Relevant bibliographies by topics / James Bond 007 (Filmserie)

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Academic literature on the topic 'James Bond 007 (Filmserie)'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "James Bond 007 (Filmserie)"

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Toubiana, Éric-Pierre. "La Passion du Risque : James Bond 007." Topique 107, no. 2 (2009): 17. http://dx.doi.org/10.3917/top.107.0017.

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Schwanebeck, Wieland. "James Bond’s Biopolitics." Humanities 8, no. 2 (March 27, 2019): 62. http://dx.doi.org/10.3390/h8020062.

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This chapter traces Foucauldian technologies of power in the James Bond universe and characterises the Bond franchise’s biopolitics in the cultural environment of the 1960s and 1970s, when 007 became a mass phenomenon. The majority of the chapter is dedicated to a case study of On Her Majesty’s Secret Service, Ian Fleming’s tenth Bond novel (1963) and the sixth film in the EON series (1969). The chapter highlights the intersection between reproduction and fertility on the one hand and the infliction of death and mass genocide on the other, and it examines how James Bond juxtaposes the disciplinary means that are directed against the body (as an organism) on the one hand, and the state-powered regulation of biological processes that control the population on the other. The two versions of On Her Majesty’s Secret Service amount to the franchise’s most straightforward foray into the realm of biopolitics and would pave the way for the franchise’s subsequent biopolitical and eugenic moments, like when the figure of the genocidal villain gets to articulate the franchise’s own subliminal agenda regarding population control and the future of the (British) species.
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Zegers, Lara DA, and Richard HC Zegers. "(Un)safe sex in James Bond films: what chance for sex education?" Scottish Medical Journal 63, no. 4 (November 2018): 113–18. http://dx.doi.org/10.1177/0036933018809601.

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Background and aims Many women in Bond films make love to James Bond (alias 007). Our objective was to quantify the practice of (un)safe sex in Bond films. Methods and results All 24 Bond films were watched together by the authors and the following data were recorded: if the women had sex with 007, whether the women consumed any alcohol before they had sex, whether contraceptives were mentioned and/or used by 007 or the women and whether the women survived the film. Bond had sexual relations with a total of 58 different women. Twenty-two percent of the women had consumed alcohol. In none of the films was any type of contraception mentioned or used. A total of 28% women did not survive the film. Conclusion If he were real, Bond outnumbers the British men at least fivefold when it comes to the number of sexual partners over a lifetime. Nevertheless, over time casual sex is becoming less frequent for 007. Sexually transmitted diseases, safe sex and (unwanted) pregnancies seem not to exist in the films. Some suggestions were made to promote safe sex in future Bond films as movies can play an important role in sex education.
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Bilgi, İrem. "Jenerik Tasarımında Maurice Binder’ın Yeri ve 007 James Bond Film Jenerikleri." Sanat ve Tasarım Dergisi, no. 21 (June 22, 2018): 77–90. http://dx.doi.org/10.18603/sanatvetasarim.435641.

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Thomas, Jean-Pierre. "James Bond encore. Pour une mythanalyse de l'agent 007 par Frédéric Julien." University of Toronto Quarterly 87, no. 3 (August 2018): 158–61. http://dx.doi.org/10.3138/utq.87.3.sh.21.

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Chapman, Llewella. "Jaap Verheul (ed.), The Cultural Life of James Bond: Spectres of 007." Journal of British Cinema and Television 18, no. 2 (April 2021): 251–55. http://dx.doi.org/10.3366/jbctv.2021.0570.

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Dudziński, Robert. "Agent 007 za żelazną kurtyną. Fenomen Jamesa Bonda w piśmiennictwie kulturalnym Polski Ludowej." Literatura i Kultura Popularna 24 (April 18, 2019): 289–311. http://dx.doi.org/10.19195/0867-7441.24.19.

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Agent 007 behind the Iron Curtain: The phenomenon of James Bond in the cultural writings of the Polish People’s RepublicThe topic of the article is the reception of the phenomenon of James Bond in cultural writings from the times of the Polish People’s Republic. Though an average member of the Polish audience could not be directly familiar with the character neither in literature nor in film, the scale of the popularity of the brand in the West meant that the echoes of the so-called Bondomania started to reach countries behind the Iron Curtain. Polish critics and journalists tried to acquaint their readers with the issue and explain it using various interpretative categories.The article attempts to reconstruct these categories and their hierarchy of values. Based on theses formulated by Janet Staiger Interpreting Films: Studies in the Historical Reception of American Cinema, the author analyses the changes to Polish interpretations and opinions on the Bond phenomenon in subsequent decades and indicates the historical conditions that influenced those changes. The text focuses primarily on two periods: 1964–1971 and the latter half of the 1980s, because it was in those times that the interest of Polish critics in James Bond was particularly strong.
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Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (September 1, 2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.

