Relevant bibliographies by topics / James Bond (Fictitious character)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'James Bond (Fictitious character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "James Bond (Fictitious character)"

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hale, elizabeth. "James Bond and the Art of Eating Eggs." Gastronomica 12, no. 4 (2012): 84–90. http://dx.doi.org/10.1525/gfc.2012.12.4.84.

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James Bond eats a significant quantity of eggs in the Ian Fleming novels. In contrast to his popular, decadent image, the food consumption that provides Bond with a private identity is simple, everyday food, such as eggs, which underscore his qualities as an English Everyman, who shares the food habits of his post-war British audience, but does so with style and connoisseurship. Eggs possess further symbolic resonances for Bond's character. In On Her Majesty's Secret Service, eggs underscore his essential solitary individuality, but also his potential to act as a binding agent on behalf of British society. In Thunderball, in their less than healthy aspects, eggs represent the lure of forbidden food, underscoring Bond's machismo as a lover of food and women.
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Hasan, Haris. "The Lethal Film Noir Femme Fatale : A Precursor To Bond Girls In James Bond Films." Journal of Women Empowerment and Studies, no. 21 (December 23, 2021): 21–25. http://dx.doi.org/10.55529/jwes.21.21.25.

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Film noir as a film making style gained prominence in a post world war II world. The filming style of noir with its unique americanization became a force of sorts in the mid 1940’s and in much part of the post war booming decade of 50. One of the interesting contribution of film noir apart from aesthetics of visual and lighting techniques is the depiction of female characters which came to be known as femme fatale. Femme fatale in its synonyms and various contours came to be recognized as a character with its diabolical charm and fatal attraction became the reason for the ultimate demise of the male protagonist. The development of femme fatale chracters also paved way for future fetishization of female characters in cinema. The highly popular 007 Bond series is an excellent nursery of sorts where the female characters often found themselves to be either femme fatale or femme atrappe. The paper aims to establish some of the occurrences of this sort of character in Bond films and how their resemblance with the ones in the film noir era was an experiment in creating fierce female characters on the celluloid. The depiction and celluloid portrayal in a way helped establish and explore the various contours of female characters.
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Sheikh, Adnan Rashid, Muhammad Ashfaq Munaf, and Ameer Sultan. "Facets of Focalisation in James Joyce’s A Painful Case: A Narrative Analysis." Pakistan Journal of Humanities and Social Sciences 10, no. 4 (2022): 1668–78. http://dx.doi.org/10.52131/pjhss.2022.1004.0324.

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The present paper deals with modern narrative theory concentrating on focalisation and its facets in the short story A Painful Case by James Joyce. The cognitively minded narratological notion of focalisation, a term coined by Genette (1983), developed by Uspenski? (1973) and broadened and refined by Rimmon-Kenan (2003), discusses the perceptual, psychological, and ideological positions adopted by the narrator(s) or character(s) in the tale (s). In recent years, there has been considerable interest in focalisation and its implications for narrativity and fictionality. The present paper is an endeavour to analyse the short story A Painful Case by James Joyce through perceptual, psychological, and ideological facets of focalisation. The reader can better understand the text and deduce how the characters at the two levels of discourse and story view the fictitious world and how they are connected via this study. In conclusion, the study of focalization enables us to perceive the story as a network with several layers and consolidates our appreciation of Joyce’s narrative environment design.
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Marinez, Lis Yana de Lima, and Ricardo Cortez Lopes. "The Name is Lynd, Vesper Lynd a mirror in Casino Royale." Sociologia: Revista da Faculdade de Letras da Universidade do Porto 48 (2024): 111–25. http://dx.doi.org/10.21747/08723419/soc48a5.

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This paper provides a comprehensive analysis of Vesper Lynd in Fleming's Casino Royale, comparing her portrayal in both the novel and its film adaptation. Through an exploration of gender representations, heroism, morality, and interpersonal dynamics, the discussion delves into the complexities of Lynd as a mirror to James Bond. It examineshow she challenges traditional gender norms and notions of heroism, while also prompting moral dilemmas for Bond. By analysing the differences between the media, it reveals the nuances of her characterization as a multifaceted character who transcends the archetype of the Bond girl, offering a profound reflection on human nature.
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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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Chen, M. K. Y., K. T. Shen, S. P. Arulthasan, and D. F. Sebaratnam. "The spectre of visible difference: semiotics of disfigurement and moral character in James Bond films." Clinical and Experimental Dermatology 47, no. 4 (2021): 767–68. http://dx.doi.org/10.1111/ced.15034.

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Muradov, Aleksey B., and Ksenia A. Shergova. "Contemporary Hero in the Wartime Chronotope." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 37–50. http://dx.doi.org/10.17816/vgik9437-50.

