Selling James Bond : product placement in the James Bond films

The character of James Bond for many people is intrinsically linked in their minds with particular brands – Aston Martin, Bollinger, Omega, Smirnoff vodka, and so on. This direct association between character and brand highlights the intrinsic role of product placement in the film industry, and in the James Bond films in particular. Selling James Bond: Product Placement in the James Bond Films provides a comprehensive overview of the history of product placement in the James Bond series – charting the progression of the practice and drawing direct correlations to significant cultural and historical events that impacted upon the number and types of products incorporated into the series. While primarily a financial arrangement, it is also important that the practice of product placement be examined and understood in relation to these cultural contexts, an area of research so far largely ignored by academic study. Through extensive content analysis of the official James Bond film series, as well as utilising directors’ commentary and industry reports, this book illustrates the strong impact specific cultural and historical events have had on the practice of product placement in the series. In doing so, it provides an exciting and in-depth “behind the scenes” look at the James Bond film series, and its complicated and sometimes contentious history of product placement. In the process, it charts the gradual emergence of product placement from the more traditional background shot to becoming so embedded in the actual film narrative that they have become simply yet another method for filmmakers to produce cultural meaning.

A boy and his toys : technology and gadgetry in the James Bond films

This chapter provides an indepth examination of the history of product placement in the James Bond film series, specifically focusing on the emergence of technology and gadgetry in the series and the impact this had on the number and types of products that were placed in the films.

Licensed to sell : product placement in the James Bond film series

As one of the longest running franchises in cinema history, and with its well-established use of product placements, the James Bond film series provides an ideal framework within which to measure and catalogue the number and types of products used within a particular timeframe. This case study will draw upon extensive content analysis of the James Bond film series in order to chart the evolution of product placement across the franchise's 50 year history.

The Bond Girl phenomenon: defining the female protagonists of the James Bond films

Please consult the paper edition of this thesis to read. It is available on the 5th Floor of the Library at Call Number: Z 9999 C65 F86 2005

James Bond-temats musikaliska förändringar : Från Dr. No till Casino Royale

I denna uppsats har den musikaliska förändringen i James Bond-temat, sett över de 21 filmer som gjorts fram till denna uppsats genomförande, analyserats och tolkats. Syftet är att dela med mig av mina tankar och analyser om hur temat framförts och utvecklats, samt därmed också bidra till att utveckla kunskapen om James Bond-världen.Efter en litteraturbaserad del, där bakgrunden till James Bond-temats uppkomst behandlas, så analyseras sedan film för film i Bond-serien från Dr. No till Casino Royale. Analysen tar främst upp delarna synkronisering, instrumentering och influenser.Analyserna visar på att James Bond-temat i grund och botten bygger på samma melodi genom alla filmer, men också har förändrats i stor utsträckning i utförandet.

Por que James Bond, o engenheiro, desistiu do Brasil

Após oito anos e meio, James Arthur Bond, de 48 anos, a contragosto, foi levado de volta às origens. A crise tirou-o do Rio de Janeiro, terra que escolheu para viver com a família, forçando-o a buscar estabilidade em solo britânico.

