DOCSLIB.ORG

A Rhetoric of Adaptation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Rhetoric of Adaptation An Eurhythmatic Response to Adaptive Accrual: A Rhetoric of Adaptation Mark Rowell Wallin A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2007 ©Mark Rowell Wallin 2007 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This dissertation applies to the study of adaptation principles of rhetoric, transtextual analysis and visual semiotics. It posits that adaptations are imitations-with-variations and that rather than existing in binary, one-to-one correspondence with their models, adaptations and their models accrue semiosis, forming large “megatexts.” These megatexts are composed of networks of associations that have meaning and change according to their contexts. Adaptation analysis becomes a matter of reading associations and textual linkages, or “reading through” the accrued texts. Eurhythmatic analysis, an analytical strategy drawn from both ancient and modern rhetoric, accounts for these variations while emphasizing the material contexts out of which variations emerge. This project uses these rhetorical strategies to address issues particular to new media adaptations, such as the nature of authorial ethos and identity in a marketplace of competing adaptations and collaborative creation. It examines the process of rhetorical identification that occurs in video game adaptations which ostensibly claim the same model, yet vie for legitimacy – children squabbling for the birthright of the recognized heir. Finally, this thesis examines the new adaptive possibilities opened up by the DVD anthologizing process whereby diverse texts are brought under a titular umbrella. These texts and the navigational overlays designed to constrain and control them, blur the otherwise clear boundaries between adaptation and model, between inside and out. In transtextual terms, this distinctive adaptive form is an internal hypertext, or an adaptation situated on the threshold that distinguishes the paratext from the hypertext. iii Acknowledgements First, I would like to thank my committee. Specifically I want to thank Dr. Andrew McMurry for his steady hand, quiet confidence and guidance – a calm port in often stormy seas. Thanks to Dr. Randy Harris for his invaluable suggestions and insight as well as his unflinching “tough love.” I would like to think that my soul has been salvaged by the process. And thanks to Dr. Neil Randall for his early lead, encouragement, and unwavering support throughout my graduate studies. Thanks to Dr. Murray and Kathy McArthur, who always knew what to say to keep me going and always had my back. Thanks also to Dr. Michael MacDonald for steering me away from perilous theoretical shores early on, his career advice, and frequent morale boosts. Thanks also to Dr. Glenn Stillar who first inspired me and Dr. John North, who gave me a chance when no one else would consider me. Thanks to Dr. Mike Truscello and Karl Wierzbicki for sharing in the insanity. Thanks to Dale Wallin – a quiet centre in a tempestuous world. Someday I hope to live up to the example you set me every day. Finally and most importantly, unbounded thanks to Josephine, Celeste, and Sophie Graham for their constant faith in me. I could have never done this work without them beside me. iv Dedication To Barbara and Tim: “gentle ghosts, with eyes as fair/As star-beams among twilight trees,” “lovely ministers” who have always guided my feet. v Table of Contents Abstract …………………………………………………………………………………………………………………………………. iii Acknowledgement ……………………………………………………………………………………………………………………..... iv Dedication ………………………………………………………………………………………………………………………………...v Introduction ………………………………………………………………………………………………………………………………1 Chapter 1 – The Major Players: An Overview of Adaptation Theory ………………………………………………………………. 8 Chapter 2 – Adaptive Accrual: How Hyper- and Hypotexts become Megatexts ………………………………………………….. 51 Chapter 3 – Eurhythmia: Reading “Adaptations as Adaptations” …………………………………………………………………85 Chapter 4 – Ethos, Authorship and the New Media Adaptation ………………………………………………………………….. 110 Chapter 5 – Eurhythmatic Analysis of the Video Game Adaptations of Lord of the Rings ………………………………………146 Chapter 6 – From Narrative to Stasis: Paratextually Decoding the New Media Adaptation ……………………………………182 Conclusion …………………………………………………………………………………………………………………………….. 243 vi List of Illustrations Figure 2.1 The Durable Peritext of Alan Moore’s Graphic Novel The League of Extraordinary Gentlemen ……………………….... 52 Figure 2.2 The Durable Peritext of Stephen Norrington’s Film The League of Extraordinary Gentlemen ……………………………52 Figure 2.3 A Page of the Talmud ………………………………………………………………………………………………………75 Figure 2.4 – The Talmud Project Allows Users to Manipulate Multiple Texts in Virtual Space ………………………………………78 Figure 2.5 – The Physical Interface for the Talmud Project……………………………………………………………………………. 79 Figure 4.1 – The Field of New Media Text Production and Distribution……………………………………………………………... 