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The focal point of the analysis are Tatiana Lioznovas TV-series 17 Moments of Spring. This notable Great Patriotic War movie presents a protagonist that partakes spring 1945 events not as a historical, distanced personality but as a contemporary of the time of the release. This statement is supported with three-layered analysis of the character presentation. The initial layer of analysis implies that Stierlitz character (a Soviet spy, acting deep undercover within the highest ranks of Nazi Germany) develops an idealized presentation of an intelligence officer as in earlier Soviet films. The character does not provide a viewer with the option of self-identification, becoming an archetype - this conversion allocates the story to an epic space, not a historical context. Considering Stierlitz character as a super-spy, a loner implies a second layer of interpretation: a contest-comparison with the most known espionage character of the 20th century, James Bond. Meanwhile the creator shape Stierlitz rather pretentious anti-Bond, they use numerous specific tools to accentuate the difference. Among those we point a time theme that plays an important part in storytelling and general film design (time is present in the series title, it repeatedly returns in soundtrack, and notoriously present in the characters persistent slowness). A few other details involve a third layer of the characters interpretation: Stierlitz embodies contemporary image of a 1960-1970s Soviet technical intelligentsia - in terms of the release a hero of our time. Multilayered interpretation of the Stierlitz character provides 17 Moments of Spring a very specific place in the history of Soviet television and film production. Tatiana Lioznova used a number of creative methods that allowed her to bridge 1945 events with her contemporaries and to significantly contribute into the Soviet archetypal construction.
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Augé, Anaïs. "Situationally-triggered metaphor as political argument." Journal of Argumentation in Context 13, no. 1 (2024): 106–30. http://dx.doi.org/10.1075/jaic.23002.aug.

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Abstract This paper proposes to investigate the public responses to situationally-triggered metaphors as these have been observed in political argumentation. Situationally-triggered metaphors occur when a nonmetaphorical connection is made between the metaphor and an aspect of the relevant situational context. The question addressed in this research is: how are such metaphors perceived by the public when these form part of the political argumentation? To answer this question, the study focuses on a particular instance of political situationally-triggered metaphor i.e., Boris Johnson’s “James Bond” metaphor produced during COP26. The paper draws on Critical Metaphor Analysis and Deliberate Metaphor Theory to analyse the public comments and reactions posted on the social media platform Twitter in response to the politician’s arguments. The analysis reveals that most of the public responses exploit the “James Bond” metaphor to dispute Johnson’s self-identification to the fictional character and provide meta-arguments that revolve around the politician’s misuse of metaphors. In contrast, responses that exploit the metaphor to convey political arguments or endorsement are much more limited. It is thus argued that situationally-triggered metaphors not only represent a political rhetorical device, but they are also effective political tools to shift public attention towards discursive patterns instead of arguments presented in discourse.
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Stankevičiūtė, Kristina. "Stereotyping Scandinavia in popular spy films: The image of the female." Journal of Scandinavian Cinema 9, no. 3 (2019): 311–28. http://dx.doi.org/10.1386/jsca_00006_1.

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Stereotyping, though considered ‘politically incorrect’, is viewed by some as a culturally economical choice that helps us save energy by simplifying the process of perceiving the world and its people. Spy films, in turn, are often constructed from certain clichés that some viewers expect, while more sophisticated spectators find them discrediting. Yet intentional use of clichés, including national and cultural stereotypes, may serve the purpose of conscious criticism or cultural irony, as is often the case in spy film parodies or spoofs. Referring to the widespread spy narrative character typology embodied in James Bond films, the article considers the popular stereotype of the Scandinavian woman observed in twenty-first-century espionage films for wide audiences, focusing on the Hamilton and Kingsman series to examine the effects that serious or ironic use of the stereotype has on the representation of female characters.
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Hochscherf, Tobias. "Bond for the Age of Global Crises: 007 in the Daniel Craig Era." Journal of British Cinema and Television 10, no. 2 (2013): 298–320. http://dx.doi.org/10.3366/jbctv.2013.0136.

