By Rosie White
The lady secret agent has lengthy exerted a robust grip at the well known mind's eye. on the subject of well known fiction, movie and tv Violent Femmes examines the determine of the feminine undercover agent as a nexus of contradictory principles approximately femininity, energy, sexuality and nationwide identification. Fictional representations of girls as spies have frequently traced the dynamic of women’s altering roles in British and American tradition. making use of the vital trope of ladies who paintings as spies, Rosie White examines cultural shifts throughout the 20th century concerning the position of ladies within the expert office.
Violent Femmes examines the feminine undercover agent as a determine in well known discourse which at the same time conforms to cultural stereotypes and increases questions about women's roles in British and American tradition, by way of gender, sexuality and nationwide id.
Immensely precious for a variety of classes equivalent to movie and tv experiences, English, cultural reviews, women’s stories, gender stories, media reviews, communications and heritage, this booklet will entice scholars from undergraduate point upwards.
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Additional resources for Violent Femmes: Women as Spies in Popular Culture
Sample text
It is supplemented by more recent studies such as James Chapman’s Licence to Thrill: A Cultural History of the James Bond Films (1999), Jeremy Black’s The Politics of James Bond (2001) and Christoph Lindner’s The James Bond Phenomenon: A Critical Reader (2003). Bond has also caught the attention of high-profile theorists such as Umberto Eco (1981) and Roland Barthes (1982). James Bond, as these commentaries attest, is more than a fictional figure; he is a cultural phenomenon. Far more than the Scarlet Pimpernel or Richard Hannay – or later fictional spies translated for film and television such as Deighton’s Harry Palmer or le Carre´’s George Smiley – Bond has a visual role in popular culture, albeit one which changes as the actors have changed.
This is apparent in his relations with women in the novel. While establishing his cover identity working in a library, Leamas becomes involved with Liz Gold. Liz is the only character to call Leamas by his first name, and their intimacy leaves him professionally vulnerable. At the end of the novel, after he has been interrogated by the East German secret service and his target, Mundt, stands accused of being a double agent (which, in fact, he is), Liz is called upon to give evidence that discredits Leamas as a witness.
The sensational Bond, who 30 Spies, lies and sexual outlaws thrives on constant action and sexual conquest, confronts the realist Bond, who admits to conscience and desires a future rather than a repetitively existential present. It is no surprise when Tracy dies so soon after their marriage – a death almost invited by Bond’s assertion that they have ‘all the time in the world’ (Fleming 1963: 258) – for Bond represents a fantasy of masculinity that does not allow for attachment to women. Even his impulsive decision to marry seems little more than a momentary desire to be ordinary.
