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Part 1: Trans-status disguise on film
James Bond is a man of expensive taste. His tailored suits and Omega watches reflect a kind of elitism. He presents himself with an air of confidence that is unattainable to most, and that suave sophistication is a hallmark of Bond in every incarnation. It makes women swoon, and men envious. It also presents a problem. As a spy, Bond must occasionally go undercover. He must don a disguise, and eliminate everything that makes him 007.
Fashion is typically aspirational, reflecting a desire to imitate those of higher socioeconomic status. Bond’s wardrobe is no exception. The character dresses in a way that would stretch the pay-packet of any civil servant. His wardrobe is designed less for practicality than to invite admiration. This is useful when his goal is to bed a Bond Girl, or attract the attention of a mastermind villain across the floor of a casino, but useless when he needs to infiltrate a secret lair or blend into a crowd. These are occasions on which it is desirable to use costume to reduce status, and to perform a masquerade of normalcy. Bond must abandon all outward indicators of individuality and status: to perform ordinariness.
Bond’s disguises have ranged from the obvious (a chauffeur in Skyfall), to the absurd (a Japanese fisherman in You Only Live Twice). Bond is not alone in requiring trans-status disguises. Bond villains with often use the same tactics to evade capture, including most recently, Skyfall’s Silva. After escaping from MI6’s temporary underground headquarters, Silva achieves anonymity on the London underground in a police uniform.
Fictional spies are not, of course, the only people who have a reason to conceal their identity and status through costume. Dressing down is core to experiments in “trans-status disguise” , a practice that flourished in the late nineteenth century social experiments, and is still vital in more recent journalistic practices such as those employed by Polly Toynbee. In 1890, Jacob Riis published How The Other Half Lives, a taxonomy of class structure which included notes on “bodily signifiers” of class, most notably, costume. In his text, Riis invited readers to covertly “be with and among [the] people [of lower socioeconomic status] until you understand their ways” with the aim of encouraging greater trans-status empathy. There then began a trend for articles in British and American periodicals that featured the observations of “middle-class [reporters] who briefly lived ‘working-class’ lives”. The accounts of these writers reveal dress as core in the construction of a trans-status disguise. In 1903, Jack London expressed surprise at how remarkably attitudes towards him changed when he donned a frayed jacket. The jacket, he noted, became a “badge and advertisement of [his perceived] class.” By “vesting [him]self in class-specific apparel” he invited observers to make assumptions about his socioeconomic status, and in so doing created opportunities to “move freely” among social groups that had formerly viewed him as an outsider.
These journalists and sociologists cloaked themselves in a “signified cloth granting liberation and opportunity”. The clothes reduced their status, masking anything remarkable about their profession or prestige, and they found themselves empowered. The disguises gave them a peculiar power of normalcy and anonymity, which allowed them to partake in activities that were previously out of their reach. For Bond, anonymity grants the freedom to watch without being watched back. As an anonymous member of a crowd, Bond is able to get much closer to the action without being noticed until he chooses to make his move. Dressed as a faceless henchman, he is able to infiltrate the most secure depths of a villain’s lair.
 Hyland, Peter, ‘The Performance of Disguise”, Early Theatre, Vol. 5 (1), 2002, 77-83.
 See Toynbee, Polly, Hard Work: Life in Low-pay Britain, London: Bloomsbury, 2003, a record of the experiences of journalist, Toynbee, who spends a period living and working on minimum wage in order to expose the difficulties encountered by those of lower socioeconomic status than herself and her readers.
 Schocket, Eric, ‘Explorations of the ‘Other Half,’ or the Writer as Class Transvestite,’ Representations, 64 (1998), 112, 118.
 London, Jack, People of the Abyss, 1903, cited in Schocket, Eric, ‘Explorations of the ‘Other Half,’ or the Writer as Class Transvestite,’ Representations, 64 (1998), 119.
 Fhlainn, Sorcha Ni, ‘Our Monstrous (S)kin: Blurring the Boundaries Between Monsters and Humanity’, in Our Monstrous (S)kin, ed. Fhlainn, Sorcha Ni, Oxford: Interdisciplinary Press, 2009, 9.
Connery plays Bond in Japanese fisherman disguise, in ‘You Only Live Twice’: http://www.modernprimate.com/tag/chinese-disguise/
Javier Bardem as Silva in disguise, in ‘Skyfall’: http://jamesbond.wikia.com/wiki/Skyfall