The Many Layers of Meaning of 007

• Author: Jay Dyer
• Date: 01 March 2017
• DOI: http://doi.org/10.1111/ajes.12186
• Published date: 01 March 2017

The Many Layers of Meaning of 007

By JAY DYER*

ABSTRACT. Until Umberto Eco developed a semiotic analysis of Ian

Fleming’s series of novels with James Bond as the protagonist, few

literary critics took them seriously. That was a mistake. There are many

layers of meaning in Fleming’s simple prose, and some of those layers

may still elude analysts. The Bond series of books and novels have

been mined for ideas about cultural change, sexuality, politics,

consumerism, the body as symbol, and other features of the Bond

persona. Yet, all of these methods of analysis fail to dig beneath the

surface. To fully comprehend the character of James Bond, this article

suggests that one must take into account the imperialism of the author,

Ian Fleming, who strongly believed in the national destiny of England.

Another crucial feature that underlies the motivations of James Bond is

the ideology of eugenics, which Fleming wholeheartedly embraced.

Finally, some features of the Bond series only make sense if one

considers the mystical and alchemical beliefs of Fleming. The heroic

archetype of James Bond is not merely a symbol of patriotism. Bond, in

a sense, is an alchemist who is able to draw upon elements of fantasy

to bring about a purpose that is evenhigher than nationalism.

Introduction

Ian Fleming’s James Bond (Agent 007) is an iconic figure. Popular cul-

ture has made him one of the most recognizable and successful charac-

ters in modern fiction. The novels have sold over 100 million copies,

and the film franchise is the second most successful in history. It was

only recently displaced by the Harry Potter series. For most readers and

viewers, “007” is merely a Western pop icon. Only a few of the millions

of James Bond fans have, however,discerned that there are many magi-

cal and mystical overtones in Ian Fleming’s novels.

*Jay Dyer is the author of Esoteric Hollywood: Sex, Cults and Symbols in Film. His

graduate work focused on the interplay of literary theory, geopolitics, and espionage.

He runs the popular website, JaysAnalysis.com.

American Journal of Economics and Sociology, Vol. 76, No. 2 (March, 2017).

DOI: 10.1111/ajes.12186

V

C2017 American Journal of Economics and Sociology, Inc.

There is, however, much more at work in the novels and films than a

superficial reading or viewing might indicate. In fact, there are deeper

undercurrents, themes, symbols, and messages that operate as psycho-

logical warfare propaganda. In this article, we will provide an in-depth

semiotic analysis of the novels and films. This will yield an interpreta-

tion that confirms the existence of many underlying elements that func-

tion as propaganda.

Much has been written on the subject of Ian Fleming’s James Bond.

From Umberto Eco’s older essay “Narrative Structures in Fleming” to

Christoph Linder’s modern collections The James Bond Phenomenon

(2009) and Revisioning 007: James Bond and Casino Royale (2009),

there is a wealth of critical work on capitalist/consumerist, imperialist,

gender, and racial analyses in the books and films. However, despite

this wealth of criticism, key elements have been ignored. In this article,

we will explore some of those elements.

Recent Analysis of the James Bond Figure

In the last decade, there has been an outpouring of critical analysis of

the texts and subtexts related to James Bond. Before turning to our

own analysis, let us consider how other authors have understood the

meaning of this iconic figure.

Bond as Cultural Icon

The James Bond Phenomenon: A Critical Reader features Tony Bennett

and Janet Woollacott’s (2009: 13–33) article “The Moments of Bond,”

which chronicles the rise of the franchise in terms of marketing and

sales as well as the zeitgeist of Western imperial capitalism and the

1960s sexual revolution. All of those cultural changes wereinstrumental

in making Bond a character who is recognized around the world.

Michael Denning’s (2009) “Licensed to Look” also analyzes the consum-

erism that fueled Fleming and Bond and the mythical qualities that

Bond embodies, allof which form a potent combination with theespio-

nage genre:

James Bond transcended the novels and films which brought him to life,

and joined that small group of fictional characters who are known by

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