007 encounters Jinx and Miranda Frost, who are both highly capable spies. Although these Women possess admirable traits, they can never represent the ideal ego of the primarily phallo-centric society because, of course, they lack the phallus. They must be proven weak or dispensable. Even in the case of Bond, the womans lack of the penis implies a threat. In short, if she is empowered, he is emasculated. Furthermore, the lack of a penis is presumed to be an indication of womans disgrace and subordinate status. Thus, these Women, despite their admirable abilities, or more accurately because of them, are forced to submit to Bonds will. B ecause the male claim to power, which he is reluctant to relinquish, rests solely on his possession of the penis, he must disassociate and guard himself from the woman. And so, despite her primary role within the story, the female is really seen as the enemy and must be defeated, or at least neutralized as a threat. This may come conceptually through the act of objectifying the woman or having her in his debt, or literally through defeat in battle.
Miranda is introduced wearing a tight, white fencing uniform, while the lighting casts a soft glow on her face. Although she is dressed similarly to those around her, she is isolated, glamorized, sexualized. Although her attire would imply that she is probably agile, cunning, and resourceful, its pure white cloth and sexualized presentation reduce her to simply a conquest for Bond. Similarly, Jinx is presented in a white two-piece glistening with water. She can certainly be said to connote to-be-looked-at-ness, but it becomes apparent in her first exchange with James that she is as witty and assertive as he. Despite the admirable qualities which manifest themselves in these and other interactions, Miranda and Jinx suffer an initial defeat as they are subjected to and put on display for Bonds gaze. They are reduced in these first scenes to playthings, so as not to be a threat as adversaries or, heaven forbid, saviors. The portrayal of Women as sexual objects, and the use of sexuality to surmount them, is condoned for Bond. He succeeds in what Mulvey coins demystifying her mystery, which coincidentally resembles the idea of deflowering the flower.
In addition to this initial defeat Jinx is further diminished as she finds herself in the hands of a goon. Despite her previously demonstrated intelligence and efficienc y, she must now be rescued. As restitution for her salvation, Jinx is now in his debt and under his command. This leads her into another life-threatening situation from which he will have to extricate her. Bond instructs Jinx to retrieve Miranda (who he has just had sex with), Miranda betrays them and captures Jinx. Although James Bond- the ultimate womanizer- proceeds to sleep with both Women in the movie, we (the audience) never question him and are contrarily appalled at Mirandas betrayal in the end. The classic treacherous female is another common chauvinistic component of Bond films. This almost clichd feminine double-cross suggests that Wom en are not to be trusted, providing more rationale for female characters to be fleeting and subservient. When Miranda is defeated in battle, because of her betrayal, the audience concludes that she gets what she deserves. At this point, the voyeurs identify with the treachery of Women and internalize their fate. Needless to say, the lesson exemplified here is that standing in opposition to the phallo-centric order will lead to a womans destruction. By the time Jinx is saved, she is almost dead and useless. Just as with her sexual compliance, this role eliminates the threat which a strong leading lady posses to manhood. However, it seems better to be Jinx, barely alive and the object of Bonds concern for the rest of the credits, than dead and alone like Miranda.
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Author:: Kenda Johnson
Keywords:: Feminism, Movies, Media, James Bond, Halle Berry, Pierce Brosnan, Women
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