Apocalypse cow epub2/1/2024 Nevertheless, M’s power over Bond is ultimately too threatening to his mythic masculine identity. Playing a much more significant role than she did in the Pierce Brosnan films, M criticises Bond’s weaknesses and mistakes, but she also contributes in important ways to shaping his identity-in-process in her complex role as boss/mentor/mother. Taking us back to the beginning of his career, Casino Royale reconfigures Bond as fallible, vulnerable, and psychologically unstable, a man struggling to secure his identity as 007. This article argues that Casino Royale (Campbell, 2006) and Quantum of Solace (Forster, 2008) – the fifth and sixth films starring Dench as M and the first two starring Daniel Craig as Bond – effect the most significant revision of gender roles in the franchise to date. The casting of Judi Dench in Goldeneye (Campbell, 1995), however, signalled the series’ potential to interrogate its own sexism. The James Bond film franchise has attracted much criticism for its depiction of women. Ever aware that his number may be up on his next mission, Fleming’s Bond is a man who deploys his expertise and intuition in the service of the British crown and in protection of the masculinity he singularly represents. Bond is no dilettante when it comes to playing baccarat, poker or gambling the state’s monies against international criminal organisations on the contrary, he is alive to the responsibilities he holds, the demands of the government he serves, and the particular histories of the games he plays and the locations in which they take place. What may have appeared sideshow distractions, the games that Bond plays and the gambling in which he participates are central co-ordinates in the plotting of Fleming’s secret agent as well as the society of Britain in the 1950s and 1960s. Bond’s task is not just the defence of the realm: he consciously adopts the role of protector of the traditions of English behaviour bequeathed to his generation and of the cultural freedoms denied by the totalitarian regimes against which he, and Britain more generally, is pitted. Our findings empirically support the study of brand longevity in and of itself, and conceptualize brand longevity as relying on an evolutionary approach to assembling the brand, which looks outward from the brand in order to consider the potential of brand elements to prevail in contemporary contexts and to ensure both continuity and change.Īn analysis of the 3 versions of Casino Royale (2 films & Ian Fleming's novel) & of Moonraker (novel & film) that argues Bond's British identity is pinioned on the rules of fair play in poker, baccarat & bridge. To address this question, a wide range of archival brand-related data were collected and analyzed, including: analysis of films, books, marketing materials, press commentaries, and reviews, as well as broader contextual data regarding the sociocultural contexts within which the brand assemblage has developed. Our study contributes to branding theory by proposing a multilevel approach to understanding brand longevity through application of an assemblage perspective to answer the question: how do serial brands attain longevity within evolving sociocultural contexts? By applying assemblage theory, we scrutinize the enduring success of a serial media brand over the past 55 years. This study delineates the process of brand longevity: the achievement of social salience and ongoing consumer engagement over a sustained period. It culminates in a brief assessment of the most recent Bond films, as both SKYFALL (2012) and SPECTRE (2015), in spite of some (postcolonial) adjustments, continue to be indebted to an imperialist mental framework. Out of the numerous parallels drawn between both texts, the role of the aged adventurer, the significance of the map and its psychosexual connotations, as well as the nightmarish construction of an animalistic, racialised female Other are highlighted in this reading. Rider Haggard’s seminal Africa novel, KING SOLOMON'S MINES (1885). While various Bond scholars have repeatedly stressed the 007 franchise’s indebtedness to the geopolitical coordinates and mentality of 19th century imperialism and to the Victorian era’s ideals of masculinity, this article is the first one to read a Bond film (A VIEW TO A KILL, Roger Moore’s final adventure in the role as 007) as an adaptation of a colonialist-era pretext, in this case: H. This article assesses the colonial legacy in the long-running James Bond franchise.
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