International Journal of James Bond Studies最新文献_第2页

The Role of Accent as a Class Marker in the James Bond Films 詹姆斯·邦德电影中口音作为阶级标志的作用

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.77

A. Baratta

{"title":"The Role of Accent as a Class Marker in the James Bond Films","authors":"A. Baratta","doi":"10.24877/jbs.77","DOIUrl":"https://doi.org/10.24877/jbs.77","url":null,"abstract":"Within British, and certainly English, society, the accent referred to as Received Pronunciation (RP) has existed, and largely continues to do so, as a prestige accent. While its origins are tied to the Southeast, it otherwise exists as a class-based accent and is thus not tied to region. In its more conservative varieties, such as U-RP (Upper-Class) (Wells 1982a), this accent represents the upper-classes, and middle/upper-middle class speakers in varieties such as Near-RP and mainstream RP respectively (Wells 1982a; Wells 1982b). Thus, an English individual from the North, South, or anywhere else within the country can speak RP, given that anyone within England can be a member of the upper-echelon class groups. As such, an accent associated with the upper classes in England will have the connotations of this group bestowed upon it; likewise, accents perceived as working class will have the associated connotations in interlocutors’ minds. Connotations can, of course, be both positive and negative, but given the linguistic capital ascribed to RP as a marker of its speakers’ wealth, status, and power (Bourdieu 1991), then this becomes a ftting accent for literary characters for whom such attributes are desirable. In terms of Fleming’s literary James Bond, Tony Bennett explains that “the screen identities of most of the actors initially considered for the part of Bond”, such as James Mason and David Niven, “re-Volume","PeriodicalId":173794,"journal":{"name":"International Journal of James Bond Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130231888","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}

引用次数: 0

''The Texan with whom he had shared so many adventures'': Reassessing the Role of Felix Leiter in Fleming’s Bond Novels “与他一起经历了许多冒险的德克萨斯人”:重新评估费利克斯·莱特在弗莱明的邦德小说中的角色

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.79

N. F. Hartvelt

{"title":"''The Texan with whom he had shared so many adventures'': Reassessing the\u0000 Role of Felix Leiter in Fleming’s Bond Novels","authors":"N. F. Hartvelt","doi":"10.24877/jbs.79","DOIUrl":"https://doi.org/10.24877/jbs.79","url":null,"abstract":"While the name Felix Leiter undoubtedly rings fewer bells than that of his friend James Bond, Leiter has been part of the Bond franchise since its inception in Ian Fleming’s Casino Royale (1953), and was most recently portrayed by Jefrey Wright in No Time To Die (2021). In an interview with Wright, Fatherly leads with the following: “Making his triumphant return to the world of James Bond [...] he’s back for a third time playing CIA agent Felix Leiter, the man who is James Bond’s best friend” (Britt 2021). In a similar vein, but with a diferent tone, an article in the New York Times before the release of Die Another Day (2002) supposed that “[d]iehard James Bond fans will probably be weeping in their vodka martinis [...]. Once again, a defning element of the 007 flm franchise [...] will be absent. No it’s not Sean Connery. It’s Felix Leiter” (Vinciguerra 2002). Keeping Leiter’s nationality in mind, it is perhaps unsurprising that this sentiment should be expressed in an American newspaper. The article goes on to note that Leiter’s “presence – or lack of it – makes him a valuable barometer of the geopolitical climate that surrounds him” (ibid.). In other words, his presence or absence can be read as a measure of the (political, cultural, economic) Special Relationship between the United States and the United Kingdom. While the cinematic Leiter has been read as such in relation to Bond, attention to his character beyond this political reading has been limited, especially regarding his presence in the Fleming novels.","PeriodicalId":173794,"journal":{"name":"International Journal of James Bond Studies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124887439","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}

引用次数: 0

Female Bonds in Bollywood 宝莱坞的女性债券

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.76

Ajay Gehlawat

引用次数: 0

''Sorry we ain’t got any flowers'': The Biodiversity of Dr. No “对不起，我们没有花”:《诺博士的生物多样性

