and despair is felt while an undertone of hope persists. After an unknown catastrophe, a father and son are left alone to walk the post apocalyptic wastes with nothing but the haunting memory of a world long gone. The novel consistently shows the bond between father and son accentuated with the stark contrast of the horrific brutality. The novel and the film both provide stunning tales of survival, but they both excel in different areas such as in character development, tone as well as theme, and
“The names Bond, James Bond.” A catch phrase reserved specifically for one man and one man only, that man being, if you have not figured it out yet, James Bond. If one has ever seen any of the James Bond films or read any of the numerous James Bond novels, the second we hear that line spoken our minds immediately imagine the same images. We imagine a tall handsome man dressed in a sharp black suit and bowtie, maneuvering himself in a very suave manner, a martini cocktail in one hand (shaken not
place during the time after the UDSSR collapsed most stereotypes are targeting the Russians. It begins with James Bond and his fellow college being attacked as they invade one of the Russian headquarters. Right at the beginning the Russians are portrayed as heartless and pugnacious as a large amount of Russian army men are shown during the opening sequence they show no hesitance to shoot James Bond and his companion. The Russian military is said always covers up affairs concerning them, in Goldeneye an
James Bond, Sex and Masculinity Is Ian Fleming’s James Bond really a sexist, misogynistic Bastard? Ian Fleming’s various depictions of women in his James Bond novels can become increasingly difficult to accept while reading them today. Especially in Casino Royale, what is even more difficult to accept is that people still read them today and don’t even pick up absurd levels of derogatory comments towards the female sex used throughout the whole novel to depict women as staying at home to
because there is no love in the marriage If we looked at Emilia’s marriage with Iago today, we would realize she isn’t happy and scream at her character “LEAVE!”, but in 16th century Italy the audience would look at this marriage as the norm. Carolyn James explains in the “Journal of Women’s History” that marriage in the 16th century was easily arranged but “friendship in a marriage is a precious commodity, rarely to be found” (4). Iago didn’t see Emilia as her equal but saw her as inferior. When reading