A License to Thrill

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James Bond and Great Britain

The author of the James Bond novel, Ian Fleming, has woven his fictional spy character with historical relevance to his home of Great Britain.  In face, his first Bond novel Casino Royale was claimed to be "too British" (Bennett 14).  His ideals could be expressed under nationhood that "Bond provided a mythic encapsulation of the then prominent ideological themes of classlessness and modernity, a key cultural marker of the claim that Britain had escaped the blinkered, class-bound perspectives of its traditional ruling elites" (Bennett 23).  The cultural identification between Bond and Britain is inseparable.

This literary spy was often referred to as portraying the bachelor that men wanted to be as and women wanted to be with.  This idea could be associated with Bond's love affair to his country.  "The main ideological work thus accomplished in the unfolding of the narrative is that of a 'putting-back-into-place' of women who carry their independence and liberation 'too far' or into 'inappropriate' fields of activity" (Bennett 28).  Bond in a way uses his sex appeal as a weapon.  His services are for the good of his British nation and his queen.  He would caress and provide protection with all his might, literally jumping in front of the gun, although he never seems to get injured too badly.  "The efficacy of Crown and country are a consequence rather than a cause of Bond's actions (Baron 144).  Britain's rule reflects his actions rather than success.  Bond's retribution springs restoration to strength.  Reactivate power rather than bringing back order to justice.  "Bond was an imperial hero who provided a way for Britishness to continue to be defined in opposition to the 'dark' people of the world" (Baron 135).

"Britishness is defined in terms of an absolute difference between white and non-white" (Baron 135).  Bond gets into close encounters with many of the country's colonies, which seems the more non-white, the more hostile.  "Racism, sometimes understood as a cause of imperialism, ought instead to be seen as... a natural 'consequence' of Empire'" (Baron 144).  The suitable connection between the homeland and its conquered territories is represented under order and chaos.  Bond's "phallic power" plunges with the native property demonstrating Britain's right to rule and re-establish the arrangement of selected divisions.  Britain felt they were needed to bring foreign lands up to date with modern society and keep an eye on the relationship to their property.  "Bond's role as the global policeman in a post-colonial world intersects between Orientalism and domestic of discipline and punishment" (Baron 145).  The rising popularity of the Fleming novels can be related to Britain's diminishing stand and risk.  "Bond is a figure designed to resist the threat (and act as defender of the) empire" (Black).

"'British Race' was a natural, undisputed ascendancy and a psychic/sexual autonomy that must be rigorously maintained" (Baron 135).  Bond initiated traditional fictional representation of Englishness, and adjustment from one conception to another.  Political conditions developed under influence of outside world.  Fleming desired a firm British cultural stance resulting in difficult solutions.  Fleming's experience allowed him to create endangering plots surrounding Britain as a grand power.  "Fleming used generally unknown  information about unusual circumstances" (Black).  Ian Fleming would most likely construct a different type of James Bond for today's audience.  Given the author is easily inspired by political construction of the present day current events; Fleming would reflect today's civic position.  He had always attempted to keep James Bond relevant to the times which is reflected in both novels and films.  But it would still retain the basics of British nationhood.

Baron, Cynthia. "Doctor No: Bonding Britishness to Racial Sovereignty".
The James Bond Phenomenon.

Bennett, Tony and Janet Woollacott. "The Moments of Bond". The James Bond Phenomenon.

Black, Jeremy. The Politics of James Bond: From Fleming's Novels to the Big Screen. Westrirt: Praeger, 2001.