The Man With The Golden Gun

The poster for The Man with the Golden Gun (1974) exemplifies the evolving themes in James Bond films of the 1970s while reflecting societal concerns of the time. Roger Moore is centrally positioned, portraying Bond as a suave, composed, yet formidable figure. Moore’s portrayal emphasizes Bond’s role as an intelligent, calm hero, diverging from the grittier portrayals of his predecessors and leaning towards a more stylized sophistication. This aligns Bond with a smooth, unflinching masculinity that was idealized in the 70s.

Gender stereotypes are evident in the poster, with scantily clad women surrounding Bond. These female characters are visually objectified, reinforcing the trope of women as secondary to Bond’s narrative, mainly presented as either romantic interests or as decorative figures. This reflects a broader cinematic pattern of the era, where women in action genres were often reduced to sexualized roles rather than fully developed characters.

The poster also reflects a fascination with martial arts films, which were popular in the early 1970s, especially with the global success of Bruce Lee. This influence is seen in the presence of martial artists and Eastern iconography, which signals an attempt to position Bond within a global context while capitalizing on popular trends.

Additionally, the film’s storyline about the energy crisis mirrors the real-world 1973 oil crisis, a time when fuel shortages and economic concerns dominated headlines. The poster features industrial elements and complex weaponry, symbolizing both the technological advancements and the anxieties of that era. The plot’s focus on renewable energy connects Bond’s world to pressing global issues, albeit through a high-stakes, fictional narrative.

Overall, the poster uses themes of masculinity, cultural fads, and real-world issues to market The Man with the Golden Gun, positioning Bond as both a protector and an appealing figure in a world of glamour, danger, and mystery.

CHECK YOUR LEARNING

How does the poster position Roger Moore’s portrayal of Bond compared to previous Bond actors?
In what ways does the poster use gender stereotypes? Give examples.
How are the women on the poster represented? Why might this be problematic?
What does the presence of martial arts elements signify about the film’s influences?
Explain how the oil crisis of the 1970s is relevant to the film’s plot.
How does the poster reflect anxieties of the 1970s, such as energy concerns?
What might the industrial and technological imagery on the poster symbolize?
How does the central positioning of Bond contribute to his portrayal as a hero?
Why do you think martial arts films were popular during the 1970s?
How does the poster appeal to audiences' desire for adventure and excitement?

How does the poster give clues to the films narrative (story)?

"The Man with the Golden Gun (1974) is the ninth film in the James Bond series, starring Roger Moore as the suave British spy, 007. The poster for the film uses a range of visual and linguistic techniques to highlight Bond’s iconic traits, while emphasizing the film's action, intrigue, and exotic locations.

At the center of the poster is James Bond, holding a golden gun, a key prop that symbolizes the film's villain, Francisco Scaramanga, but also hints at Bond’s ability to use this weapon against his enemies. Bond’s confident pose, complete with a tuxedo and gun, reinforces his status as a skilled, fearless agent. His rugged masculinity is amplified by the intense stare and the dramatic close-up, making him the focal point of the image.

The female characters, including Britt Ekland’s Mary Goodnight, are depicted alongside Bond in typical "Bond girl" fashion. Their sensual poses and revealing clothing reflect the traditional, yet somewhat outdated, portrayal of women in the series. These women are often portrayed as secondary to Bond’s mission, their roles reinforcing the gender stereotypes typical of 1970s action films.

The exotic location of Thailand, suggested through the palm trees and warm colors, adds to the film's appeal of glamorous adventure. The language on the poster, with phrases like “The world's most dangerous assassin” and “The Man with the Golden Gun,” creates a sense of intrigue and danger, positioning Bond as both the hunter and the hunted in this high-stakes narrative."

