{"title":"Index","authors":"","doi":"10.2307/j.ctv1850jbk.20","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.20","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"450 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116179362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-15DOI: 10.1515/9789048532117-005
Ajay Gehlawat
This chapter uses Bollywood Bond “adaptations” to chart the shifting relationship between India and the West, from the Cold War era to the neoliberal present. It examines how elements of the Bond films were incorporated and “Indianized” in earlier films and how these elements, and the Bollywood film itself, subsequently became more globalized, as can be seen in contemporary Bond adaptations like Farhan Akhtar’s Don (2006) and Don 2 (2011). Whereas previously the Bond figure was “Indianized” and elements of the Bond film similarly indigenized via the Bollywood masala formula, what one witnesses in the ensuing transition leading to the contemporary era is how the Bollywood film has become more aligned, both aesthetically and culturally, with contemporary Hollywood film forms.
{"title":"3. From Indianization to Globalization: Tracking Bond in Bollywood","authors":"Ajay Gehlawat","doi":"10.1515/9789048532117-005","DOIUrl":"https://doi.org/10.1515/9789048532117-005","url":null,"abstract":"This chapter uses Bollywood Bond “adaptations” to chart the shifting\u0000 relationship between India and the West, from the Cold War era to the\u0000 neoliberal present. It examines how elements of the Bond films were\u0000 incorporated and “Indianized” in earlier films and how these elements, and\u0000 the Bollywood film itself, subsequently became more globalized, as can be\u0000 seen in contemporary Bond adaptations like Farhan Akhtar’s Don (2006)\u0000 and Don 2 (2011). Whereas previously the Bond figure was “Indianized”\u0000 and elements of the Bond film similarly indigenized via the Bollywood\u0000 masala formula, what one witnesses in the ensuing transition leading to\u0000 the contemporary era is how the Bollywood film has become more aligned,\u0000 both aesthetically and culturally, with contemporary Hollywood film forms.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116519501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Indianization to Globalization:","authors":"Ajay Gehlawat","doi":"10.2307/j.ctv1850jbk.7","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.7","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117012217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Paradoxical Masculinity:","authors":"Toby Miller","doi":"10.2307/j.ctv1850jbk.10","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.10","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"11 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124378883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter analyzes the signifying potential of gambling and casino culture as a seminal feature of James Bond-ness and the 007-universe. It argues that gambling and casinos, both of which are updated with every new outing of James Bond, have important cultural, political and economic ramifications. In particular, the chapter asks how and what casino gambling signifies as it is updated in Skyfall (2012), in terms of the film’s mise-en-scène as well as its geopolitical configuration as a colonizing industry in a global economy that is increasingly dependent on various forms of gambling. Finally, the chapter connects various aspects of what has been referred to as “cinematic revisionism” to the politics and economics of neoliberalization, 007, and global casino culture.
{"title":"Skyfall and Global Casino Culture","authors":"J. Goggin","doi":"10.2307/j.ctv1850jbk.18","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.18","url":null,"abstract":"This chapter analyzes the signifying potential of gambling and casino\u0000 culture as a seminal feature of James Bond-ness and the 007-universe.\u0000 It argues that gambling and casinos, both of which are updated with\u0000 every new outing of James Bond, have important cultural, political and\u0000 economic ramifications. In particular, the chapter asks how and what\u0000 casino gambling signifies as it is updated in Skyfall (2012), in terms of\u0000 the film’s mise-en-scène as well as its geopolitical configuration as a\u0000 colonizing industry in a global economy that is increasingly dependent on\u0000 various forms of gambling. Finally, the chapter connects various aspects\u0000 of what has been referred to as “cinematic revisionism” to the politics and\u0000 economics of neoliberalization, 007, and global casino culture.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124513495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Forgotten Bond:","authors":"J. Chapman","doi":"10.2307/j.ctv1850jbk.5","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.5","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124794040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-15DOI: 10.5117/9789462982185_ch06
Tob Y Miller
The James Bond films enact dilemmas posed by the paradoxical, split subjectivity of male spies under capitalism. Success and failure, sophistication and ignorance, knowledge and class, gender and sexuality, commercial targeting and viewing pleasure jumble together in a complex amalgam. A weird mix of hyper-bourgeois individualist, technocrat, and empty signifier, 007 can never relax, never truly know who he is, beyond being a shifting sign of impermanent state labor. His masculinity incarnates these paradoxes: often derided and celebrated for his brutality, Bond exemplifies less-than-conventional forms of life in his sexuality and identity.