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.81

T. Gardiner

引用次数: 0

''Every now and then a trigger has to be pulled'': Narrative, Nemesis, and Retributive Justice in the James Bond Films “时不时就得扣动扳机”:詹姆斯·邦德电影中的叙事、复仇和报应正义

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.80

James B. Shelton

引用次数: 0

Review of Fashioning James Bond: Costume, Gender and Identity in the World of 007 (2021), by Llewella Chapman 《塑造詹姆斯·邦德:007世界中的服装、性别和身份》(2021)，卢埃拉·查普曼著

International Journal of James Bond Studies Pub Date : 2022-05-01 DOI: 10.24877/jbs.82

James B. Shelton

引用次数: 0

''Old Dog, New Tricks'': James Bond's Digital Chaos “老狗，新把戏”:詹姆斯·邦德的数字混乱

International Journal of James Bond Studies Pub Date : 2021-05-01 DOI: 10.24877/JBS.64

C. Holliday

{"title":"''Old Dog, New Tricks'': James Bond's Digital Chaos","authors":"C. Holliday","doi":"10.24877/JBS.64","DOIUrl":"https://doi.org/10.24877/JBS.64","url":null,"abstract":"This article focuses on the ambivalent relationship between the James Bond films and digital VFX imagery, plotting the franchise’s progressive application and integration of computer effects technologies across both the Pierce Brosnan (1995-2002) and Daniel Craig (2006-present) eras. The 007 series’ frequent stylistic turns to CGI that parallel an increased narrative “technicity” – culminating in the heavily “computerized feel” (McCarthy 2002) of Die Another Day (Lee Tamahori, 2002) – did, however, ultimately appear to cede to more physical effects practices for Craig’s debut in Casino Royale (Martin Campbell, 2005). But despite the anchoring of Casino Royale to the franchise’s longstanding traditions of practical models and miniatures, Craig’s debut nonetheless combined digital imagery with live-action shooting in a discreet, yet chaotic, ontological layering of times, spaces, and environments. Examining the place of Bond cinema within popular effects journals, alongside Matthias Stork’s writing on the formal style of “chaos cinema” (2013), this article explores the franchise’s increased deployment of computer-generated elements from the mid-1990s to Casino Royale, Quantum of Solace (Marc Forster, 2008), Skyfall (Sam Mendes, 2012) and Spectre (Sam Mendes, 2015). It identifies how sporadic moments of technological excess have been understood as a rigorous aestheticization of 007’s encroaching neuroses (Binotto 2013), before turning to the digitally-assisted four-minute long take that opens Spectre. As a posthuman or “chimeric” (Ayers 2015) amalgam of digital and pro-filmic components, this sequence exemplifies the series’ veiled inscription of its digital VFX imagery, if not the kinds of technological processes that define the contemporary media environment.","PeriodicalId":173794,"journal":{"name":"International Journal of James Bond Studies","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128688041","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}

引用次数: 0

This SPECTREd Isle: James Bond, Alan Partridge, and Englishness 这个幽灵岛:詹姆斯·邦德，艾伦·帕特里奇和英国人

International Journal of James Bond Studies Pub Date : 2019-05-01 DOI: 10.24877/JBS.46

Gillian Groszewski

引用次数: 0

Things Are Not Enough: Bond, Stiegler, and Technics 事情是不够的:邦德，斯蒂格勒和技术

International Journal of James Bond Studies Pub Date : 2019-05-01 DOI: 10.24877/JBS.43

Claus-Ulrich Viol

引用次数: 1

Review of The Playboy and James Bond: 007, Ian Fleming and Playboy Magazine (2018), by Claire Hines 《花花公子》和《詹姆斯·邦德:007》，伊恩·弗莱明和《花花公子》杂志(2018)，克莱尔·海恩斯著

International Journal of James Bond Studies Pub Date : 2019-05-01 DOI: 10.24877/JBS.48

K. Mccarron

引用次数: 0