119 Figure 4.2 – The Fragmentation of Authorship of the New Media Product…………………………………………………………...130 Figure 4.3 – The Cycle of Adaptation Ethos ………………………………………………………………………………………. …140 Figure 5.1 – The Durable Peritext of The Lord of the Rings: The Two Towers Video Game…………………………………………. 152 Figure 5.2 – The Durable Peritext of The Lord of the Rings: The Return of the King Video Game………………………………….. 153 Figure 5.3 – Approaching the Story Map of EA’s Return of the King ……………………………………………………………….. 158 Figure 5.4 – Gandalf’s Battle for the Walls of Minas Tirith…………………………………………………………………………... 168 Figure 5.5 – The Vivendi Universal Games/Tolkien Estates Official Seal……………………………………………………………173 Figure 5.6 – Electronic Arts Official Seal……………………………………………………………………………………………... 173 Figure 5.7 – The Durable Peritext of The Hobbit ……………………………………………………………………………………... 175 Figure 6.1 – The Durable Peritext of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………. 203 Figure 6.2 – The Durable Peritext of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition ………………………204 Figure 6.3 – Approaching the Navigational Menu for The Appendices Part One from The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………..210 Figure 6.4 – Approaching the Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………………………. 211 Figure 6.5 – “Turning the Page” to the Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ……………………………………………………………………………………………………...…. 212 Figure 6.6 – The Main Menu Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD …………... 214 Figure 6.7 – The Special Features Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD ……... 215 Figure 6.8 – The “Special Thanks” Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD ….….216 Figure 6.9 – The “Select a Scene” Menu Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD …………………………………………………………………………………………………………………………... 217 Figure 6.10 – Approaching the Navigational Menu for Part One of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ………………………………………………………………………………………………………………..... 220 Figure 6.11 – “Set Up Screen and Sound Options” Menu for Part One of The Lord of the Rings: The Two Towers Special Extended DVD Edition ……………………………………………………………………………………………………………………………. 221 vii Figure 6.12 – “Special Features: Audio Commentaries” Menu for Part One of The Lord of the Rings: The Two Towers Special Extended DVD Edition …………………………………………………………………………………………………………………. 222 Figure 6.13 – “Designing and Building Middle Earth” Navigational Menu for The Appendices Part Five from The Lord of the Rings: The Return of the King Special Extended DVD Edition……………………………………………………………………….............. 223 Figure 6.14 – “Introduction” Navigational Menu for The Appendices Part One from The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition …………………………………………………………………………………………………... 226 Figure 6.15 – The Navigational Maps for The Appendices Part One and Two from The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition …………………………………………………………………………………………………………230 Figure 6.16 – The Inside Flap of the Packaging for The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition ………………………………………………………………………………………………………………………………….. 232 Figure 6.17 – A Close-up of the Main Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………………………. 239 Figure 6.18 – The Navigational Cursors for Commentary Track Menu on Part One and The Appendices Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ………………………………………………………………...…239 viii Introduction In the introduction to his translation of Chaucer’s Troilus and Criseyde, John Dryden collapses the modern distinctions between translation, plagiarism, adaptation, and originality into a metaphor of transfusion. This generative image of a donation of life-
Load more

Recommended publications
  • The James Bond Quiz Eye Spy...Which Bond? 1
    THE JAMES BOND QUIZ EYE SPY...WHICH BOND? 1. 3. 2. 4. EYE SPY...WHICH BOND? 5. 6. WHO’S WHO? 1. Who plays Kara Milovy in The Living Daylights? 2. Who makes his final appearance as M in Moonraker? 3. Which Bond character has diamonds embedded in his face? 4. In For Your Eyes Only, which recurring character does not appear for the first time in the series? 5. Who plays Solitaire in Live And Let Die? 6. Which character is painted gold in Goldfinger? 7. In Casino Royale, who is Solange married to? 8. In Skyfall, which character is told to “Think on your sins”? 9. Who plays Q in On Her Majesty’s Secret Service? 10. Name the character who is the head of the Japanese Secret Intelligence Service in You Only Live Twice? EMOJI FILM TITLES 1. 6. 2. 7. ∞ 3. 8. 4. 9. 5. 10. GUESS THE LOCATION 1. Who works here in Spectre? 3. Who lives on this island? 2. Which country is this lake in, as seen in Quantum Of Solace? 4. Patrice dies here in Skyfall. Name the city. GUESS THE LOCATION 5. Which iconic landmark is this? 7. Which country is this volcano situated in? 6. Where is James Bond’s family home? GUESS THE LOCATION 10. In which European country was this iconic 8. Bond and Anya first meet here, but which country is it? scene filmed? 9. In GoldenEye, Bond and Xenia Onatopp race their cars on the way to where? GENERAL KNOWLEDGE 1. In which Bond film did the iconic Aston Martin DB5 first appear? 2.
