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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.

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.

For many emerging adults, committed romantic relationships are perceived as offering the ideal context for sexual exploration and companionship. However, these relationships are often short-term and breakups between committed partners can be emotionally intense and create a significant amount of distress. While casual sex relationships appear to be an increasingly popular alternative, providing many of the same benefits of committed relationships without the emotional involvement, they are also consistently associated with sexual regret. Previous research indicates that both emotional reactions are reported at higher levels by women, but the extent to which breakup distress and sexual regret differ by relationship type remains unclear. The current study examined differences in breakup distress and sexual regret as a function of sex and type of sexual relationship (committed vs casual) among a sample of 230 undergraduate college students. As expected, women reported more breakup distress and sexual regret as compared to men, and men and women in committed relationships reported more breakup distress than those in casual relationships. Contrary to previous findings, there was no significant difference in sexual regret between committed and casual relationships, and this was consistent for both men and women. In addition, participants reported relatively low levels of both breakup distress and sexual regret overall. The results suggest that, in general, breakups may not pose a severe emotional threat to young adults, who seem to be confident in their sexual decision making regardless of relationship type.

This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.