Check your learning

What is the significance of the golden gun in The Man with the Golden Gun, and how does it relate to the plot of the film?
How does the poster visually represent James Bond as a character? What traits are emphasized?
How are female characters, like Mary Goodnight, portrayed on the poster? What does this suggest about their roles in the film?
What role does Bond’s relationship with women play in the context of the poster, and how does this reflect the 1970s portrayal of women in action films?
What role does the golden gun serve in the film's plot, and why is it featured so prominently on the poster?
How does Bond’s use of a tuxedo and gun reinforce his character as a skilled, confident secret agent?
How do the palm trees and warm colors on the poster suggest the exotic location of Thailand? What is the significance of using such a location in the film?
What effect does the language on the poster, like “The world’s most dangerous assassin,” have on how the audience perceives Bond and the villain?
How does the poster’s typography (font and size) contribute to the film’s sense of danger and action?
What themes of danger, intrigue, and masculinity are suggested by the imagery and language on the poster? How do these align with the film’s broader narrative?

https://youtu.be/gTbv91xYrLE

Exam Question Focus

Compare the representation of gender in the The Man With The Golden Gun and Spy film posters.

12 Marks

The two film posters, The Man With The Golden Gun and Spy, represent gender in different ways. This is likely because they were made in different times, when society had different ideas about men and women.

In the The Man With The Golden Gun poster from the 1970s, the representation of gender is very traditional. The main character, James Bond, is shown as a strong and powerful man. He is in the centre of the poster looking directly at the audience, which makes him seem important and in control of the situation. The women on the poster are represented very differently. They are wearing small bikinis and are posed to look attractive. They are much smaller than Bond in the poster, which suggests they are less important characters. Their role seems to be just to look good for the male audience, which is a common stereotype from that time.

The Spy poster from 2015 shows a much more modern representation of gender. The main character is a woman, Susan Cooper, played by Melissa McCarthy. She is the largest person in the poster and is in a very active pose, which shows she is the hero of the film. Her bright pink outfit is not what you would normally expect a spy to wear, which makes the film seem like a comedy. The male characters, Jason Statham and Jude Law, are dressed in typical spy suits, but they are at the side of the poster and look confused. This makes them seem less important and powerful than the female protagonist.

In conclusion, the representations of gender in the two posters are very different. The The Man With The Golden Gun poster reinforces old-fashioned stereotypes where the man is the powerful hero and the women are just there to look at. The Spy poster challenges these ideas by making the woman the central, powerful character and making the men seem silly and less capable. This shows how the representation of gender in media has changed over time to reflect more modern views.

25 marks

The representation of gender in film posters is a constructed message, reflecting the societal values and target audience of its time. A comparison of the 1974 illustrated poster for The Man With The Golden Gun (TMWTGG) and the 2015 photographic poster for Spy reveals a significant evolution in the portrayal of gender. While both posters utilise the codes of the spy/action genre, they do so to construct fundamentally different representations. TMWTGG reinforces patriarchal, 1970s stereotypes, positioning masculinity as dominant and femininity as subordinate and sexualised. In stark contrast, Spy subverts these traditional roles for a contemporary audience, using comedy to challenge hegemonic masculinity and place a female protagonist at the forefront of the action.

The representation of masculinity in both posters provides a clear point of comparison and contrast. In TMWTGG, the producer’s choice to centralise James Bond (Roger Moore) constructs a powerful, hegemonic masculinity. His mid-shot, smart attire, and calm, direct mode of address amidst the surrounding chaos connote control, composure, and authority. He is the unflappable hero, the anchor of the narrative. This representation reflects the dominant ideology of the 1970s, where the male hero was the undisputed driving force of the narrative. Conversely, the Spy poster presents a more complex and comedic representation of masculinity. While the male characters, played by Jason Statham and Jude Law, are dressed in archetypal spy attire, their power is visually and narratively undermined. They are positioned on the periphery, their expressions conveying confusion and frustration as they are upstaged by the central female character. The producer’s choice to frame them as dishevelled and reactive deconstructs the traditional, hyper-masculine spy trope, suggesting a modern media landscape where such stereotypes can be parodied and challenged.

The most significant difference between the posters lies in their representation of femininity. The TMWTGG poster is a clear example of the male gaze, where female characters are constructed as objects of desire for a presumed male audience. The producer’s choice to depict the women in skimpy bikinis, with exaggerated hourglass figures and flowing hair, overtly sexualises them. Their smaller size and passive or decorative poses within the composition subordinate them to Bond, visually reinforcing their status as little more than plot devices or rewards for the hero. Even the woman in the karate gi, while seemingly more active, is still coded as the 'exotic other', her ethnicity presented as a point of visual difference and intrigue. In direct opposition, the Spy poster completely rejects this objectification. Melissa McCarthy’s character, Susan Cooper, is the dominant figure, large in the frame and the active agent of the scene. Her costume, a bright pink top, is comical and unglamorous, deliberately subverting the trope of the hyper-sexualised female spy. Her action pose is powerful but not graceful or designed for the male gaze; it is functional and chaotic. This representation aligns with more post-feminist values, where a woman can be the hero without conforming to traditional standards of beauty or behaviour.