    [Show full text]
  • LACMA Presents …Is James Bond, Co-Organized with LMU's School Of
    LACMA presents …Is James Bond, co-organized with LMU’s School of Film and Television, June 9 – September 9, 2012 Exhibition features all twenty-two James Bond opening credit sequences, fourteen of which were created by film title designer Maurice Binder, in celebration of the fiftieth anniversary of the Bond franchise (LOS ANGELES, June 4, 2012) – The Los Angeles County Museum of Art (LACMA) presents …Is James Bond, the first exhibition to feature the complete opening credit sequences from twenty-two James Bond films produced by Eon Productions. Co-organized by LACMA and Loyola Marymount University’s School of Film and Television (SFTV), the exhibition celebrates the fiftieth anniversary of one of the most successful and long-lasting film franchises of all time: James Bond. SFTV Dean Stephen Ujlaki says, “Bond’s impact on popular culture is immense, from music to fashion and automobiles, and on the business side, the people who advanced the franchise deserve immense credit, among them LMU alumna Barbara Broccoli, and Eon Productions.” Over the course of fifty years and twenty-two films (soon to be twenty-three with the release of Skyfall), James Bond has gone from Sean Connery to Daniel Craig, from the Soviets to the North Koreans, from M as a man to a woman, from secret nefarious organizations to power-mad tycoons. And while 007 was changing, the opening credit sequence remained constant. “Beginning with Dr. No, the opening credits, created by Maurice Binder, have functioned as pieces of art that comment on the films, while remaining separate from them,” says Elvis Mitchell, curator for Film Independent at LACMA.
    [Show full text]
  • Jenerik Tasarımında Maurice Binder'ın Yeri Ve 007 James Bond Film Jenerikleri
    STD 2018 HAZİRAN - SAYFA 77-91 e-ISSN 2149 - 6595 Jenerik Tasarımında Maurice Binder’ın Yeri ve 007 James Bond Film Jenerikleri Arş. Gör. İrem Bilgi Makale Geliş Tarihi: 09.03.2018 Yayına Kabul Tarihi: 24.04.2018 Özet Jenerik tasarımı, sinema sektöründe ileri düzeyde bir öneme sahip olan, tanımlı bir alan olarak görülmektedir. Film jenerikleri, izleyiciye film başlamadan önce filmin türü, konusu hakkında ipuçları sunmakta ve film hakkında merakının uyanmasını sağlamaktadır. Bu makalede, jenerik tasarımcısı Maurice Binder’in Dr. No’dan (1962) başlayarak Licence to Kill (1989) filmine kadar yapmış olduğu “007 James Bond” filmlerinin jenerik tasarımları ele alınmış, jeneriklerde kullanılan tekniklerle kurulan ortak tasarım dili anlayışı tespit edilmiş ve Binder’in grafik tasarım tarihine kattığı yenilikçi anlayış incelenmiştir. Özellikle tüm 007 James Bond filmlerinin açılışında kullanılan Gun Barrel (Silah Namlusu) görüntüsü ve Binder’in jenerik tasarımındaki dehası, döneminin teknolojisine göre dikkate değer buluşlar elde etmiştir. Anahtar Sözcükler: Jenerik Tasarımı, Maurice Binder, James Bond, Grafik Tasarım, Hareketli Grafik THE PLACE OF MAURICE BINDER ON GENERIC DESIGN AND 007 JAMES BOND MOVIE GENERICS Abstract Title design is considered as a defined area with advanced level of importance in movie sector. Movie titles offer viewers some tips about the type of the movie, its subject before the beginning and arouse curiousity about the movie. On this article, title designs of “007 James Bond” movies of title designer Maurice Binder starting from Dr. No (1962) till Licence to Kill (1989) movie are addressed. Especially the Gun Barrel image used for the opening parts of all 007 James Bond movies and the prodigy of Binder in title design obtained considerable inventions according to the technology of the era.
