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Produktbeschreibungen
Pressestimmen
There are two kinds of academic texts: the kind that contains photographs of Ursula Andress wearing a bikini, and the kind that do not. Licence to Thrill falls, fortunately, into the first category. -- Giles Coren The Times (London) Thoughtful, intelligent, ludicrous and a bit snobby. Bit like Bond, really. -- Stephen O'Brien SFX magazine For a theoretical study it is surprisingly entertaining. Chapman demonstrates that there is more to the 007 franchise than just girls, guns and globe trotting. He views each film as an exercise in camp. -- Mark Sanderson Evening Standard
Kurzbeschreibung
The James Bond epic is the most popular film series in silver screen history: it is estimated that a quarter of the world's population has seen a Bond feature. The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry. James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense. Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene -- from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics -- notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself. The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history -- half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.
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Einleitungssatz
'It all began with a man called Ian Fleming.'1 Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
'It all began with a man called Ian Fleming.'1 Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Kundenrezensionen
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2 von 2 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
Licence to Thrill is a cultural review of the James Bond movies and provides an excellent survey of the changing Bond image in movies; from its start with the 1962 Dr. No to its progression beyond Fleming's spy novels to classic films. Bond became a symbol of a Cold War world where Britain was no longer the ruler: this examines how movies reflect and affect social change through images of politics and culture.
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Format:Gebundene Ausgabe
The trouble with being a fan of something (and I mean a real fan - short for fanatic) is that we read everything on our subject and often know when the author is faking it, or if he knows his stuff. This Chapman guy knows his stuff, and I agree with most of what he says. I have a few quibbles here and there, but generally it is a good read. Being a fan of the series is, however, a prerequisite for understanding what he is saying, and I really like the way he often compares the Bond novels with their film counterparts. Stay away from the Steven Jay Rubin books, and get this (now if we could only get British author John Brosnan to update and edit his James Bond In The Cinema Book...)
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8 Rezensionen
32 von 35 Kunden fanden die folgende Rezension hilfreich
One of the Best of its Kind
12. April 2000
Format:Gebundene Ausgabe
The trouble with being a fan of something (and I mean a real fan - short for fanatic) is that we read everything on our subject and often know when the author is faking it, or if he knows his stuff. This Chapman guy knows his stuff, and I agree with most of what he says. I have a few quibbles here and there, but generally it is a good read. Being a fan of the series is, however, a prerequisite for understanding what he is saying, and I really like the way he often compares the Bond novels with their film counterparts. Stay away from the Steven Jay Rubin books, and get this (now if we could only get British author John Brosnan to update and edit his James Bond In The Cinema Book...)
8 von 9 Kunden fanden die folgende Rezension hilfreich
Recommended for Bond fans & popular culture students.
4. Juli 2000
Format:Gebundene Ausgabe
Licence to Thrill is a cultural review of the James Bond movies and provides an excellent survey of the changing Bond image in movies; from its start with the 1962 Dr. No to its progression beyond Fleming's spy novels to classic films. Bond became a symbol of a Cold War world where Britain was no longer the ruler: this examines how movies reflect and affect social change through images of politics and culture.
3 von 3 Kunden fanden die folgende Rezension hilfreich
5/5
31. März 2002
Format:Gebundene Ausgabe
Over the past five decades, James Bond films have established themselves as the most popular film series in history. Some estimates have it that a quarter of the world's population has seen a 007 film, and this worldwide fascination with the Bond character has manifested itself in the thousands of fan clubs, fan conventions, web sites, and movie guides in existence today. But while there exists an abundance of literature about Ian Fleming's fictional spy, no book has actually considered the 007 phenomenon in the context of cultural and film history until now. James Chapman's Licence to Thrill attempts to examine the Bond series in a scholarly manner, and succeeds marvelously at doing so.
From the start, Chapman's meticulous, comprehensive study of these films is presented in an objective and refreshing manner. Chapman immediately sets the tone for the book, arguing that the viewer needs to look beyond the fantastic scenarios and hedonistic nature of Bond's life in order to grasp the real meanings of these films -- that is, that they nostalgically represent Great Britain's global strength during an actual period of decline. Chapman goes on to discuss the various film genres (spy thrillers, cliffhangers, action movies) that have been hybridized into the "Bondian" formula, and goes on to show that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology.
From the start, Chapman's meticulous, comprehensive study of these films is presented in an objective and refreshing manner. Chapman immediately sets the tone for the book, arguing that the viewer needs to look beyond the fantastic scenarios and hedonistic nature of Bond's life in order to grasp the real meanings of these films -- that is, that they nostalgically represent Great Britain's global strength during an actual period of decline. Chapman goes on to discuss the various film genres (spy thrillers, cliffhangers, action movies) that have been hybridized into the "Bondian" formula, and goes on to show that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology.
The most impressive aspect of Licence to Thrill is its comprehensiveness. Chapman places the Bond films in the context of film history, and by doing so, provides a larger framework by which to assess their cultural impact. He also examines the influence of other film genres on the Bond series; for example, the influence of the "blaxploitation" movement of the early 70's on 1972's Live and Let Die, which features an unusually high proportion of black characters for a Bond film. The rest of the book concentrates on the Bond films themselves, grouping them according to theme and charting the development and evolution of the franchise.
Although Chapman clearly illustrates that the generic formula of these films is virtually designed to change with the British political climate, he also maintains that Bond's adventures are representative works of nostalgia for British imperialism and nationalism. For example, in discussing 1983's Octopussy, which is set largely in India, Chapman notes the numerous television series in Britain during the 1980's devoted to the former British colony and the abundance of works at the time analyzing Anglo-Indian relations. Other films are set against the contemporary British political mindset, such as 1981's For Your Eyes Only, which strongly references Thatcherism, and the end result is that we see the films in an entirely new light.
Enlightening, entertaining and thought provoking, this book is highly recommended for anyone who is serious about film. For the rabid Bond fan, it is simply indispensable.
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