Synopses & Reviews
Sean Connery's tuxedo, Ursula Andress' bikini, Oddjob's bowler hat, and Q's gadgets are just a few defining features of the 007 world examined in
The James Bond Phenomenon. Drawn from the fields of literary, film, music, and cultural studies, the essays in this collection range from revitalized readings of Ian Fleming's original spy novels to the analysis of Pussy Galore's lesbianism, Miss Moneypenny's filmic feminism, and Pierce Brosnan's techno-fetishism. Together, the essays not only consider the James Bond novels and films in relation to their historical, political, and social contexts from the cold-war period forward, but also examine the classic Bond canon from an array of theoretical perspectives.
About the Author
Christoph Lindner is Lecturer in English at the University of Wales, Aberystwyth, and is the author of Fictions of Commodity Culture: From the Victorian to the Postmodern.
Table of Contents
Introduction--Christoph Lindner * Part I: Reading 007 * The Moments of Bond--Tony Bennett and Janet Woollacott * Narrative Structures in Fleming--Umberto Eco * Licensed to Look: James Bond and the Heroism of Consumption--Michael Denning * Criminal Vision and the Ideology of Detection in Fleming's 007 Series--Christoph Lindner * Part II: Screening 007 * A Licence to Thrill--James Chapman * The James Bond Films: Conditions of Production--Janet Woollacott * Creating A Bond Market: Selling John Barry's Soundtracks and Theme Songs--Jeff Smith * Doctor No: Bonding Britishness to Racial Sovereignty--Cynthia Baron * Hard-Wear: The Millenium, Technology, and Brosnan's Bond--Martin Willis * Part III: Re-Thinking 007 * "Under the Very Skirts of Britannia": Re-Reading Women in the James Bond Novels--Christine Bold * Pussy Galore--Elisabeth Ladenson * Britain's Last Line of Defence: Miss Moneypenny and the Desperations of Filmic Feminism--Tara Brabazon * Dial 'M' For Metonym: Universal Exports, M's Office Space and Empire--Paul Stock * James Bond's Penis--Toby Miller * "The World Has Changed": Bond in the 1990s--and Beyond?--Jim Leach