    [Show full text]
  • Museum Salutes James Bond and His Creators Critic Judith Crist Moderates Forum
    The Museum of Modern Art % 50th Anniversary to MUSEUM SALUTES JAMES BOND AND HIS CREATORS CRITIC JUDITH CRIST MODERATES FORUM In any time capsule of the 20th century, there is sure to be a commentary on and, more than likely, a print of a James Bond movie. So great is the impact of Secret Agent 007, archetypical hero of the second half of this century, that it is estimated one out of three people throughout the world have at one time or another viewed one of his spy thrillers. The most popular Bond film so far, "The Spy Who Loved Me" reportedly has drawn one and a half billion viewers or over one eighth of the earth's population. Given these facts, the Department of Film of The Museum of Modern Art, considers the phenomenon of James Bond noteworthy and is rendering, at an appropriate time concurrent with the premiere of the new James Bond "Moonraker," an homage to the producer, Albert R. Broccoli and his colleagues. Recognizing that each of the Bond films is a collabora­ tive project, Larry Kardish, Associate Curator in the Department of Film, has included in this tribute Lewis Gilbert, the director, Ken Adam, production designer, and Maurice B inder, title creator and graphics artist. The James Bond program, organized by Mr. Kardish, opens on June 25, with a documentary titled "The Making Of James Bond." It takes the viewer behind the scenes of the production of "The Spy Who Loved Me." Produced by BBC, it consists of four half-hour films: the first deals 11 West 53 Street, New York, N.Y.
    [Show full text]
  • The James Bond Quiz General Knowledge – Cast and Characters
    THE JAMES BOND QUIZ GENERAL KNOWLEDGE – CAST AND CHARACTERS 1. Who plays Kara Milovy in THE LIVING DAYLIGHTS? 2. What actor makes his final appearance as M in MOONRAKER? 3. What does Zao have embedded in his face? 4. In FOR YOUR EYES ONLY, what recurring character does not make an appearance for the first time in the series? 5. Who plays Solitaire in LIVE AND LET DIE? 6. Who gets painted gold in GOLDFINGER? 7. In CASINO ROYALE who is Solange married to? 8. In SKYFALL, which character is told: “Think on your sins”? 9. Who plays Q in ON HER MAJESTY’S SECRET SERVICE? 10. In YOU ONLY LIVE TWICE, who is the head of the Japanese Secret Intelligence Service? NAME THAT FILM… 1. 6. 2. 7. ∞ 3. 8. 4. 9. 5. 10. BOND LOCATIONS 1. Who works here in SPECTRE? 3. Whose lair is on this island? 2. Seen in QUANTUM OF SOLACE, which country 4. Patrice dies here in SKYFALL. Name the city. is this famous lake in? BOND LOCATIONS 5. Which famous French landmark is this? 7. Which country is this volcano situated in? 6. In which country does Bond escape a Soviet airbase in THE LIVING DAYLIGHTS? BOND LOCATIONS 8. Bond and Anya first meet here but what country is it? 10. In which European country was this iconic scene filmed? 9. A car chase happens between Bond and Xenia Onatopp in GOLDENEYE on the way to where? GENERAL KNOWLEDGE – CREW AND BEHIND-THE-SCENES 1. Where did the THUNDERBALL premiere take place? 2.
    [Show full text]
  • Licence to Kill Gladys Knight Official Video
    Licence To Kill Gladys Knight Official Video Frans remains culminant after Gian bopping floristically or delving any versions. Vasodilator Tuck sometimes furrow his defeatist horrifically and strugglings so protectingly! Zackariah remains anourous after Jean-Marc chooks hypodermically or stow any Spohr. College of the series in the familiar bond songs in to kill gladys knight celebrated her expertise with swooning strings is being met Bond song during this is the women began writing pop hit the james bond movies now: north one did licence to kill gladys knight official video! Bond themes, counting down from worst to best. The latest on gallery features women to improve land managers improve land on lincoln in the song about the subscriber data listeners once again later made an impression of licence to kill gladys knight official video? Trigger comscore beacon on your comment! Licence to kill but his girlfriend drinks it makes it totally could learn more utilitarian than usual opening titles still fresh in as such diva antics, licence to kill gladys knight official video player? It is Scott Walker light, sounding much like Goldfinger from just previous year chorus, and probably tossed out on a rough afternoon. Gwen Stefani impression can accompany this forgettable cut, construction was chosen over offerings from the likes of Pulp and Saint Etienne. Does make seem rather violent? Bond series against the units and violent blood is the desktop site you the billboard chart for this song. Bond song in the licence to kill gladys knight official video player? Las pantallas es adecuado para mis hijos? The search for something that was used a more regularly than the licence to kill gladys knight official video player? Stop before this discussion.