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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film performance, stage comedy, and radio, these “spy comedies” spoofed aspects of both the James Bond franchise and the local action thrillers that imitated Bond. This was often accomplished by overlaying the narrative of a rustic with that of a spy. The comedies reveal a synchronicity between development and urbanization, which displaced large numbers of people, and the othering of North Koreans, which led to spy paranoia about those who were out of place. This paper argues that global genres played a particular role for South Korean comedy in the 1960s: they enabled oblique treatments of sensitive social issues through play. Generic heterogeneity defined comedic films of this era.
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Penteado, Claudio Luís de Camargo, and Bruno Novaes Araujo. "Da Guerra Fria aos dias atuais: James Bond e a naturalização do Homo-Consumericus." Comunicação & Sociedade 40, no. 3 (December 20, 2018): 269. http://dx.doi.org/10.15603/2175-7755/cs.v40n3p269-293.

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Nesse artigo analisarei os enredos dos filmes da franquia “007-James Bond”, verificando a relação das películas produzidas com o contexto da Guerra Fria e as transformações recentes pelas quais a personagem James Bond passou, ligadas diretamente a um processo acentuado de naturalização e legitimação dos ideais da sociedade consumista contemporânea e a produção e reprodução do Homo-Consumericus. Para isso, diversos teóricos pertinentes a essa discussão serão abordados com o intuito de fundamentar esse debate tão caro à sociedade contemporânea. A metodologia utilizada será de revisão bibliográfica e descrição dos enredos das películas selecionadas.
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Stuart, Simon N., Shaikha Al Dhaheri, Elizabeth L. Bennett, Duan Biggs, Andrew Bignell, Onnie Byers, Rosie Cooney, et al. "IUCN's encounter with 007: safeguarding consensus for conservation." Oryx 53, no. 4 (November 16, 2017): 741–47. http://dx.doi.org/10.1017/s0030605317001557.

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AbstractA controversy at the 2016 IUCN World Conservation Congress on the topic of closing domestic ivory markets (the 007, or so-called James Bond, motion) has given rise to a debate on IUCN's value proposition. A cross-section of authors who are engaged in IUCN but not employed by the organization, and with diverse perspectives and opinions, here argue for the importance of safeguarding and strengthening the unique technical and convening roles of IUCN, providing examples of what has and has not worked. Recommendations for protecting and enhancing IUCN's contribution to global conservation debates and policy formulation are given.
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Dissertations / Theses on the topic "James Bond 007 (Filmserie)"

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Björkman, Richard. "James Bond-temats musikaliska förändringar : Från Dr. No till Casino Royale." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3126.

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I denna uppsats har den musikaliska förändringen i James Bond-temat, sett över de 21 filmer som gjorts fram till denna uppsats genomförande, analyserats och tolkats. Syftet är att dela med mig av mina tankar och analyser om hur temat framförts och utvecklats, samt därmed också bidra till att utveckla kunskapen om James Bond-världen.Efter en litteraturbaserad del, där bakgrunden till James Bond-temats uppkomst behandlas, så analyseras sedan film för film i Bond-serien från Dr. No till Casino Royale. Analysen tar främst upp delarna synkronisering, instrumentering och influenser.Analyserna visar på att James Bond-temat i grund och botten bygger på samma melodi genom alla filmer, men också har förändrats i stor utsträckning i utförandet.
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Antibi, Serge. "La robinsonnade au cinéma : Robinson Crusoé, Hercule, Tarzan, Jules Verne, James Bond 007." Toulouse 2, 1990. http://www.theses.fr/1990TOU20039.

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Björnberg, Kalén Anton. "Agent 007 ser svart : En retorisk-kritisk granskning av ras och nationalitet." Thesis, Uppsala universitet, Avdelningen för retorik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274492.