Finally, the composition and layout of the posters further reinforce these differing gender representations. The TMWTGG poster is a complex, narrative-driven illustration. Bond is the fixed point, and all other elements, including the female characters, explosions, and villains, orbit around him. This visual structure reinforces the idea that the male hero is the centre of the universe, while female characters are merely part of the scenery. The enigma of the golden gun is aimed at Bond, cementing his role as the protagonist. The Spy poster, however, has a much simpler composition that focuses on the dynamic between the three characters. The implied narrative is one of subversion; McCarthy’s character is actively disrupting the static, posed male figures. The tagline, "Masters of disguise. Experts in espionage. Totally unprepared," directly challenges the competence of the male spies and positions the female protagonist as the catalyst for change.

In conclusion, while both posters operate within the spy genre, their representations of gender are worlds apart, reflecting the profound shift in societal attitudes over four decades. The representation of gender in TMWTGG is deeply traditional and patriarchal, reinforcing the stereotypes of its era by constructing a powerful male hero and sexualised, subordinate female characters. The Spy poster, however, offers a progressive and comedic critique of these very stereotypes. It subverts the male gaze, challenges hegemonic masculinity, and places a complex, non-conformist female character at the heart of the narrative. Therefore, the representations of gender are far more different than they are similar, demonstrating how media products act as a mirror to the evolving social and cultural understandings of gender roles.

10 Ways the 25-Mark Answer is Better

Establishes a Clear Argument (Thesis): The 25-mark answer opens with a strong thesis statement that directly answers the question and outlines the main points of the argument. The 12-mark answer simply begins by stating the posters are different, without establishing a clear line of reasoning.
Use of Precise Subject-Specific Terminology: The 25-mark answer consistently uses high-level terminology like "hegemonic masculinity," "patriarchal," "male gaze," "subverts," "deconstructs," and "post-feminist." The 12-mark answer uses simpler, more general terms like "strong," "important," and "silly."
Integration of Theoretical Perspectives: The 25-mark answer explicitly applies media theories, such as Laura Mulvey's "male gaze" and the concept of "hegemonic masculinity," to underpin its analysis. The 12-mark answer does not mention any specific theories.
Focus on Producer's Choices and Construction: The 25-mark answer repeatedly focuses on why certain choices were made (e.g., "The producer's choice to centralise...", "The producer's choice to depict..."). This demonstrates an understanding that media is constructed. The 12-mark answer mostly just describes what is on the poster.
Depth of Analysis over Description: The 25-mark answer analyses the meaning and connotation of what it sees (e.g., Bond's calm gaze "connotes control and authority"). The 12-mark answer often lapses into description (e.g., "Bond is looking at the audience, which makes him seem important").
Integration of Social and Historical Context: The 25-mark answer expertly weaves context into its analysis, explaining how the 1970s patriarchal society and 2015 post-feminist values shaped the representations. The 12-mark answer only mentions context in a very general way ("made in different times").
Integrated and Sustained Comparison: The 25-mark answer compares the posters throughout its paragraphs, using phrases like "In stark contrast..." to create a continuous debate. The 12-mark answer discusses each poster in separate blocks and only really compares them in the final sentence.
Sophisticated Thematic Structure: The 25-mark answer is structured thematically (paragraphs on masculinity, femininity, and composition), which allows for a more in-depth and comparative analysis. The 12-mark answer's structure is simpler and less effective (one paragraph on each poster).
Detailed Use of Evidence: Every point in the 25-mark answer is supported with specific, detailed evidence from the posters (e.g., "peripheral positioning of Statham and Law," "bright pink top," "exaggerated hourglass figures"). The 12-mark answer's evidence is more general ("small bikinis," "confused").
Evaluative and Judgemental Conclusion: The conclusion of the 25-mark answer provides a powerful, final judgement that summarises the argument and directly answers the "how far" part of the question. The 12-mark answer's conclusion is a simple summary of what has already been said.