Breaking the Cycle: Die Another Day, Post-Colonialism, and the James Bond Film Series
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Walter C. Metz
Abstract
This paper develops a post-colonial reading of the latest James Bond series entry, Die Another Day (2002), a film directed by Lee Tamahori, the New Zealand artist most famous for his international art cinema hit, Once Were Warriors (1994). The paper argues that the film shifts away from the colonialist ideological position of the Cold War-era films in the Bond series. This argument is supported by two methodologies derived from critical theory. First, the film is read intertextually against Once Were Warriors, the Cold War Bond films, and the academic literature on these films. Second, since the film’s villain is a North Korean colonel who has become Caucasian through a radical surgical procedure, Richard Dyer’s approach to whiteness studies is used to assess the film’s surprising position on racial difference
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Articles in the same Issue
- Titelei
- Inhalt
- Editorial
- Diagnosing Discourse: Poetry and Cancer in Peter Reading’s C
- ‘Living on a woman’: Zum Verständnis der Geschlechterrollen in sozialkritischer Literatur der Zwischenkriegszeit
- Infiltration statt Konfrontation: Weibliche Komik in Sylvia Townsend Warners Lolly Willowes
- Dreamscapes: Harold Pinter’s The Room and Franz Kafka’s “Auf der Galerie”
- Breaking the Cycle: Die Another Day, Post-Colonialism, and the James Bond Film Series
- Buchbesprechungen
- Bucheingänge
- Die Autoren dieses Heftes
Articles in the same Issue
- Titelei
- Inhalt
- Editorial
- Diagnosing Discourse: Poetry and Cancer in Peter Reading’s C
- ‘Living on a woman’: Zum Verständnis der Geschlechterrollen in sozialkritischer Literatur der Zwischenkriegszeit
- Infiltration statt Konfrontation: Weibliche Komik in Sylvia Townsend Warners Lolly Willowes
- Dreamscapes: Harold Pinter’s The Room and Franz Kafka’s “Auf der Galerie”
- Breaking the Cycle: Die Another Day, Post-Colonialism, and the James Bond Film Series
- Buchbesprechungen
- Bucheingänge
- Die Autoren dieses Heftes