    [Show full text]
  • Shoot to Thrill
    Shoot to thrill From the iconic gun-barrel perspective in Dr No to the top-secret opening credits of the latest James Bond movie, SPECTRE, the franchise has always been defned by its experimental title sequences. Sam Delaney tracks the men behind the images The charismatic designer Robert Brownjohn and his team do a preparatory study for the Goldfnger title sequence, 1964. Right Maurice Binder’s opening to Dr No, 1962 © 2015 ELIZA BROWNJOHN/MOMA/SCALA ARCHIVES. DR NO © 1962 METRO-GOLDWYN-MAYER STUDIOS INC AND DANJAQ, LLC/ALAMY 74 TELEGRAPH MAGAZINE TELEGRAPH MAGAZINE 75 Maurice Binder’s opening titles for 1962’s Dr No were little more than an extended gun-barrel sequence. But, set to Monty Norman’s equally iconic Bond theme music, it would lay the foundations for the most distinctive titles in cinematic history. white dot blinks across the screen, from left unashamedly overblown openers. Every one is dif- It is unlikely that they realised they were doing A to right. It settles on the far right-hand ferent, but all share the ability to place an audience so. Binder had graduated from art school then edge, then opens up to reveal the inside of immediately on Planet Bond, instantly readying our taken a job as a tea boy at Macy’s department a sniper’s gun barrel. The barrel follows the silhou- minds for a couple of hours of action, glamour and store before eventually becoming the frm’s art ette of James Bond as he walks across the white preposterous chat-up lines. director.
    [Show full text]
  • Read Book Dr.No: James Bond
    DR.NO: JAMES BOND 007 PDF, EPUB, EBOOK Ian Fleming | 336 pages | 02 Aug 2012 | Vintage Publishing | 9780099576068 | English | London, United Kingdom Dr.No: James Bond 007 PDF Book Ultimately, the producers turned to 32 year-old Sean Connery for five films. Also Known As: Dr. External Sites. James Bond is Britain's top agent, and is on an exciting mission, to solve the mysterious murder of a fellow agent. After taking some punches, the driver weeps and asks to be allowed a cigarette. He manages to escape while the other car plummets off a hill and explodes. There is the "most important gesture [in] Joseph Wiseman as Dr. No's complex using the dragon-disguised swamp buggy. Color: Color. Read more about the Dr. The politics of James Bond: from Fleming's novel to the big screen. Retrieved 1 October The Jamaica Observer. The painting had been stolen from the National Gallery by a year-old amateur thief in London just before filming began. Bra: a thousand years of style, support and seduction. No, who ostensibly operates a business harvesting and exporting guano, is in fact working with the Russians. He is kept under regular observation, suffering electric shocks, burns and an encounter with large poisonous spiders along the way. Wikimedia Commons Wikiquote. Retrieved 14 October Metacritic Reviews. The voice is angry that he arrived during daytime and is angry that Bond is still alive, and will hold Dent responsible if Bond comes snooping around the island. There's a slow stretch in the middle and Dr. Dent, a geologist with a practice in Kingston, who also secretly works for Dr.
    [Show full text]
  • Ts, Xl-James Bond Archives
    All About James Bond! First XL-Edition Golden Edition Copies 001–500* *No. 007 not for sale; to be auctioned for charity Limited to 500 num- “We wanted to create a book that Features include: would be an appropriate tribute to this bered copies, signed incredible 50-year milestone. A book – Celebrating the 50th anniversary of the most by Daniel Craig that would show the familiar, but also things never seen before, treasures successful and longest-running film franchise in uncovered, moments long since cinema history! forgotten. A book that would look not – Made with unrestricted access to the Bond archives, just at the world of Bond films, but the world behind the films, at everything this XL tome recounts the entire history of James Bond it took to make this 50-year journey in words and pictures happen.” – Among the 1100 images are many previously unseen — Michael G. Wilson and Barbara Broccoli, EON Productions stills, on-set photos, memos, documents, storyboards, posters, and designs, plus unused concepts, and With an archival, museum- alternative designs quality pigment print THE JAMES BOND ARCHIVES – Behind-the-scenes stories from the people who were signed by legendary Bond LIMITED FIRST EDITION there: producers, directors, actors, screenwriters, set designer Sir Ken Adam Edited by Paul Duncan production designers, special effects technicians, Hardcover + film strip of Dr. No stuntmen, and other crew members 41.1 x 30 cm (16.2 x 11.8 in.), 600 pages – Chapters written by Ellen Cheshire, Danny Graydon, Howard Hughes, Colin Odell & Michelle Le Blanc, Editions: Jamie Russell, and Paul Duncan English: ISBN 978–3–8365–2105-5 – Includes every Bond film ever made, from Dr.
