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¶ … James Bond's penis" author Toby Miller writes that after the 1960s: "masculinity is no longer the exclusive prominence of men, either as spectators, consumers or agents of power. And Bond was an unlikely harbinger of this trend" (Miller 233). Bond, rather than being a 'sexist dinosaur' and relic of the Cold War era (as he was once called by Judi Dench's M) actually an innovator in terms of the way he legitimized male sexuality on film. Miller sees Bond as questioning the male-centered gaze of desire presumed by the camera. It is Bond who leaves his women in a state of desire, never fully fulfilling their fantasies, even though he was viewed as exemplifying 'imperial decline' in the way he ruthlessly purses his self-interest in an amoral fashion as an agent in Her Majesty's Secret Service.
In the books, Bond is often shown burning with desire and having to put aside that desire to do his work. His masculinity is constantly threatened as he is tortured by a wide assortment of villains. This could suggest that Bond is objectified, much like a female, and the source of his masculine power is under constant threat. When Sean Connery embodied the Bond character, he was often portrayed...
The 'laser castration' scene from Goldfinger could be used to support this idea (Miller 240).
However, it worthy of note that even if Bond's penis seems 'endangered' in the films and books, this is no less true of the villains -- particularly of the films. In Dr. No, the mad scientist of the title has prosthetic hands, and Bond explicitly says during his first meeting with Dr. No that No is compensating for the lack of his -- hands -- by launching a large rocket. No's loss of hands are seen as a symbolic castration, and his torture of both the hyper-masculine Bond and the voluptuous Honey Rider (who looks nothing like the boyish character with the disfigured nose of the book) seems to be a way of compensating for a perceived lack of masculinity. In contrast to the book, in the film Dr. No even dies because he…
James Bond: A transmedia character "This was going to be bad news, dirty news, and he didn't want to hear it from one of the Section officers, or even from the Chief of Staff. This was to be murder. All right. Let M. bloody well say so." For viewers accustomed to the James Bond of cinema, reading The Living Daylights by Ian Fleming may come as something of a surprise. In contrast
Irresistible Rise of Harry Potter and the irresistible rise of capitalism Harry Potter is not merely the title of a children's book series: he is a phenomenon. Although the Harry Potter books are quintessentially 'British' in their setting (a boarding school) and language, they have become internationally popular and turned many non-readers into readers. Harry embodies the ideal childhood hero -- on one hand, he is an orphan, despised and
123). Though he is speaking explicitly about detective work and Holmes' general mode of accomplishing things, there is a clear implication that Watson knows how to serve Holms' needs. Again, there is a clear appropriation of the characters of Watson and Holmes as servants to the fanfic writer that created this story, bringing to explicit culmination an area of their relationship that has been the cause of much speculation. No
Harry Potter grows up amongst the 'average' human being and he is uncommon. This is stressed as is too the mediocrity and triteness of this human called the ' * ' world. Rowling devotes pages to this and to the contrast of Harry Potter and his relations as well as society that he lives in. Grossman, on the other hand, merely slips in a paragraph alluding to Quentin's 'shitty'
While all stories can be adapted and changed, with stories in the public domain being the most attractive choice, Holmes' death and resurrection make his character special because they serve to retcon (from retroactive continuity) his fictional narrative, a process that cannot be undone. Once Conan Doyle decided that earlier features of Holmes' story were open to interpretation and mutation, it meant that going forward, almost any feature of Holmes'
With this connotation, Rowling is showing how our lives and geniuses can take on new adventures after our deaths through texts. Quote 2 Blake "The community is not given; it is made by the abilities and activities of all its members -- by the incompetent Neville Longbottom as much as by heroic Harry. Harry Potter isn't just part of Hewison's museum culture; he is revolutionary, a symbolic figure of the past-in-future