Hostname: page-component-848d4c4894-x24gv Total loading time: 0 Render date: 2024-04-30T21:29:36.652Z Has data issue: false hasContentIssue false

Racializing heterosexuality: Non-normativity and East Asian characters in James Bond films

Published online by Cambridge University Press:  21 August 2019

Mie Hiramoto*
Affiliation:
National University of Singapore
Phoebe Pua*
Affiliation:
National University of Singapore
*
Address for correspondence: Mie Hiramoto and Phoebe Pua, Department of English Language and Literature, National University of Singapore, Block AS5, 7 Arts Link, Singapore 117570ellmh@nus.edu.sgphoebepua@u.nus.edu
Address for correspondence: Mie Hiramoto and Phoebe Pua, Department of English Language and Literature, National University of Singapore, Block AS5, 7 Arts Link, Singapore 117570ellmh@nus.edu.sgphoebepua@u.nus.edu

Abstract

This article investigates how naturalized models of hegemonic masculinity affect race and sexuality in the James Bond film series. Through close analysis of film dialogue and paralinguistic cues, the article examines how the sexualities of East Asian female and male characters are constructed as oversexed and undersexed, respectively. The analysis therefore affirms Connell's (1995) conception of white heterosexual masculinity as exemplary: East Asian characters are positioned not only as racial Others, but as bodies upon which Bond's heterosexual masculinity is reflected and affirmed as normative and, by extension, ideal. In this way, race is curiously invoked to ‘explain’ sexuality, and Bond's unmarked white masculinity becomes the normative referent for expressions of heterosexual desire. By showing how the sexuality of East Asian characters is typecast as non-normative, the article gestures toward the possibility of theorizing racialized performances of heterosexuality as queer. (East Asia, James Bond, sexuality, race, masculinity, femininity, normativity, film)*

Type
Articles
Copyright
Copyright © Cambridge University Press 2019 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

We deeply thank Kira Hall, Tommaso Milani, Erez Levon, Jenny Cheshire, and our two anonymous reviewers for their valuable comments on the earlier version of this article. We are also indebted to the following people for providing feedback and encouragement at various stages: Joseph Comer, Laurie Durand, Robin Loon, Momoko Nakamura, Rebecca Starr, and Andrew Wong. Portions of this project were presented at the 9th International Gender and Language Association's Biannual Meeting in 2016. Finally, we thank Charlotte Tan, Olivia Tan, and Lindsay Yap for their research assistantship via UROP at the National University of Singapore during AY2015-16, Semester 2. Hiramoto also gratefully acknowledges the support given to her project by the NUS FRC Research Grant (FY2014-FRC3-003).

