3-1 study guide
Cold War, Cool Medium: Television, McCarthyism, and American
Culture (review)
Michael C. C. Adams
Film & History: An Interdisciplinary Journal of Film and Television Studies,
Volume 34.1 (2004), pp. 83-84 (Article)
Published by Center for the Study of Film and History
DOI: 10.1353/flm.2004.0003
For additional information about this article http://muse.jhu.edu/journals/flm/summary/v034/34.1adams_m.html Accessed 24 Sep 2013 22:26 GMT GMT
Book Reviews | Regular Feature
Bond girls by “exploiting textual fissures and gaps that contradict the logic of masculinity or patriarchy”, while, in “James Bond’s
Penis”, Toby Miller argues that the old boy, especially as represented by Sean Connery, is not just a gun-toting Lothario, but a more vulnerable prototype for the “commodified male beauty” of our own time.
It is plain, then, that all human Bondage is here, and fascinating it is, too. Unfortunately, the book as a whole is a little enslaved to fashionable theories: there is nothing biographical on Fleming the man, and how he reflected, and diverged from, his creation. This matters because this enigmatic writer shared a number of his hero’s qualities, including the fascination with fast cars, the plummy belief in Britain’s imperial mission, which had taken such a bashing after the Second World War, and the Old Etonian urge to glitter and dominate. The outlook is dandified, in fact, and some readers will miss any wider consideration of the issue, or any deeper thinking on how Bond develops the world of Richard Hannay, or even Sherlock Holmes (Moriarty versus Bond; it makes emotional sense).
These issues are touched on, admittedly, but the most thorough essay on Bond’s literary roots is, ironically, old material.
As one of the opening salvos of the collection, Lindner reprints
Umberto Eco’s influential “Narrative Structures in Fleming”, first published in the 1960s. Here, this seminal figure shows how Book
Bond is not merely a matter of
Culture (review)
Michael C. C. Adams
Film & History: An Interdisciplinary Journal of Film and Television Studies,
Volume 34.1 (2004), pp. 83-84 (Article)
Published by Center for the Study of Film and History
DOI: 10.1353/flm.2004.0003
For additional information about this article http://muse.jhu.edu/journals/flm/summary/v034/34.1adams_m.html Accessed 24 Sep 2013 22:26 GMT GMT
Book Reviews | Regular Feature
Bond girls by “exploiting textual fissures and gaps that contradict the logic of masculinity or patriarchy”, while, in “James Bond’s
Penis”, Toby Miller argues that the old boy, especially as represented by Sean Connery, is not just a gun-toting Lothario, but a more vulnerable prototype for the “commodified male beauty” of our own time.
It is plain, then, that all human Bondage is here, and fascinating it is, too. Unfortunately, the book as a whole is a little enslaved to fashionable theories: there is nothing biographical on Fleming the man, and how he reflected, and diverged from, his creation. This matters because this enigmatic writer shared a number of his hero’s qualities, including the fascination with fast cars, the plummy belief in Britain’s imperial mission, which had taken such a bashing after the Second World War, and the Old Etonian urge to glitter and dominate. The outlook is dandified, in fact, and some readers will miss any wider consideration of the issue, or any deeper thinking on how Bond develops the world of Richard Hannay, or even Sherlock Holmes (Moriarty versus Bond; it makes emotional sense).
These issues are touched on, admittedly, but the most thorough essay on Bond’s literary roots is, ironically, old material.
As one of the opening salvos of the collection, Lindner reprints
Umberto Eco’s influential “Narrative Structures in Fleming”, first published in the 1960s. Here, this seminal figure shows how Book
Bond is not merely a matter of