{"title":"Paradoxical Masculinity : James Bond, Icon of Failure","authors":"Tob Y Miller","doi":"10.5117/9789462982185_ch06","DOIUrl":"https://doi.org/10.5117/9789462982185_ch06","url":null,"abstract":"The James Bond films enact dilemmas posed by the paradoxical, split\u0000 subjectivity of male spies under capitalism. Success and failure, sophistication\u0000 and ignorance, knowledge and class, gender and sexuality, commercial\u0000 targeting and viewing pleasure jumble together in a complex amalgam.\u0000 A weird mix of hyper-bourgeois individualist, technocrat, and empty\u0000 signifier, 007 can never relax, never truly know who he is, beyond being a\u0000 shifting sign of impermanent state labor. His masculinity incarnates these\u0000 paradoxes: often derided and celebrated for his brutality, Bond exemplifies\u0000 less-than-conventional forms of life in his sexuality and identity.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124713983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-15DOI: 10.5117/9789462982185_ch04
M. Behlil, Ignacio M. Sánchez Prado, J. Verheul
This chapter dissects the opening sequences of Skyfall (2012) in Istanbul and Spectre (2015) in Mexico City in order to argue that Eon’s predilection for runaway productions has begun began to influence the textual composition of the James Bond film series. Eon Productions often modifies the narratives and settings of its Bond features in order to exploit the increasingly global availability of funding schemes, tax incentives, and cheap labor, and to secure, on a global scale, profitable distribution deals, enhanced visibility, and greater revenues from merchandizing. In the process, the Bondian runaway production fashions a colonial imaginary of exotic non-places, which has since long been a staple of the brand of Bond.
{"title":"The Dead Are Alive : The Exotic Non-Place of the Bondian Runaway Production","authors":"M. Behlil, Ignacio M. Sánchez Prado, J. Verheul","doi":"10.5117/9789462982185_ch04","DOIUrl":"https://doi.org/10.5117/9789462982185_ch04","url":null,"abstract":"This chapter dissects the opening sequences of Skyfall (2012) in Istanbul\u0000 and Spectre (2015) in Mexico City in order to argue that Eon’s predilection\u0000 for runaway productions has begun began to influence the textual\u0000 composition of the James Bond film series. Eon Productions often modifies\u0000 the narratives and settings of its Bond features in order to exploit the\u0000 increasingly global availability of funding schemes, tax incentives, and\u0000 cheap labor, and to secure, on a global scale, profitable distribution deals,\u0000 enhanced visibility, and greater revenues from merchandizing. In the\u0000 process, the Bondian runaway production fashions a colonial imaginary of\u0000 exotic non-places, which has since long been a staple of the brand of Bond.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130697206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Dead Are Alive:","authors":"M. Behlil, I. S. Prado, J. Verheul","doi":"10.2307/j.ctv1850jbk.8","DOIUrl":"https://doi.org/10.2307/j.ctv1850jbk.8","url":null,"abstract":"","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134253415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-15DOI: 10.1017/9789048532117.012
C. Holliday
The James Bond films are an enduring example of “escapist” popular cinema seemingly at odds with the filmmaking traditions of European modernism. However, this chapter offers the 007 film series as a candidate for Britain’s contribution to the European Art Cinema tradition. From Maurice Binder’s opening credits for Dr. No (1962), reminiscent of experimental filmmaker Len Lye, to the discontinuous editing patterns and jump cuts of On Her Majesty’s Secret Service (1969), 1960s Bond cinema formally registers the violation of the classical norms and stylistic traits upon which art cinema was predicated. This chapter accordingly identifies how the stylistic transformation of the early Bond films can be woven into the art cinema traditions and political modernism of post-war European filmmaking.
{"title":"James Bond and Art Cinema","authors":"C. Holliday","doi":"10.1017/9789048532117.012","DOIUrl":"https://doi.org/10.1017/9789048532117.012","url":null,"abstract":"The James Bond films are an enduring example of “escapist” popular cinema\u0000 seemingly at odds with the filmmaking traditions of European modernism.\u0000 However, this chapter offers the 007 film series as a candidate for Britain’s\u0000 contribution to the European Art Cinema tradition. From Maurice Binder’s\u0000 opening credits for Dr. No (1962), reminiscent of experimental filmmaker\u0000 Len Lye, to the discontinuous editing patterns and jump cuts of On Her\u0000 Majesty’s Secret Service (1969), 1960s Bond cinema formally registers the\u0000 violation of the classical norms and stylistic traits upon which art cinema\u0000 was predicated. This chapter accordingly identifies how the stylistic\u0000 transformation of the early Bond films can be woven into the art cinema\u0000 traditions and political modernism of post-war European filmmaking.","PeriodicalId":256748,"journal":{"name":"The Cultural Life of James Bond","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131120133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：