Notes and References Introduction l. Cited in M. F. Callan, Sean Connery: His Life and Films, W. H. Allen, London, 1983, p. 149. 2. J. Tulloch and M. Alvarado, Doctor Who: The Unfolding Text, Macmillan, London, 1983. 1 The Bond Phenomenon l. Cited in J. Pearson, The Life of Ian Fleming, Jonathan Cape, London, 1966, p. 300. 2. ()()7, james Bond in Focus, Glidrose Production Ltd and Marvyn Bruce Associates Ltd, London, 1964. (Not paginated.) 3. SeeS. Flack, 'Broccoli's Bond Bonanza', TV Times, 22 February 1977. 4. See Cinema TV Today, no. 9991, 29July 1972. 5. See, for a discussion of the functioning of Robinson Crusoe in these respects, I. Watt 'Robinson Crusoe as a Myth', in E. and T. Burns (eds), Sociology of Literature and Drama, Penguin, Harmondsworth, 1973. 6. See A. E. Murch, The Development of the Detective Novel, Greenwood Press, Westport, Conn., 1958, pp. 167, 175. 7. Cited inJ. Pearson, The Life of Ian Fleming, p. 304. 8. See A. Bear, 'Intellectuals and 007: High Comedy and Total Stimulation', Dissent, Winter, 1966. 9. K. Amis, The James Bond Dossier, Jonathan Cape, London, 1965, pp. 14, 38. 10. SeeJ. Tulloch and M. Alvarado, Doctor Who: The Unfolding Text, p. 58. II. D. Cannadine, 'James Bond and the Decline of England', Encounter, 53(3), November 1979, p. 46. 2 The Moments of Bond l. I. Fleming, 'How to Write a Thriller', Books and Bookmen, May 1963, p. 14. 296 Notes and References 297 2. Cited in J. Pearson, The Life of Ian Fleming, Jonathan Cape, London, 1966, p. 299. 3. It subsequently did rather better when published by the American Popular Library under the title Too Hot to Handle. 4. See P. Johnson, 'Sex, Snobbery and Sadism', New Statesman, 5 April 1958. 5. See B. Bergonzi, 'The Case of Mr Fleming', The Twentieth Century, March 1958. 6. I. Cameron, The Spectator, 12 October 1962. 7. Cited in L. Murray and R. Eglin, 'The Gilt-edged Bond', Business Observer, 16January 1972. 8. For a summary and illustrations of Bond's various strip-cartoon incarnations, see The Illustrated James Bond 007, James Bond 007 Fan Club, New York, 1981. 9. See, for details, L. Tornabuoni, 'A Popular Phenomenon', in 0. Del Buono and U. Eco (eds), The Bond Affair, Macdonald, London, 1966. 10. Cited in The Hollywood Reporter, 31 December 1971. 11. See D. Moriot, 'James Bond and America in the Sixties: An Investigation of the Formula Film in Popular Culture', Journal of the University Film Association, xxviii(3), Summer, 1976. 12. According to Lacan, the arbitrary relationship of signifier to signified­ the fact that the relationship of signifier to signified is engendered only via the relationship of one signifier to another- opens up the possibility of an infinite sliding of meaning in which the signifier glides over the signified, slipping into adjacent signifiers, rather than becoming attached to it. Lacan argues that this is avoided by the functioning of certain privileged signifiers -points de capiton - which button down the system of language around certain crucial co-ordinating signifiers. These furnish fixed anchoring points of meaning in relation to which the potentially infinite circulation of meaning within language can be stopped and the meaning of each signifier 'button-holed' by pinning it down - not to its signified, but by referring it to the central co­ ordinating signifier through which its relationship to other signifiers, and hence to its signified, is organised. According to Lacan, the Symbolic Father and the concept of the phallus function, within the context of the castration complex, as such points de capiton; points of anchorage in relation to which sexed identities are constructed, subject positions within language assumed and signifiers clasped to their signifieds through the relations of similarity and difference which mark their position in relation to such points de capiton. (For further elabor­ ation of this concept, see A. Wilden, 'Lacan and the Discourse of the Other', in J. Lacan, The Language of the Self: The Function of Language in Psychoanalysis, Delta Books, New York, 1968, pp. 237-49, 270-84). Although the analogy is not intended as a strict one, Bond's function­ ing as a point de capiton within British popular culture is closely related to the way in which the figure of Bond has been phalli ely coded. 13. See J. Tulloch and M. Alvarado, Doctor Who: The Unfolding Text, Macmillan, London, 1983, p. 99. 