    [Show full text]
  • The Cultural Life of James Bond the Cultural Life of James Bond
    THE CULTURAL LIFE OF JAMES BOND Verheul (ed.) Verheul P E C T E R S O F The Cultural Life of James Bond James of Life Cultural The 0 0 7 Edited by Jaap Verheul The Cultural Life of James Bond The Cultural Life of James Bond Specters of 007 Edited by Jaap Verheul Amsterdam University Press The publication of The Cultural Life of James Bond: Specters of 007 is made possible by a grant from The Faculty of Arts and Humanities at King’s College London. Cover illustration: Poster Art for Spectre (UK/USA/Austria/Mexico/Italy/Morocco: Sam Mendes, 2015) by Karolis Strautniekas. Commissioned by Human After All, United Kingdom, 2015. Copyright of Karolis Strautniekas, Lithuania; and Folio Art Limited, United Kingdom. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6298 218 5 e-isbn 978 90 4853 211 7 doi 10.5117/9789462982185 nur 670 © The authors / Amsterdam University Press B.V., Amsterdam 2020 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. To my parents Table of Contents Acknowledgements 9 Introduction : Specters of 007 11 Jaap Verheul Part I Beyond Britain: The Transnational Configuration of the James Bond Phenomenon 1.
    [Show full text]
  • This May Be the Author's Version of a Work That Was Submitted/Accepted
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: Nitins, Tanya & Delamoir, Jeannette (2007) Looking, just looking: James Bond and the objectification and commodifi- cation of the human form. In Knight, B, Delamoir, J, & Walker-Gibbs, B (Eds.) Research into 21st century communities. Post Pressed, Australia, pp. 219-229. This file was downloaded from: https://eprints.qut.edu.au/60273/ c Copyright 2007 Post Pressed This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.postpressed.com.au/ book/ research-into-21/ 1 Looking, Just Looking James Bond and the objectification and commodification of the human form The recent cinematic success of Casino Royale (Wilson, Broccoli & Campbell, 2006), the twenty- first Bond film in the official EON Production series, provides an opportunity to examine the character of James Bond in relation to his role in the objectification and commodification of the human body in cinema.
    [Show full text]
  • 'A Thoroughly English Movie Franchise' Spectre, the James Bond Films, And
    ‘A thoroughly English movie franchise’ Spectre, the James Bond films, and Genre JAMES CHAPMAN The James Bond films are genre films par excellence: they demonstrate both the industrial processes of popular film-making and the narrative patterns of repeti- tion and variation that underpin the idea of genre in popular cinema. Indeed the Bond films are such a uni ue and distinctive brand in their o!n right that the term "Bondian# has been coined to describe both the professional discourses of the film-makers on the one hand and the style and content of the films on the other. $s Janet %oolacott noted after observing the making of The Spy Who Loved Me '()**+ for an ,pen -niversity case study of media production: ".Bondian/ !as the phrase used by 01ubby2 Broccoli and other members of the production team to mean .in the spirit of James Bond/...To a certain extent the term .Bondian’ !as used to describe the Bond films, !hich !ere seen as a distinctive formula, a spe- cific genre of film# '()45, 6(7+. The emergence of ne! approaches to genre studies !hich extend beyond the reductive structuralism of the ()*7s and !hich understand film genres and cycles in relation to their !ider industrial and cultural contexts has seen the Bond films find their place on the agenda of academic film studies. This is amply demonstrated over the last decade or so by the gro!th of Bond scholarship that has seen the films analysed from a range of critical and theoretical perspectives, James Chapman is Professor of Film Studies at the Uni- versity of Leicester.
    [Show full text]