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Claire Hines

of the Bond character as created by Fleming and adapted in the films has been recognised as central to the enduring appeal of Bond, underscored by his consumerist and cultured personal style. In contrast, some aspects of James Bond – such as his associations with British imperialism and parts of his spy image – were in some respects already backward-looking. This has continued to be repackaged to some extent but, as discussed later in this book, beyond the 1960s the playboy image and lifestyle also seemed increasingly outdated, and in many ways nostalgic in recent

in The playboy and James Bond
City Fun and the politics of post-punk
David Wilkinson

cults … and their myriad mutations and sub-factions’ that had followed in the wake of punk.80 While the writer acknowledged the pleasures of subcultural style, they despaired of the way that tribal hostilities could so easily be manipulated ‘by those whose games are played on a grander scale’, drawing historical parallels with the incorporation of Scottish clans into the service of British imperialism.81 City Fun and the politics of post-punk -103- The perspective has much in common with Fredric Jameson’s diagnosis of the rise of the ‘group’ in late capitalism

in Ripped, torn and cut
Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)
Alberto Fernández Carbajal

‘Raj Revival’. 2 Laundrette was meant as a rebuff to, in Kureishi’s own words, ‘lavish films set in exotic locations’ ( 2000 , p. 5) glorifying British imperialism. However, despite its current recognition as seminal film on diasporas in Britain, it was not sympathetically received by Muslim audiences on either side of the Atlantic upon its release. Gopinath reminds us that the film ‘engendered heated controversy within South Asian communities in the UK’ ( 2005 , p. 2). John Hill also notes it ‘was criticized from within the Asian community both for its

in Queer Muslim diasporas in contemporary literature and film
Interstitial queerness and the Ismaili diaspora in Ian Iqbal Rashid’s poetry and films
Alberto Fernández Carbajal

’s script, closely focused on the two characters, allows him to dissect their queer relationship and its cultural and political underpinnings. I would argue the relationship between Sammi and Luke is deeply imbricated in existing structures of sexual and political domination historically linked not only to British imperialism, but also to classical Islamic and ancient Greek civilizations. Crucially, Luke never lets Sammi forget, either explicitly or through indirect allusion, that it was he who penetrated Sammi. Sammi’s distaste for Luke

in Queer Muslim diasporas in contemporary literature and film
Family Portrait
Keith Beattie

Town, Cairo and Canada … We have been to the poles and every time the return has brought us back food and food for machines’. The narrator adds that this imperial exploration (the narrative is not one of imperial exploitation) also ‘brought us experience and responsibility’. According to Conekin, who has analysed the Festival at length, ‘[t]his is one of the most direct references to Empire in the Festival of Britain, replete with the version of British imperialism represented as paternal­ istic and conscientious’.38 Among his criticisms of Family Portrait Lindsay

in Humphrey Jennings