Espionage CinemaShaken and Stirred: Understanding 007

(Department of Cinema Studies, Spring 2014)

Course Information

• CINE-UT 247, Spring 2014

• Time: Friday, 12:30PM – 04:30PM

• Location:Room 674; 721 Broadway, 6th Floor

Department of Cinema StudiesTisch School of the ArtsNew York University

Jaap Verheul• Email: jcv239@nyu.edu

– Question regarding logistics only– For questions regarding the content of the class and the

readings, or your assignments, please come and see me during my office hours, or schedule an appointment

• Office: Department of Cinema Studies, NYU; 721 Broadway, 6th Floor, Room 677

• Office Hours: Fridays from 10:00AM – 12:00PM; and by appointment

Required Readings• Fleming, Ian. Casino Royale. London: Jonathan Cape, 1953.

• Lindner, Christoph (ed.). The James Bond Phenomenon: A Critical Reader (2nd Edition). Manchester: Manchester University Press, 2009.

• All other readings are available as downloadable pfd-files from on the course’s website:– http://understanding007.wordpress.com/– Password to access readings and other protected pages:

Vodkamartini!

Course Websitehttp://understanding007.wordpress.com/

• You should check the website regularly, as this will be our primary source of communication

• Here, you will post your one-paragraph reading responses

• Thus, create an identifiable profile

• For access to the readings, please use the following password: “ Vodkamartini! “

Attendance • Attendance to class and screenings is mandatory

• You must be on time to class every week.

• In order to establish a classroom with minimal potential distraction, disruption, disrespect, and discourtesy, the use of mobile phones of any kind and wireless electronic devices, such as laptops and tablets, will not be permitted during lectures and screenings.

• Please bring paper copies of the readings to refer to in class and recitation. Taking notes by hand, on paper, without an illuminated screen, in a darkened environment during a film or video screening is in itself a necessary and useful skill to hone

• Whether excused or unexcused, you are entitled to two absences only, so use your excused absences wisely. More than two absences will result in the lowering of your grade by half a point (A to A minus, etc.).

One-Paragraph Reading Responses (10%)• Before each lecture, you are required to post a one-paragraph response paper on the course

website, in which you connect the theories and themes of that week’s readings to the previous week’s screening.

• You should critically engage with the readings, cite your sources properly, and demonstrate sufficient understanding of the applicability of these readings to other entries in the Bond-series.

• During the course of fourteen weeks, you are required to post a minimum of ten entries on the website (you are thus allowed to skip four entries).

• It is essential that I will be able to identify your response papers. Hence, when you create a Wordpress-profile, please use your real name and nyu.edu email address, and not an abbreviation or a nickname. In addition, always include your name on the assignment, and tag your posts accordingly. This will help me to organize the blog, and you to cross-reference each other’s posts easily. Each week, use the following three tags to label your posts, and make sure they are consistent and identical to each other:– Your name: e.g. "Jaap Verheul”– The week in which you wrote your response paper: e.g. “Week 2”– The film you are writing about: e.g. “Dr. No”

One-Paragraph Reading Responses:Example by Michael Mhanna

Week 1 – Casino Royale

In reading Ian Fleming’s first Bond novel, Casino Royale, I was struck by the ethnocentric, sometimes flagrantly prejudiced point of view running throughout the story. The first, most blatant instance of this can be found on page 26, when Le Chiffre’s henchman are described: “..the language they talk in their room is Bulgarian. We don’t see many of those around. […] They’re stupid, but obedient.” Bond’s status as an English spy with deep monetary resources is almost used as an excuse to view other cultures as offerings for his elite consumption. The national habits and cultural leanings of the rest of the world’s population are judged squarely against the assumedly top ranking stature of Englishmen in Bond’s eyes. His professional cover as the son of a wealthy Jamaican is presented almost as a wry joke. On page 31, more subtle jabs can be found: “Bond…examined the sprinkling of overdressed customers, mostly from Paris he guessed…”. Later, on page 65, we discover further generalities: “Bond’s experience told him that few of the Asiatic races were courageous gamblers…” and, only a paragraph lower: “Number 10 was a prosperous-looking young Italian. [Who] would probably play a dashing and foolish game. He might lose his temper and make a scene.” Even when Bond orders a masseur to his hotel room, the man who arrives is referred to only as a ‘Swede’, apparently enough of an individualizing quality to discard the need for a name or mention of any other defining characteristics. Bond’s entitlement is evidenced in his constant indulgence in decadent meals, cars, and attire, and in his scant appreciation for the servicemen who provide these things to him. In Bond’s world, money affords a lack of manners, as well. Despite these loathsome attributes, the high flying lifestyle that Bond engages in is only incidentally English and what Fleming presents is a fantasy relatable to anyone who has ever daydreamed about playing the role of an international spy. Bond’s background could easily be swapped out for another nationality if that country’s political leanings were also adopted and applied to the mission of the James Bond character.