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Quina, Ana Cristina Corrula. "Da cibercultura ao product placement: A caracterização do protagonista em 007: "007 - contra Goldfinger", "007 - morre noutro dia" e "007 - skyfall"." Master's thesis, 2018. http://hdl.handle.net/10400.26/22894.

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Atualmente estamos rodeados de publicidade. Existe em todos os canais de comunicação, mas embora o avanço da tecnologia tenha levado a um aumento de canais, também trouxe ferramentas que nos permitem usufruir de qualquer canal sem que sejamos constantemente alvo de publicidade. Para contornar essas ferramentas, como o efeito zapping ou os bloqueadores de publicidade, as marcas tiveram de escolher novas formas de se promoverem. Optaram por investir em produções cinematográficas, tornando-se assim as verdadeiras fontes de financiamento do filme. A esta técnica de comunicação dá-se o nome de product placement, a inserção de marcas sob várias formas, como logótipos, produtos ou até mesmo no meio do texto, numa produção cinematográfica. Para compreender melhor esta ferramenta publicitária, recorremos a uma análise de conteúdo de três filmes cujo personagem principal é James Bond. Através dessa análise, pretendemos saber como e quais as marcas que estão associadas de forma direta o personagem e como a influenciam.
Nowadays we are currently surrounded by advertising. It exists in all communication channels, but the advance of technology has led to an increase of communication tools, also brought tools that allow us to pass without being constantly the target of advertising. To circumvent these tools, such as the zapping effect or the advertising blockers, the brands had to choose new ways to promote themselves. They opted to invest their products in cinematographic productions, becoming the real sources of film financing. This technique of communication is called product placement, which is the insertion of brands in various forms, such as logos, products or even in the middle of the text, in a film production. To understand this advertising tool, we turn to a content analysis of three films whose main character is James Bond. Through this analysis, we intend to know how and what brands that are directly associated with the character and how they influence it.
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Pretorius, Philippus Christoffel. "Popular culture and the narrative: the case of the James Bond 007 films." Thesis, 2008. http://hdl.handle.net/10210/663.

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This study examines the contribution of popular culture and artefacts in the narratives of the James Bond films and postulates that these narratives in turn become popular cultures of their own. In the audiovisual industry the actuality and novelty of the content and the production thereof relates directly to the success of the production. The main reason is because of actuality of the theme, topic and the popular culture portrayed in the production. The popular culture products at the time of production is set to change rapidly within weeks from the time the premiere has been broadcast. These products include technologies like colour, grain and resolution which are quite evident even to the untrained eye. Furthermore, and as the aim of this study, social products like fashion, hairstyles, language, décor, cars, watches, slang, paradigms, narrative schemes and actuality news stories will have rapidly changed and might not be accepted and embraced by the viewers. The unique way in which all of these elements are incorporated into the narrative scheme for the production can proclaim a stake in box-office income for a film. These popular culture elements are usually developed with a short term and immediate goal of success in mind. For the purposes of this study though, and as a result of its success, the James Bond 007 films by Eon Productions are studied as a unique case study of a sustainable popular cultural phenomenon. Although initially thought of as too popular for academic inquests Ian Fleming’s James Bond novels soon attracted the attention of academics like Kingsley Amis and Umberto Eco. In the years to follow numerous theorists the likes of Roland Barthes, Robin Wood, Tony Bennett, Janet Woollacot and James Chapman investigated the academic and socio-cultural implications of Bond. According to Chapman (1999:4-13) the main reason that the James Bond “phenomenon” is still not receiving much academic attention is because it is merely “unfashionable in the present intellectual climate”. Trahair (1976:1) states that merchandising the hero’s image is important in creating a popular hero. He adds that this is only possible if you have a “saleable” item, in this case Bond. Not only is the Bond phenomenon well marketed but also well accepted by audiences. It is estimated that almost half the world’s population has seen at least one Bond film (Chapman, 1999:14; Smith & Lavington, 2002:1). According to Smith and Lavington (2002:1) the Bond franchise is seen as: “the longest-running, most commercially successful and perhaps most recognisable film series in the history of the medium”. Bond raked in record breaking audiences and or box-office income for almost every newly released James Bond film over a period of forty years. It is also recorded as the highest grossing film franchise in the world with added grosses of more than $3 billion until 1999 (Chapman, 1999:14). This gives an indication of the acceptance of the holistic concept that is James Bond 007. It leads to the question of why James Bond works in a world that has changed enormously in the last forty years. What is presently in fashion and technologically advanced could be easily outdated and succeeded by the time it is sold. It is then the popular nature of the franchise as created through the narrative scheme and popular culture elements within this narrative recipe that lead to this enquiry. After branding Bond as being extremely popular, Smith and Lavington (2002:1) remarks that: “We know that. Everyone knows that. And that’s the point.” They are referring to the fact that Bond is so well known and accepted that an inquiry into its popularity is inevitable. Although many such enquiries have been made this study will focus on the use of popular commodities or popular culture artefacts to popularise the narratives of the James Bond films. These narratives in turn commodify the films as a popular franchise.
Dr. F.P. Duvenage
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Books on the topic "James Bond 007 (Filmserie)"

