The objective of this project is to scrutinize the film Austin Powers: The Spy Who Shagged Me through the lens of semiotics. Our group has chosen to approach our analysis through the extraction of narrative models, metonyms, metaphors, the use and also subversion of stereotypes and intertextuality. The film uses these devices to both inject humour and to subvert the notions that society has brought us up to believe in.
The methodology employed is the viewing and analysis of the film while secondary data sources include academic papers and Internet articles. Selected scenes and examples are discussed due to word constraint.
The story begins with Austin Powers frolicking in bed with his wife Vanessa. He then finds out that she is actually a fembot trying to assassinate him. After her self-destruction, he is pleased that he can continue with the carefree life of a swinging bachelor.
Meanwhile, Powers' nemesis, Dr Evil, is planning to get back at him. He has built a time machine which will take him back in time to 1969, when Powers was still frozen in the Cryo Chamber. He employs Fat Bastard to infiltrate the Ministry of Defence and steal Powers' mojo. Without his mojo, Powers would be rendered impotent and no longer powerful enough to thwart Dr Evil's plan to dominate the world. Apart from Fat Bastard, Dr Evil also has a new sidekick Mini Me, who is his exact replica but one-eighth his size.
Upon realizing what Dr Evil has done, Powers is sent back in time by his superior to deal with the crisis. Other than recovering his mojo, his main task is to stop Dr Evil from destroying Earth with a laser-emitting weapon which he placed on the Moon. In the final battle in Dr Evil's headquarters, with the help of CIA agent Felicity Shagwell, Powers succeeds in foiling the evil plan and forces Dr Evil to escape with Mini Me. The film ends with Powers bringing Shagwell back to 1999, into his bed.
3.1 Narrative Models... [continues]
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