Discussion Questions (10%)• For each lecture, two students will prepare three discussion

questions that will facilitate our analysis of the films and readings in class.

• You should coordinate with your team member and select the three most relevant questions.

• These questions must engage critically with the texts and the screening. Depending on the total number of students, you might have to present discussion questions more than once.

First Research Paper – Week 4 (02/21/2014): two pages (15%)

• A two-page research paper in which you will critically analyze (and not describe) a poster from a James Bond film, of your choice, and discuss it in terms of the themes and readings discussed in class.

• By this week (4), you should have selected a Bond film that will constitute your object of study for the entire semester. In addition, you should have framed a research question or critical hypothesis that will guide you in your research and writing throughout the semester.

• You are required to meet with me during my office hours, before you submit this paper, to discuss your project.

Midterm Research Paper – Week 6 (03/07/2014): five pages (20%)

• A five-page research paper in which you will critically examine the historical context of a Bond film, of your choice, and discuss it in terms of the themes and readings discussed in class.

• You are required to meet with me during my office hours, before you submit this paper, to discuss your project.

Third Research Paper – Week 9 (04/04/2014): three pages (15%)

• A three-page research paper in which you will critically analyze (and not describe) the critical and public reception of a James Bond film, and examine its influence on a particular cultural object (another film, television show, music recording, commercial, novel, …). Your analysis must address the themes and readings discussed in class.

Final Research Paper – Week 14 (05/09/2014): twelve pages (30%)

• A twelve-page research paper in which you will rewrite your previous three assignments. The purpose of this final research paper is to demonstrate full theoretical understanding of the historical, social, and cultural significance and popularity of a Bond-film of your choice and of the Bond-franchise in general.

• You are required to meet with me during my office hours, before you submit this paper, to discuss your project.

Logistics• All written assignment must be double-spaced and 12-point

Times New Roman.

• Late submissions will not be accepted and will result in the lowering of your grade by half a point per day (A to A minus, etc.).

• Violations of academic integrity will not be tolerated. Please refer to the end of this syllabus for New York University’s official policy on academic integrity and plagiarism.

New York University’s Statement on Academic Integrity

Students are expected-often required-to build their work on that of other people, just as professional researchers and writers do. Giving credit to someone whose work has helped you is expected; in fact, not to give such credit is a crime. Plagiarism is the severest form of academic fraud. Plagiarism is theft. More specifically, plagiarism is presenting as your own:

a phrase, sentence, or passage from another writer's work without using quotation marks;a paraphrased passage from another writer's work;facts, ideas, or written text gathered or downloaded from the Internet;another student's work with your name on it;a purchased paper or "research" from a term paper mill. Other forms of academic fraud include: "collaborating" between two or more students who then submit the same paper under their individual names.submitting the same paper for two or more courses without the knowledge and the expressed permission of all teachers involved.giving permission to another student to use your work for a class. Term paper mills (web sites and businesses set up to sell papers to students) often claim they are merely offering "information" or "research" to students and that this service

is acceptable and allowed throughout the university. THIS IS ABSOLUTELY UNTRUE. If you buy and submit "research," drafts, summaries, abstracts, or final versions of a paper, you are committing plagiarism and are subject to stringent disciplinary action. Since plagiarism is a matter of fact and not intention, it is crucial that you acknowledge every source accurately and completely. If you quote anything from a source, use quotation marks and take down the page number of the quotation to use in your footnote.

Consult The Modern Language Association (MLA) Style Guide for accepted forms of documentation, and the course handbook for information on using electronic sources. When in doubt about whether your acknowledgment is proper and adequate, consult your teacher. Show the teacher your sources and a draft of the paper in which you are using them. The obligation to demonstrate that work is your own rests with you, the student. You are responsible for providing sources, copies of your work, or verification of the date work was completed.