References

REFERENCES

Adamou, Christina (2011). Evolving portrayals of masculinity in superhero films. In II, Richard Gray & Kaklamanidou, Betty (eds.), The 21st century superhero: Essays on gender, genre and globalization in film, 94109. Jefferson, NC: McFarland & Company.Google Scholar
Alim, Samy; Rickford, John; & Ball, Arnetha (eds.) (2016). Raciolinguistics: How language shapes our ideas about race. Oxford: Oxford University Press.Google Scholar
Amis, Kingsley (1965). The James Bond dossier. New York: New American Library.Google Scholar
Androutsopoulos, Jannis (ed.) (2012). Language and society in cinematic discourse. Special issue of Multilingua 31(2/3):139336.Google Scholar
Androutsopoulos, Jannis (2016). Theorizing media, mediation and mediatization. In Coupland, Nikolas (ed.), Sociolinguistics: Theoretical debates, 282302. Cambridge: Cambridge University Press.Google Scholar
Arnett, Robert (2009). ‘Casino Royale’ and franchise remix: James Bond as superhero. Film Criticism 33(3):116.Google Scholar
Baker, Paul, & Levon, Erez (2016). ‘That's what I call a man’: Representations of racialised and classed masculinities in the UK print media. Gender and Language 10(1):106–39.Google Scholar
Brown, Jeffrey (2016). The superhero film parody and hegemonic masculinity. Quarterly Review of Film and Video 33(2):131–50.Google Scholar
Bucholtz, Mary (2011). Race and the re-embodied voice in Hollywood film. Language & Communication 31:255–65.Google Scholar
Burnett, Scott, & Milani, Tommaso (2017). Fatal masculinities: A queer look at green violence. ACME: An International Journal for Critical Geographies 16(3):548–75.Google Scholar
Cooper, Holly; Schembri, Sharon; & Miller, Dale (2010). Brand-self identity narratives in the James Bond movies. Psychology & Marketing 27(6):557–67.Google Scholar
Connell, R. W. (1995). Masculinities. Cambridge: Polity Press.Google Scholar
Connell, R. W., & Messerschmidt, James (2005). Hegemonic masculinity: Rethinking the concept. Gender & Society 19(6):829–59.Google Scholar
de Lauretis, Teresa (1994). The practice of love: Lesbian sexuality and perverse desire. Bloomington: Indiana University Press.Google Scholar
Dodds, Klaus (2003). Licensed to stereotype: Geopolitics, James Bond and the spectre of Balkanism. Geopolitics 8(2):125–56.Google Scholar
Dowd, Nancy (2010). The man question: Male subordination and privilege. New York: New York University Press.Google Scholar
Funnell, Lisa (2015). For his eyes only: The women of James Bond. New York: Columbia University Press.Google Scholar
Gramsci, Antonio (1971). Selections from the prison notebooks. New York: International.Google Scholar
Heung, Marina (1995). Representing ourselves: Films and videos by Asian American/Canadian women. In Valdivia, Angharad (ed.), Feminism, multiculturalism, and the media: Global diversities, 82104. London: SAGE.Google Scholar
Higgins, Christina, & Furukawa, Gavin (2012). Styling Hawai‘i in Haole wood: White protagonists on a voyage of self discovery. Multilingua 31(2):177–98.Google Scholar
Irvine, Judith, & Gal, Susan (2000). Language ideology and linguistic differentiation. In Kroskrity, Paul (ed.), Regimes of language: Ideologies, polities, and identities, 3584. Santa Fe, NM: School of American Research Press.Google Scholar
Jenkins, Tricia (2005). James Bond's ‘Pussy’ and Anglo-American Cold War sexuality. The Journal of American Culture 28(3):309–17.Google Scholar
Johnson, Sally, & Milani, Tommaso (eds.) (2010). Language ideologies and media discourse: Texts, practices, politics. London: Continuum.Google Scholar
Kiesling, Scott (2005). Homosocial desire in men's talk: Balancing and re-creating cultural discourses of masculinity. Language in Society 34(5):695726.Google Scholar
Lawless, Katerina (2014). Constructing the ‘other’: Construction of Russian identity in the discourse of James Bond films. Journal of Multicultural Discourses 9(2):7997.Google Scholar
Lawrence, John (2011). The American superhero genes of James Bond. In Weiner, Robert, Whitfield, B. Lynn, & Becker, Jack (eds.), James Bond in world and popular culture: The films are not enough, 330–48. Newcastle upon Tyne: Cambridge Scholars.Google Scholar