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This article examines the dialectic between continuity and change in the first two James Bond films of the Daniel Craig era, Casino Royale (2006) and Quantum of Solace (2008), reading these as complex responses to current geopolitical, social and cultural changes. Under the influence of pervasive media representations of the era of global crises, the 007 films with Craig – more than fifteen years after the fall of the Berlin wall – appear to have finally overcome the Cold War paradigm that has been a staple of the series since it began in 1962. Admittedly, some of the challenges that Bond now faces – such as global terrorism, financial and economic instability, the effects of climate change and, in the last feature explicitly, the exacerbating tension over scarce water resources – are not entirely new to the series. But, crucially, such themes are no longer linked to the geopolitics of the Cold War and the franchise is now set within a new world order of asymmetrical threats. As well as reacting to the new global situation, however, the franchise was also required to compete with a rising number of spies and assassins in the cinema and, more particularly, on television. Many of the changes – including narrative structures, dramaturgical strategies and character development – appear to be inspired by other media images and trends, most notably ‘quality’ television series with budgets equal to many medium-sized cinema productions.
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Dissertations / Theses on the topic "James Bond (Fictitious character)"

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Dixon, Brian A. "Sex for Dinner , death for breakfast : James Bond and the body /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367989.

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Disler, Michelle R. "Archipelago /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3286184.

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Richards, Cherissa. "Mastering duality /." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51587.

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Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting.<br>Typescript. Includes bibliographical references (leaves 62-64). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51587
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Leonard, Christopher G. "Joyce’s “Circe” : Stephen’s heteroglossia, liberatory violence and the imagined antinational community." 2012. http://liblink.bsu.edu/uhtbin/catkey/1670057.

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In James Joyce’s Ulysses, I believe that Stephen Dedalus enacts a heteroglossic discourse in episode 15, “Circe,” that critiques both English imperialism and the nationalist bourgeois of Ireland. Moreover, Stephen engages not only in an aesthetic and political rebellion through the style of his discourse, but he also engages in the only anticolonial violence in Ulysses against the British soldier Private Carr. Thus, I believe that Stephen separates himself from the ideology of the colonizer and from the bourgeois nationalists through aesthetic, political, and violent means. I will conduct my examination of Stephen as a revolutionary colonial intellectual in three parts using the work of three respective theorists: Mikhail Bakhtin, Frantz Fanon, and Benedict Anderson. Ultimately, I intend to show that Stephen can be read as a gateway through which Joyce represents a new heterogeneous, anticolonial, and antinational community in Ireland.<br>Department of English
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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.

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Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.<br>English Studies<br>D. Litt. et Phil. (English)
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Books on the topic "James Bond (Fictitious character)"

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Gardner, John. James Bond: Scorpius. Pegasus Books, 2012.

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Monro, Matt. Best of Bond-- James Bond. Capitol, 2012.

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Collin, Stutz, ed. James Bond encyclopedia. Dorling Kindersley, 2007.

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Paland, J. M. James Bond girls. PAC, 1985.

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

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Gardner, John. Scorpius. Coronet, 1989.

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Ian, Fleming. Thunderball: A James Bond novel. Penguin Books, 2003.

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Gardner, John. Scorpius. Charter Books, 1990.

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Gardner, John. Scorpius. Putnam, 1988.

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Gardner, John. Ian Fleming's James Bond in license to kill. Armchair Detective Library, 1990.

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Book chapters on the topic "James Bond (Fictitious character)"

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Hines, Claire. "The literary Bond." In The playboy and James Bond. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719082269.003.0003.

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This chapter deals with the first phase in the formal relationship between Playboy, Ian Fleming and the Bond novels, which began in 1960 and lasted up to the middle of the decade. During this time, Fleming and his writing made regular appearances in Playboy, and there began a direct relationship between the author, the literary James Bond and Hefner’s men’s magazine that blurred the lines between real life and fiction. The chapter also considers how Fleming and the Bond novels endorsed Playboy, and how Playboy endorsed Fleming and the Bond novels, against the backdrop of James Bond’s introduction into American popular culture. Examples considered include Fleming’s Thrilling Cities trip to Chicago, his ‘Playboy Interview’, and the presentation of the Bond stories and serialisations as part of Playboy’s ‘Entertainment for Men’ formula. The chapter concludes by identifying that Fleming’s death in 1964 and the growing popularity of the Bond films in the mid-1960s, in association with the strength of Sean Connery’s public identification with the character of Bond, meant that as the decade continued Playboy’s relationship with James Bond entered its next phase.
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Jones, Huw D., and Andrew Higson. "Bond Rebooted : The Transnational Appeal of the Daniel Craig James Bond Films." In The Cultural Life of James Bond. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185_ch05.

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The James Bond films starring Daniel Craig are amongst the most globally successful films of the twenty-first century. The transnational appeal of these films can only be partly explained by their textual attractions, such as the way they play out ideas of British identity. Much of their success depends on the business of Bond, from rights ownership to distribution. Focus group interviews with audiences in continental Europe also reveal an ambivalence about whether the Bond character and the Bond films are perceived as British or American. This ambivalence extends the appeal of the films to different audiences. This chapter therefore provides new insights into Bond’s enduring transnational appeal.
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Horak, Jan-Christopher. "Branding 007 : Title Sequences in the James Bond Films." In The Cultural Life of James Bond. 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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Chapman, James. "The Forgotten Bond : The CBS production of Casino Royale (1954)." In The Cultural Life of James Bond. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185_ch01.