The academic community takes plagiarism very seriously. Teachers in our writing courses must report to the Director of the Expository Writing Program any instance of academic dishonesty in student writing, whether it occurs in an exercise, draft, or final essay. Students will be asked to explain the circumstances of work called into question. When plagiarism is confirmed, whether accidental or deliberate, students must be reported to the Dean of their School, and penalties will follow. This can result in failure of the essay, failure in the course, a hearing with the Dean, and/or expulsion from the university. This has happened to students at New York University.

Assignment for Week 2 (02/07/2014): Select a Bond-film of Your Own Choice

• This will be your object of study for the entire semester:– The idea is that you will become an expert on your Bond-film, and the histories and theories that

apply to it– You will present your research findings in class at the end of the semester

• Your Bond-film cannot be one of the features screened in class:– This is to avoid that you repeat in your essays what we have already discussed in our lectures– In addition, it will also force you to apply the different theories and histories to different Bond-films

• If, however, we only watched a clip from a Bond-film, you are allowed to write about it

• Please make a top-3: – To avoid too much overlap between your papers– Two out of your three films cannot be one of the features shown in class – You are allowed to pick one film screened in lecture, provided you give me a brief explanation of

why you want to write about this film, and explaining how your approach will differ from the one used in class for this particular film

– I will assign you a Bond-film by week 3, based on your selection

• If you had or have a particular project in mind, regarding a Bond-film we screened in class or a non-Bond film that is nonetheless related to our subject, come and talk to me during my office hours, or by appointment, and perhaps we can work something out

Films from the Bond-series available for selection• Thunderball – Sean Connery (UK: Terence Young, 1965)• Diamonds Are Forever – Sean Connery (UK: Guy Hamilton,

1971)• The Man with the Golden Gun – Roger Moore (UK: Guy

Hamilton, 1974)• Moonraker – Roger Moore (UK, France: Lewis Gilbert, 1979)• For Your Eyes Only – Roger Moore (UK: John Glen, 1981)• Octopussy – Roger Moore (UK, USA: John Glen, 1983)• A View to a Kill – Roger Moore (UK, USA: John Glen, 1985)• The Living Daylights – Timothy Dalton (UK: John Glen, 1987)• The World Is Not Enough – Pierce Brosnan (UK, USA: Michael

Apted, 1999)• Die Another Day – Pierce Brosnan (UK, USA: Lee Tamahori,

2002)• Quantum of Solace – Daniel Craig (UK, USA: Marc Forster, 2008)

Week 1 (01/31/2014)Introduction

– The production history of the Bond-franchise

– The historical context of the Bond-franchise

– Cultural theory

– The Bond-franchise as genre

Production Context of the James Bond Franchise

• Based on Ian Fleming’s experiences in the British Naval Intelligence during World War II

• In the novels, the character of Bond reflects Fleming himself: love of golf and gambling, scrambled eggs, toiletteries, …

• On 17 February 1952, Fleming began writing his first James Bond novel, Casino Royale, at his Goldeneye estate in Jamaica

• Between 1953 and 1966, two years after this death, he published twelve novels and two short-story collections

Ian Fleming

Production Context of the James Bond Franchise• On 21 October 1954, the American television network CBS aired Casino

Royale as an adaptation for live television– American actor Barry Nelson as Bond– Bond thus American and not British

• In 1951, Albert Broccoli expressed interest in adapting the Bond novels for film In 1961, Harry Saltzman bought the rights to the series, with the exception of Casino Royale Together, Broccoli and Saltzman founded Eon Pictures

• Broccoli and Saltzman wanted Thunderball as their first adaptation, but they could not obtain the rights from Kevin McClory Dr. No thus became the first official Bond film

• With Dr. No, most of the influential cast and crew were put in place for the continuation of the franchise: Terence Young, Sean Connery, Ken Adam, Maurice Binder, Monty Norman, John Barry

• Independently from Eon, three additional productions have been realized:– CBS’s Casino Royale (1954)– Charles Feldman’s Casino Royale (1967)– Jack Schwartzman’s Never Say Never Again (1983)

CBS’s Casino Royale (1954)

Ian Fleming, Harry Saltzman, and Albert Broccoli (Writer and Producers)

Dr. No (1962)Terence Young (Director)

Dr. No (1962)Sean Connery (First “Official” Bond)

Dr. No (1962)Lois Maxwell (Ms. Moneypenny)

Dr. No (1962)Bernard Lee (M)

Dr. No (1962)Ken Adam (Set Designer)

Dr. No (1962)Maurice Binder (Designer of Title Sequences)

Dr. No (1962)John Barry (Composer)