Levon, Erez, & Mendes, Ronald (eds.) (2015). Language, sexuality, and power: Studies in intersectional sociolinguistics. Oxford: Oxford University Press.Google Scholar
Lindner, Christoph (2003). The James Bond phenomenon: A critical reader. Manchester: Manchester University Press.Google Scholar
Lippi-Green, Rosina (1997/2011). English with an accent: Language, ideology, and discrimination in the United States. London: Routledge.Google Scholar
Lopez, Qiuana, & Bucholtz, Mary (2017). ‘How my hair look?’: Linguistic authenticity and racialized gender and sexuality on The Wire. Journal of Language and Sexuality 6(1):129.Google Scholar
Lusher, Dean, & Robins, Garry (2009). Hegemonic and other masculinities in local social contexts. Men and Masculinities 11(4):387423.Google Scholar
Milani, Tommaso (ed.) (2014a). Language and masculinities: Performances, intersections, dislocations. London: Routledge.Google Scholar
Milani, Tommaso (2014b). Queering masculinities. In Ehrlich, Susan, Meyerhoff, Miriam, & Holmes, Janet (eds.), The handbook of language, gender, and sexuality, 260–78. Hoboken, NJ: Wiley-Blackwell.Google Scholar
Miller, Dale; Taylor, Brian; & Buck, Michelle (1991). Gender gaps: Who needs to be explained? Journal of Personality and Social Psychology 61(1):512.Google Scholar
Motschenbacher, Heiko (2018). Language and sexual normativity. In Hall, Kira & Barrett, Rusty (eds.), The Oxford handbook of language and sexuality. Oxford: Oxford University Press. doi: 10.1093/oxfordhb/9780190212926.013.14.Google Scholar
Patton, Brian (2005). Shoot back in anger: Bond and the ‘angry young man’. In Comentale, Edward, Watt, Stephen, & Willman, Skip (eds.), Ian Fleming and James Bond: The cultural politics of 007, 144–57. Bloomington: Indiana University Press.Google Scholar
Pua, Phoebe, & Hiramoto, Mie (2018). Mediatization of East Asia in James Bond films. Discourse, Context and Media 23:615.Google Scholar
Reyes, Angela, & Lo, Adrienne (eds.) (2009). Beyond Yellow English: Toward a linguistic anthropology of Asian Pacific America. New York: Oxford University Press.Google Scholar
Rich, Adrienne (1980). Compulsory heterosexuality and lesbian existence. Signs 5(4):631–60.Google Scholar
Said, Edward (1978/2003). Orientalism. London: Penguin.Google Scholar
Stamou, Anastasia (2014). A literature review on the mediation of sociolinguistic style in television and cinematic fiction: Sustaining the ideology of authenticity. Language and Literature 23(2):118–40.Google Scholar
Stamou, Anastasia (ed.) (2018). Sociolinguistics of fiction. Discourse, Context & Media 23:190.Google Scholar
Starr, Rebecca (2015). Sweet voice: The role of voice quality in a Japanese feminine style. Language in Society 44(1):134.Google Scholar
Theodoropoulou, Irene (2016). Goodbye, Mr. Bond! Speech style change and mediatized authenticity of 007's villains. Paper presented at New Ways of Analyzing Variation 45. University of Victoria and Simon Fraser University, Vancouver, BC.Google Scholar
Wetherell, Margaret, & Edley, Nigel (1999). Negotiating hegemonic masculinity: Imaginary positions and psycho-discursive practices. Feminism & Psychology 9(3):335–56.Google Scholar

FILMOGRAPHY

Dr. No (1962). Directed by Terrence Young. United Kingdom: Eon Productions.Google Scholar
From Russia with love (1963). Directed by Terence Young. United Kingdom: Eon Productions.Google Scholar
Goldfinger (1964). Directed by Guy Hamilton. United Kingdom: Eon Productions.Google Scholar
You only live twice (1967). Directed by Lewis Gilbert. United Kingdom: Eon Productions.Google Scholar
The man with the golden gun (1974). Directed by Guy Hamilton. United Kingdom: Eon Productions.Google Scholar
Moonraker (1979). Directed by Lewis Gilbert. United Kingdom: Eon Productions.Google Scholar
A view to a kill (1983). Directed by John Glen. United Kingdom: Eon Productions.Google Scholar
Tomorrow never dies (1997). Directed by Roger Spottiswoode. United Kingdom: Eon Productions.Google Scholar
The world is not enough (1999). Directed by Michael Apted. United Kingdom: Eon Productions.Google Scholar
Die another day (2002). Directed by Lee Tamahori. United Kingdom: Eon Productions.Google Scholar
Skyfall (2012). Directed by Sam Mendes. United Kingdom: Eon Productions.Google Scholar