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An Introduction to Bond

                                                                  (Figure 1)

Based on the 1950s spy novels by Ian Fleming, James Bond is officially the longest running franchise in the history of cinema. It has expanded across numerous media platforms, including film, fashion and the gaming industry. The franchise has become so engrained in contemporary culture that it is viewed as a part of the British heritage and stands as an iconic institution for British culture and identity.

Over time the representation of Bond has adapted to suit contemporary audiences- from Sean Connery’s 60’s suave yet misogynistic characterisation of Bond (“man talk”) to Daniel Craig’s rugged hero who struggles with a painful past. Spanning nearly 60 years, the continuation of the film series has allowed the text to evolve along with the societal developments of the time. The series is unique in how viewers may interpret the earlier films against the newer renditions, where ideologies of the past can be compared with contemporary perspectives.

To perceptively reflect on the franchise, one must focus on the fundamental elements that are most prevalent in its construction. My argument will focus on two main concepts, ideology and intertextuality. The subject of ideology will be considered in how societal changes have impacted the representation of gender in Bond over the years. For example, the entries will question whether representations of female characters have been effected by social discourses, such as feminism and to what degree? Theorists such as the work of Laura Mulvey and Louis Althusser will be discussed in order to evaluate how gender representations support repressive ideology. While ideas on traditionalism and modern perspectives in conflict are at the heart of my analysis, I will discuss to what affect past and present ideologies coincide in the construction of the more recent Bond films. As a fantastical series, I will then lead onto discuss how the franchise imitates reality and how it provides a platform for escapism. Referencing the likes of Jean Baudrillard to discuss the idea of ‘simulation’ (Baudrillard, 1994, Simulacra and Simulation) and in what instance does the film concede to idealisms, in order to create an imaginary reality that romanticises the real world.


I will then demonstrate a direct comparison between the original Bond texts to the newer interpretations. In particular, I will focus my argument on intertextuality, using examples from two scenes taken from Skyfall (Sam Mendes, 2012) and From Russia with Love (Terence Young, 1963). The scenes will signify the franchises use of repeat referencing and intertextual thought to strengthen the Bond Universe and its reference to other quintessential British texts. I will finally, examine my own perspective and whether my research has influenced my views on ideological construct and the importance of intertextuality within media texts. For instance, has this process changed my view on society? Are certain ideologies presented as out-dated and do I agree with them? Whilst other more controversial discourse remains ignored, does the series contribute to a repressive consciousness or does it celebrate a diverse and balanced ideal? How have these factors changed or reinforced my perspective as a consumer of the franchise as a whole? This will lead to a concluding paragraph, which will pull together my fundamental arguments and review my path in understanding the Bond world.

 Feel free to add your thoughts in the comment section under each entry.

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