Historical Context of the James Bond Franchise1953

– Austerity in Britain: • Meat still rationed• Most households did not own a car, telephone, or television• Soviet Union

– End of Stalinist reign– Occupied Eastern and Central Europe– Was seen as a potential threat to the West

• Many cities, including London, will still ruined because of World War II• Housing shortage

– Cold War:• The Korean War (1950 – 1953)

– South Korea: supported by the United Nations– North Korea: supported by the Soviet Union and China– 1950: North Korean invasion of the South triggers a Western intervention against the rising tide of Communism– 1953: The conflict is settled the 38th Parallel constitutes the border between North and South

• Threat of nuclear warfare – Decline of the British Empire:

• Partition/Independence of India in 1947• Decolonization movements in Africa, the Middle East (Palestine)• Britain on the verge of bankruptcy due to the high costs of WWII and the sustenance of its Empire• Dependent on US-loans for continued solvency: in addition to WWII, this strengthens Anglo-American relations

In this context of crisis and depression, the Bond-novels and film symbolized:– Escapism from everyday austerity– National (and later international) British pride and mythology– The character on Bond rescued the concept of the hero from a period which elevated the flawed anti-hero to

heroic status– Ultimately, Bond represented, and still represents, optimism

Critical Theory and the James Bond Franchise

• Genre• Gender• Representation of women as visual spectacle and objects of desire• Orientalism• Nation(alism)• Race• Empire• Postmodernism• Culture Industry• Virtuality• Media imperialism• Re-Masculinization• Nostalgia

Genre and the James Bond FranchiseJames Bond and Espionage Cinema

• Bond is not really a spy– He does not discover intelligence and report back– He does not recruit agents to obtain intelligence

• Instead, Bond is a “man of action:”– Conducts assassinations– Not done by British Intelligence agencies in peacetime– Acts as a saboteur– Or seeks the (personal) downfall of an enemy– Licensed hit-man whose clandestine operations become

public

Genre and the James Bond FranchiseJames Bond and Espionage Cinema

• Bond is, however, grounded in the literary tradition of the spy genre:– A largely British phenomenon– Originated around the turn of the twentieth century– Key texts:• Erskine Childers’s The Riddle of the Sands (1903)• Rudyard Kipling’s Kim (1901)• Joseph Conrad’s Under Western Eyes (1911)• William Le Queux’s spy series

Genre and the James Bond FranchiseJames Bond and Espionage Cinema

• After World War I, spy fiction developed into two sub-genres:– The adventure branch

• Action-oriented hero• From Eric Ambler to Ian Fleming

– The drama of conscience• Moral ambiguity• Uncertain consequence• From Graham Greene to John le Carre

• Fleming’s Bond, and in particular Casino Royale, belongs to both sub-genres– Bond of the novels is different from Bond of the films– He is an action-oriented hero– Yet, he is also vulnerable and displays self-doubt

• Ian Fleming and John Le Carre have dominated the development of espionage and spy fiction in the twentieth century

– Fleming’s James Bond: action-oriented male hero– Le Carre’s George Smiley: an actual spy, prone to self-doubt and reflexivity

Next week (02/07/2014):The Spy Film as Genre (From Russia with Love)

Clips– The Third Man (UK: Carol Reed, 1949)– North by Northwest (USA: Alfred Hitchcock, 1959)– The Ipcress File (UK: Sidney J. Furie, 1965)– The Deadly Affair (UK: Sidney Lumet, 1966)

Feature– From Russia with Love (UK: Terence Young: 1963 – 115 min.)

Required Readings– Bennett, Tony and Janet Woollacott. “The Moments of Bond.” The James Bond Phenomenon: A Critical

Reader (2nd Edition). Christoph Lindner (ed.). Manchester: Manchester University Press, 2009: p. 13 – p. 33.

– Chapman, James. “Chapter 1: Bond and Beyond: The James Bond Films and Genre.” Licence To Thrill. A Cultural History of the James Bond Films. New York: Columbia University Press, 2000: p. 19 – p. 64.

– Neale, Steve. “Chapter 1: Definitions of Genre,” “Chapter 2: Dimensions of Genre.” Genre and Hollywood. Oxon: Routledge, 2000: p. 7 – p. 47.

Course Requirements– One-Paragraph Reading Response: Relate Dr. No to the readings on “The Spy Film as Genre”– Discussion Questions: Relate Dr. No to the readings on “The Spy Film as Genre”– Selection: Submit the three preferred choices for your Bond-film