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In 1954, the US television network CBS broadcast a live studio dramatization of Casino Royale as an instalment of its drama anthology series Climax! Casino Royale was long thought to be “lost” and is still regarded as something of a curio item in the history of James Bond adaptations for the screen. This chapter offers a critical reassessment of the 1954 CBS production of Casino Royale by placing it in the institutional and aesthetic contexts of American television drama in the 1950s. In doing so, it argues that the Americanization of James Bond (played by American actor Barry Nelson) may be seen as part of a strategy of the cultural repositioning of the James Bond character for American consumption.
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Jones, Ian Bryce, and Chris Carloy. "Three Dimensions of Bond : Adaptive Fidelity and Fictional Coherence in the Videogame Adaptations of GoldenEye." In The Cultural Life of James Bond. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185_ch15.

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Rare’s 1997 game GoldenEye 007 redefined the first-person shooter genre not only through its mission-based gameplay, improved enemy AI, and architecturally believable level designs, but also how it combined these features to create an internally consistent, believable Bond experience. When the game was remade in 2010, new developers Eurocom had to negotiate intellectual property restrictions and new genre developments to create a game that was both faithful to the beloved original and successful on its own terms. We explore the relationship between these games via the rubrics of adaptive fidelity (how faithfully each game operates as an adaptation of the GoldenEye film) and fictional coherence (how well their own components collaboratively encourage role-play as the character of Bond).
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Gaine, Vincent M. "‘Not now that strength’: Embodiment and Globalisation in Post-9/11 James Bond." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0007.

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Chapter Six, Vincent M. Gaine's analysis of perhaps the defining action-adventure series of the era (or of any era), the iconic figure of Ian Fleming’s James Bond in ‘"Not now that strength" Embodiment and Globalisation in Post 9/11 James Bond.’ In a dynamic investigation of Daniel Craig's four films as James Bond, from his first appearance in Casino Royale (2006) to his fourth film Spectre (2015), Gaine explores the thematic and stylistic variations undertaken in the Daniel Craig era. Craig's Bond, as Gaine astutely reveals, is as intrinsically connected to the post-9/11 decades as the first incarnation of the character played by Sean Connery was to the Cold War era in which the original books and films were written and set. In this chapter Gaine proposes that the Bond franchise, more than any other, given its longevity, is uniquely placed to observe changing cultural and socio-political trends. The Craig Bond emerges as a much more complicated figure than his predecessors, both emphatically masculine and yet at the same time distinctly fallible, but a resolutely more human figure because of it. Daniel Craig’s interpretation of the character, as Gaine observes, is a Bond who bleeds and one who is traumatised rather than a figure who glides almost effortlessly through his adventures hardly with a scratch, as he once did in the eras of Connery, Moore and Brosnan.
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Knee, Adam. "Training the Body Politic: Networked Masculinity and the ‘War on Terror’ in Hollywood Film." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0008.

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Adam Knee continues this discussion of the action/adventure genre in Chapter Seven, "Training the Body Politic: Networked Masculinity and the 'War on Terror' in Hollywood Film", offering a detailed analysis of the representation of masculinity and agency in two Hollywood films, Unstoppable (2010) and Source Code (2011), which exhibit striking similarities at a range of levels, from their narratives to deeper structures of gendered character function, theme, and geo-political perspective that, he contends, are a manifestation of distinctly post-9/11 American concerns. Like Vincent M. Gaine's chapter on James Bond, Knee analyses both the variations inherent in the genre in the wake of 9/11 and the consistencies of the parameters of American mainstream film, and, more specifically, a developing conceptualization of modes of disciplined masculinity necessitated by the nation’s 'War on Terror' narrative. Knee then concludes with a comparative analysis of a pre-9/11 film and its post-9/11 remake in which these parameters are brought to the fore: the original Paul Verhoeven RoboCop (1987) and RoboCop (2014) directed by José Padilha.
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Bańczyk, Wojciech. "YOU CAN ONLY WRITE ONCE – RIGHTS TO AUTORSHIP, INSPIRATION AND TRANSFORMATION IN THE CHOSEN JUDGEMENTS OF THE U.S. COURTS INVOLVING THE COPYRIGHTS ON THE JAMES BOND CHARACTER." In History of Law and Other Humanities. Dykinson, 2019. http://dx.doi.org/10.2307/j.ctvr7f8t1.32.

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