298 Notes and References 14. Bruce Merry has thus noted the widespread use of references to Bond in contemporary spy-thrillers, usually as a means of advancing their claims to realism by dissociating themselves from Bondian fantasy. _References to Bond function in this way in Frederick Forsythe's The Dqy of the Jackal, Len Deighton's Funeral in Berlin and Desmond Bagley's Running Blind and The Freedom Trap. Merry also notes the way in which M supplies the implied point of reference in relation to which the control figure is constructed in the novels of Deighton and Le Carre. See B. Merry, Anato"!Y of the Spy Thriller, Gill & Macmillan, Dublin, 1977, pp. 64-5, 135-9, 142-3, 15~0. Mention should also be made of the exceedingly wide range of Bond parodies, Examples from the cinema in the mid 1960s include Our Man Flint ( 1966), starring James Coburn, Woody Allen's Casino Royale (1967) and The Intelligence Men (1966) starring Morecambe and Wise. For details ofliterary parodies, see section 24, 'Not Quite Like James Bond', of I. Campbell, Ian Fleming: A Catalogue of a Collection, Liverpool, 1978. 15. S. Rubin, The James Bond Films, Arlington House, Norwalk, Connecticut, 1981, p. 187. 3 Reading Bond l. See J. Pearson, James Bond: The Authori;:ed Biography of 007, Sidgwick & Jackson, London, 1973. 2. For earlier discussions of these problems, see T. Bennett, 'Texts and Social Process: The Case of James Bond', Screen Education, no. 41, Spring/Winter, 1982, and T. Bennett, 'James Bond: Theorizing a Popular Hero', Southern Review, XV(2), 1983. 3. M. Foucault, 'What is an Author?', Screen, XX(l), Spring, 1979, p. 22. 4. Ibid., p. 19. 5. See D. Cannadine, 'James Bond and the Decline of England', Encounter, 53(3), 1979. 6. See A. S. Boyd, The Devil with James Bond, Greenwood Press, Westport, Conn., 1975. (Originally published by the John Knox Press, Richmond, Virginia, 1967.) 7. R. Dyer, 'Stars as Signs', in T. Bennett, S. Boyd-Bowman, C. Mercer andJ. Woollacott (eds), Popular Television and Film, BFI, London, 1981, p. 266. For similar observations regarding the way in which the text of Doctor Who has been crossed by a whole variety of star images and performance codes, see Tulloch and Alvarado, Doctor Who: The Unfolding Text, Macmillan, London, 1983, p. 299. 8. 0. F. Snelling, Double 0 Seven, James Bond: A Report, Neville Spearman Holland Press, London, 1964. 9. Cited in M. F. Callan, Sean Connery: His Life and Times, W. H. Allen, London, 1983. 10. Cited in A. Walker, Hollywood England: The British Film Industry in the Sixties, MichaelJoseph, London, p. 187. 11. K. Amis, The James Bond Dossier, Jon a than Cape, London, 1965, p. 36. Notes and References 299 12. Cited inK. Passingham, 'James Bond', TV Times, 15 October 1975. 13. W. lser, The Act of Reading: A Theory of Aesthetic Response, Routledge & Kegan Paul, London, 1978, p. 138. 14. Playboy, November 1965, p. 78. 15. Ibid., p. 76. 16. Ibid., p. 81. 17. See, for an example of this approach, W. lser, The Act of Reading. 18. See D. Morley, The 'Nationwide' Audience, BFI, London, 1980. 19. For a discussion of the ways in which the 'frame' separating the literary from the extra-literary may shift, see J. Frow, 'The Literary Frame',Joumal of Aesthetic Education, 16(2), 1982. 20. See, for expositions and critical discussions of the encoding/decoding model, S. Hall 'Encoding/Decoding' and D. Morley 'Texts, Readers, Subjects', both in S. Hall, D. Hobson, A Lowe and P. Willis (eds), Culture, Media, Language, Hutchinson, London, 1980. 21. R. Holub, Reception Theory: A Critical Introduction, Methuen, London, 1983, p. 99. 22. For a fuller discussion and exemplification of the concept of 'reading formation', see T. Bennett, 'Texts, Readers, Reading Formations', The Bulletin of the Midwest Modem Language Association, 16(1), Spring, 1983. Reprinted in Literature and History, vol. 9, no. 2, Autumn, 1983. 23. It is in this, its material social supports, that the concept of 'reading formation' differs from the concept of 'horizon of expectations' associated with the work of H. R. Jauss. For Jauss, 'horizon of expectations' refers to the subjective associations which inform the reading practices of any individual reader. The concept of reading formation, by contrast, specifies a set of objective determinations which mould and structure the terrain of the text-reader encounter. 24. See U. Eco, The Role of the Reader: Explorations in the Semiotics of Texts, Hutchinson, London, 1981, pp. 140-1. 25. See E. D. Hirsch Jr, Validity in Interpretation, Yale University Press, New Haven, 1967. 26. See U. Eco, 'Narrative Structures in Fleming', in The Role of the Reader (originally published in 0. Del Buono and U. Eco, The Bond Affair, Macdonald, London, 1961). 27. In his approach to 'closed texts', Eco relies on the distinction proposed by the Russian Formalists between the concepts of fabula (story) and sjuzet (plot or discourse). Fabula is 'the basic story stuff, the logic of actions or the syntax of characters, the time oriented course of events', whereas sjuzet or plot is 'the story as actually told, along with deviations, digressions, flashbacks, and the whole of the verbal devices' (p.