A progressive analysis of politics and the arts.
By Alex Powell
Late last month, we saw the release of the first batch of Teaching Excellence Framework (TEF) results. The TEF has been the subject of significant student opposition, with a Save the Student survey suggesting that as many as 76% of students oppose the implementation of the TEF. I was an opponent of it myself, particularly of links made between TEF scores and the ability of institutions to raise their tuition fees, though this plan has been postponed until 2020.
In the years following the Second World War, Britain had shifted in ways many thought impossible. In the 1950s, amidst the fading colonial legacy of a crumbling empire, with increasing levels of immigration and the decreased faith in the power of the free market led, the country’s middle class felt stranded. These revolutionary changes in the country’s fabric radically challenged the ideas they had been raised to adhere to in the name of success. Middle England was holding out for a hero – and boy did Ian Fleming’s gin-swilling womaniser give them one.
James Bond is a cultural artefact – an ideological snap-shot, emerging initially as the embodiment of the established order, in order to defend it. Such was the archetypal appeal of the character, and so in tune was he to the fears of the middle class, that he soon moved seamlessly between mediums. In a world where Britain’s influence seemed to be waning, and where marginalised races and genders were pushing for equality, Bond showed Middle England could still have it all – no wonder he’s cited as being David Cameron’s inspiration for foreign policy, 007 is a conservative’s wet-dream.Continue Reading
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