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Johanna Harwood was the first, and until Phoebe Waller-Bridge’s hiring on No Time to Die, the only woman screenwriter to work on the Bond films. Harwood was there at the beginning, gaining credits for her work on Dr No (1962) and From Russia with Love (1963), but her chequered experiences of trying to gain leverage within the film industry as a writer, having to contend with institutionalised as well as individualised sexism, prompted her eventual decision to leave Bond, her former employer Harry Saltzman, and the film industry behind. Her story not only provides valuable insights into the genesis of Bond on screen, it also shows the importance of incorporating production studies into discussions of gender and James Bond films, thinking about off-screen as well as on-screen female representation. Beyond Bond, it also illuminates some of the obstacles faced by women trying to build a career in the film industry in the 1960s (not that their problems are limited to that decade) and how film production labour done by women frequently goes uncredited or is discredited, despite its often formative importance.

Research on creative workers speaks to the relative lack of job opportunities available, the role that changing production logics play in shaping such opportunities, and gender disparities in success. Tracking 22,561 hits found on Billboard's mainstream charts, we examine various factors that may spur or hamper the success of female recording acts. We find that the expanding logic of decentralized production eliminates the negative effect of concentration on the success of female acts and that the presence of successful female acts in one period bodes well for subsequent female acts, until a glass ceiling of sorts is reached.

This paper focuses on visual representation of women leaders and how women leaders’ bodies and sexualities are rendered visible in particular ways.

The arguments are based on a reading of the Danish television drama series, Borgen. The authors interpret the meaning of this text and consider what audiences might gain from watching it.

The analysis of Borgen highlights the role of popular culture in resisting patriarchal values and enabling women to reclaim leadership.

The metaphor of the spectacle enables explanation of the representation of women leaders in popular culture as passive, fetishised objects of the masculine gaze. These pervasive representational practices place considerable pressure on women leaders to manage their bodies and sexualities in particular ways. However, popular culture also provides alternative representations of women leaders as embodied and agentic. The notion of the metapicture offers a means of destabilising confining notions of female leadership within popular culture and opening up alternatives.

Action films have traditionally been included in a category of popular cinema that enhanced and celebrated male heroes as the epitome of masculinity. Classical representations of men in this genre included notorious characters such as Indiana Jones, John Rambo or John McClane, to name just a few, who were conceived as characteristic of heteronormative and male-based aesthetics. The films in which these characters appeared reaffirmed a model of masculinity that perceived women as just an accessory that complemented men's attributes, but there were other examples within the genre that offered more complex views in the treatment of gender roles. Therefore, this chapter will focus on the evolution of the roles played by men and women in the Mad Max action film series, and will discuss how the representation of gender is determined in the franchise by the mediation of space in the generation of male and female roles.

The different representations of The Wasteland in Mad Max have contributed to locate characters in positions that have traditionally been associated with either men or women, such as cars, roads, wilderness or domestic environments. However, the evolution experienced by director George Miller's gender awareness, from the representation of the original Max Rockatansky in the first Mad Max film to his relegation to a supporting role in the latest production, in favour of iconic Imperator Furiosa, has provided a description of how the resignification of these spaces has been fundamental in presenting female characters as autonomous, independent and performative subjects, and male characters as active yet not intrusive participants in the empowerment of women and in dismantling male privilege.

Many forecasting methodologies used in the new product development process are superficial techniques that either fail to incorporate the voice of the consumer or only touch on superficial consumer attitudes while completely ignoring the affectively laden hedonic aspects of consumption. This chapter demonstrates how a relatively new qualitative methodology, the Zaltman Metaphor Elicitation Technique (ZMET), can provide managers with insight into the critical psychosocial and emotional landscape which frames how consumers react to a new offering. These insights can be leveraged at any stage of the new product development process to forecast and fine-tune deep consumer resonance with a product offering.

In 2020, the latest James Bond film will hit cinema screens. The film has been produced by Eon Productions, is based on Ian Fleming’s suave, sophisticated super spy and stars Daniel Craig in the title role. With a troubled production shoot well-documented in the media, Daniel Craig often seeming and contradictorily at odds of being both enamoured and loathing with the role, a director leaving through ‘creative differences’ and numerous screenwriters being drafted in as last-minute replacements or add-ons, it will be interesting to see how the latest Bond adventure fares both critically and financially.

At their heart, the Bond adventures – originally in Ian Fleming’s novels and short stories, and then in their film incarnations before spilling out into newer platforms – offer pure escapism for the reader, viewer, listener and gamer. Set against the backdrop of exoticism in a post-war climate, the stories centre around MI6 Agent, James Bond, stopping enemies of the British Empire in their attempts at world domination. They gave the reader a sense of both an attempt by Fleming/Bond to recapture Britain as an important power on the world stage. Whilst Bond may have sipped martinis as he coolly dispatched the latest despotic tyrant, they also offered up ideas about time, place, culture, the social climate of the period and gender.

This book will focus on numerous aspects of the Bond-catalogue, but in particular paying particular attention to how the portrayal of gender, both in the stories and behind the scenes, has helped shape one of the most significant, important and successful British franchises.

Ample literature has demonstrated that workers in the creative industries are excluded in terms of gender, race and class. Fewer studies, however, have examined the career advancement challenges faced by creators with disabilities. Drawing on insights from the established-outsider theory, this study aims to fill this lacuna.

The participants were 24 creators in the Israeli film and television industries (FTIs) contending with severe forms of mental or physical and sensory impairment. In-depth semi-structured interviews were conducted to explore practitioners’ conceptions of the challenges they face in making careers in the FTI, as well as how they contend with these challenges.

Intergroup dynamics yield an established-outsider figuration that situates creators with disabilities in a marginal occupational position in the FTI. Creators with disabilities' lack of access to networks of prominent creators place them in a disadvantageous position in the ongoing struggles over scarce resources in the FTI. The structural features of the FTI, which are intertwined with the social mechanisms of stigmatization and exclusion, make it difficult to breach any figuration once established. In defiance of their occupational figuration, creators with disabilities utilize two tactics aimed at professional advancement: hyper-meritocracy and advocacy. These tactics yield only partial success.

This study does not represent the voices of decision-makers in the film and television industries in Israel.

Implications are suggested regarding the role of culture funds as well as policymakers in advancing workforce diversity and opportunity in the film and television industries.

This study addresses covert and unspoken barriers to equality in the creative workforce. The findings also shed light on the impact of the COVID-19 pandemic on workforce diversity and opportunity in the FTI.