment element are expected of the Bond women, and James Bond is the character expected to get the women and to save the day. What is crucial is for the filmgoers and the audience to recognize that the objectification and sexualization of women is unacceptable. Moreover, while the James Bond films may reason that the objectification of women can ultimately be justified by Bond’s heroism, women in the real world do and can exist beyond the trappings that men have made for them. Works Cited Adams, Michelle. “Bond Girls: Gender, Technology and Film”. 2003. Web. Amis, Kingsley. The James Bond Dossier. New York: New American Library, 1965. Print. Caplen, Robert A. Shaken & Stirred: The Feminism of James Bond. Lexington: Xlibris. Print. Carpenter, Rebecca. 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"The Avengers, public pedagogy, and the development of British womens consciousness." New Directions for Adult and Continuing Education 2007.115 (2007): 63-72. Print. Read More