James Bond will return: der serielle Charakter der James Bond-Filme

Die James Bond-Filme: seit über 40 Jahren sind sie ein unübersehbarer Bestandteil der Populärkultur. Anfang der 60er Jahre unter völlig anderen historischen, sozialen und nicht zuletzt filmtechnischen Voraussetzungen aus der Taufe gehoben, gelingt es ihnen auch heute noch, ein Massenpublikum für sich zu gewinnen. Inwiefern kann man bei einer so langen Laufzeit überhaupt noch von einer homogenen Serie sprechen? Und was für Gemeinsamkeiten, Unterschiede und auch Weiterentwicklungen von der ursprünglichen Machart sind hier zu beobachten? Dies sind die Grundfragen der vorliegenden Dissertation. Bei der Benennung der seriellen Eigenschaften werden sowohl inhaltliche als auch dramaturgische und filmtechnisch-formale Aspekte betrachtet. Die Figurenkonstellation von Held, Gegenspieler und der weiblichen Hauptfigur, die zwischen den beiden steht und häufig die Seiten wechselt, ist ein Schema das - kaum variiert - schon in den Romanvorlagen Ian Flemings zum Einsatz kam und auch das Rückgrat der Film-Plots bildet. Dennoch ließ dieses Gerüst den mittlerweile fünf verschiedenen Darstellern, die James Bond nacheinander verkörperten, genügend Freiraum für das Ausarbeiten eines eigenen Rollenkonzepts, das auf ihren speziellen Schauspielstil ausgerichtet war. Dadurch erhielt die James Bond-Figur jeweils eine Neuinterpretation, die sich insbesondere in ihrem sozialen Habitus bemerkbar macht, der je nach Darsteller zwischen provokantem Aufsteigertyp und aristokratischem Gentleman changierte. Zum unverwechselbaren Erkennungsmerkmal der Bond-Serie avancierte die so genannte 'gun-barrel'-Sequenz, die in den ersten Sekunden jedes Films abläuft. Auch die sich anschließende Vortitelsequenz, eine auf Spannung oder Action angelegte Szene, die einen Vorgeschmack auf den folgenden Film liefern soll, ist ein Element, das der Machart von Fernsehserien entnommen ist. Neben diesen bewusst eingesetzten Markenzeichen lässt sich auch in der Gestaltungsweise der Filme - in Kameraführung, Schnitt, Musik und Set Design - eine stilistische Kontinuität feststellen, die insbesondere dadurch bedingt ist, dass die Serie seit jeher von den Produzenten ähnlich wie ein Familienunternehmen geführt wurde und - zumindest bis Ende der 80er Jahre - auch die kreativen Köpfe der Filme konsequent im eigenen Team ausgebildet wurden.

The doomsday vault: Seed banks, food security, and climate change

"It could easily provide the back-drop for a James Bond movie. Deep inside a mountain near the North Pole, down a fortified tunnel, and behind airlocked doors in a vault frozen to -18 degrees Celsius, scientists are squirreling away millions of seed samples. The samples constitute the very foundation of agriculture, the biological diversity needed so the world's major food crops can adapt to the next pest or disease, or to climate change. It's little wonder that the Svalbard Global Seed Vault has captured the public's imagination more than almost any agricultural topic in recent years. Popular press reports about the ‘Doomsday Vault,’ however, typically mask the complexity of the endeavor and, if anything, underestimate its practical utility." Cary Fowler This chapter considers the use of seed banks to address concerns about intellectual property, climate change and food security. It has a number of themes. First of all, it is interested in the use of ‘Big Science’ projects to address pressing global scientific concerns and Millennium Development Goals. Second, it highlights the increasing use of banks as a means of managing both property and intellectual property across a wide range of fields of agriculture and biotechnology. Third, it considers the linkage of intellectual property, access to genetic resources and benefit sharing. There are a variety of positions in this debate. Some see requirements in respect of access to genetic resources and benefit sharing as an inconvenient burden for science and commerce. Others defend access to genetic resources and benefit sharing as meaningful and productive. Those inclined to somewhat more conspiratorial views suggest that access to genetic resources and benefit sharing are a ruse to facilitate biopiracy. This chapter has a number of components. Section I focuses upon the Consultative Group on International Agricultural Research (CGIAR) network – often raised as a model for Climate Innovation Centres. Section II considers the Svalbard Global Seed Vault – the so-called Doomsday Vault. After a consideration of the World Summit on Food Security in 2009, it is concluded in this chapter that any future international agreement on climate change needs to address intellectual property, plant genetic resources and food security.

The business of myth-making: Mary Poppins, P.L. Travers and the Disney effect

In just one of the many extraordinary moments during the spectacular Opening Ceremony of the 2012 London Olympic Games, thirty Mary Poppinses floated into the stadium on their umbrellas to battle a 40 foot-long inflatable Lord Voldemort. This multi-million pound extravaganza was telecast to a global audience of over one billion people, highlighting in an extremely effective manner the grandeur and eccentricities of the host nation, and featuring uniquely British icons such as Mr Bean, James Bond, The Beatles and Harry Potter, as well as those quintessential icons of Englishness, the Royal Family, double-decker red buses and the National Health Service.