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Die besten Zitate aus James-Bond-Filmen: Fu r Reden, E-Mails, Ga stebuch, zum Vergnu gen und zur Erkenntnis ; mit ausfu hrlicher Vorstellung aller Filme. 2nd ed. Hannover: Humboldt, 2009.

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Paland, J. M. James Bond 007. Paris: Edilig, 1987.

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Ian, Fleming. James Bond Somogro 007. Calcutta: Aditta Prokashaloy, 1994.

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Ian, Fleming. James Bond Somogro 007. Calcutta: Aditta Prokashaloy, 1999.

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Horowitz, Anthony. 007 James Bond: Déclic mortel. Paris: Hachette Livre, 2015.

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Ian, Fleming. James Bond 007:Operatiunea Thunderball =: Thunderball. Bucharest: RAO Bucharest, 2001.

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Ian, Fleming. Goldfinger: 007, a James Bond novel. New York: Penguin Books, 2002.

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Ian, Fleming. James Bond, 007: Five complete novels. New York: Avenel Books, 1988.

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Hibbin, Sally. The official James Bond 007 movie book. New York: Crown Publishers, 1987.

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Hibbin, Sally. The Official James Bond 007 movie book. London: Hamlyn, 1987.

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Book chapters on the topic "James Bond 007 (Filmserie)"

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Goggin, Joyce. "Live and Let Die: The Tarot as Other in the 007 Universe." In James Bond Uncovered, 143–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76123-7_8.

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Schwanebeck, Wieland. "Licence to Replicate: Never Say Never Again (1983) as 007’s Lesson in Adaptation Studies." In James Bond Uncovered, 163–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76123-7_9.

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"Breaking his tailor’s heart: Roger Moore (1976–80)." In Fashioning James Bond. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350164673.ch-007.

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Horak, Jan-Christopher. "Branding 007:." In The Cultural Life of James Bond, 249–68. Amsterdam University Press, 2020. http://dx.doi.org/10.2307/j.ctv1850jbk.16.

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"3. James Bond and Female Authority." In For His Eyes Only, 28–38. Columbia University Press, 2015. http://dx.doi.org/10.7312/funn17614-007.

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"5. Bond Rebooted: The Transnational Appeal of the Daniel Craig James Bond Films." In The Cultural Life of James Bond, 103–22. Amsterdam University Press, 2020. http://dx.doi.org/10.1515/9789048532117-007.

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Kunicki, Mikołaj. "A Socialist 007:." In The Cultural Life of James Bond, 41–60. Amsterdam University Press, 2020. http://dx.doi.org/10.2307/j.ctv1850jbk.6.

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"Introduction: Specters of 007." In The Cultural Life of James Bond, 11–22. Amsterdam University Press, 2020. http://dx.doi.org/10.1515/9789048532117-002.

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Verheul, Jaap. "Introduction : Specters of 007." In The Cultural Life of James Bond. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185_intro.

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Horak, Jan-Christopher. "Branding 007 : Title Sequences in the James Bond Films." In The Cultural Life of James Bond. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185_ch12.

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The James Bond series has maintained its brand identity through the James Bond character, recurring plot elements, and its film design, in particular the credits sequences of Maurice Binder, Robert Brownjohn, MK12, and Daniel Kleinman. This chapter will examine the work of Binder, who created fourteen of the first eighteen Bond titles and has been rightly singled out as one of a new generation of title designers who utilized modernist aesthetics to create a specific look for the James Bond franchise. The chapter also asks how the digital turn, which coincided with the transition from Binder to Kleinman in the 1990s, has impacted the design and aesthetics of the James Bond title sequences.
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