As Bond scholarship has shown, men’s magazines played a crucial role in shaping images of masculinity that circulated around James Bond from the 1960s onwards (Hines, 2018…
As Bond scholarship has shown, men’s magazines played a crucial role in shaping images of masculinity that circulated around James Bond from the 1960s onwards (Hines, 2018). More generally, critics have charged both the Bond film franchise and men’s magazines with perpetuating sexist imagery that upholds patriarchal values or erodes the gains of feminism. Yet close readings of men’s magazines and Bond films can produce a more complex picture of masculinity and gender relations, especially since the mid-1990s saw not only the return of James Bond to the screen following a six-year production break, but also scholarly and media attention to masculinity and significant growth in the men’s magazine market, including the rise of lad mags. This research will analyse magazine content relating to Bond in British men’s magazines during the Pierce Brosnan era, beginning with the launch of the 1995 film GoldenEye, to examine the interrelationship between James Bond as a longstanding male icon, and contemporary models of masculinity characterised by this publishing phenomenon. It will argue that these men’s magazines become an important site for (re)negotiating James Bond’s culturally loaded masculinity throughout the Brosnan years.
This chapter seeks to reassess the film GoldenEye (Campbell, 1995), and its highly successful (Impellizeri, 2010) videogame adaptation GoldenEye 007 (Rare, 1997), in light of the concept of the Hegemony of Play (Fron, Fullerton, Morie, & Pearce, 2007), which seeks to critique the dominance of the hypermasculine ‘gamer’ identity in videogame culture (a persona GoldenEye anticipates in its problematic character Boris Grishenko).
Since the gamer is bound up in the very technological materiality of videogames as a medium and an industry (Dyer-Witheford & de Peuter, 2009), central to this discussion is the significant yet highly ambivalent role technology continues to play in the Bond films, both extending and threatening (Leach, 2015; Nitins, 2010) Bond’s natural male skill and intuition (McGowan, 2010). Indeed, GoldenEye is a particularly salient study since many suggest Brosnan to be the most technologically adept (or dependent) of the Bonds (Rositzka, 2015; Willis, 2003), and I will argue that the film and game together explore just what happens when Bond’s implacable force meets the immutable technological object, providing a fascinating lens through which to read the larger technocultural shifts embodied in the transition to the immaterial economies of cognitive capitalism (Hardt & Negri, 2001) and their potential to disrupt traditional, patriarchal gender configurations (Haraway, 1991; Hayles, 2005; Plant, 1998; Wajcman, 2004).
Core to this is a critical reading of the game’s popular multiplayer mode, where exploration of whether technology can be understood to potentially level the gender playing field (Jones, 2015) or whether the fact that such technology is always already encoded as masculine (Chess, 2017) ultimately undercuts this ambition.
On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of…
On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.
With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.
The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is…
The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.
The purpose of this paper is to investigate and review how the practices of Lesson Study fare in enhancing the professional capabilities of mathematics teachers when…
The purpose of this paper is to investigate and review how the practices of Lesson Study fare in enhancing the professional capabilities of mathematics teachers when introduced as part of a pilot project in reforming the post-primary mathematics curriculum in Ireland.
Totally, 250 mathematics teachers teaching Junior and Senior Cycle mathematics in 24 post-primary schools constitute the population of this study. The schools which participated are representative of the range of all post-primary schools in Ireland.
Lesson Study has an important role to play in the continuing professional development of teachers in the 24 post-primary schools and beyond in Ireland. An investigation of the maths teachers’ engagement with Lesson Study reveals some considerable initial resistance. Reasons for this resistance are examined and the lessons learned from the steps taken to deal with this are reviewed. Lesson Study is an innovation that teachers need to understand deeply and to practice regularly through mutual support if they are to avail of it fruitfully. Accordingly, further approaches need to be explored, not least the important role of school leadership, to adapt Lesson Study more fully and more productively to the professional cultures of teaching in Ireland.
An analytic and evaluative account of the challenges and complexities involved in introducing Lesson Study to post-primary schools in Ireland is presented for the first time.
In the post‐Second World War period, working and social life has been organised around the concept of a standard day and week with premium payments for work undertaken during unsocial hours. In recent years, this standard model for organising working‐time has been placed under pressure from a range of supply‐ and demand‐side factors. Greater female and student participation in the labour force has led to a fragmentation of working‐time preferences on the supply side. Employers, on the demand side, have also sought to dismember the standard working‐time model to eliminate premium payments for unsocial work and to achieve greater control and flexibility in the allocation of non‐standard working hours. Employer demand for this type of labour flexibility has been one of the central rationales for the decentralisation of industrial relations systems in Australia and New Zealand. This paper seeks to assess whether employers in the more deregulated New Zealand system have instigated a vastly different non‐standard working‐time regime from their Australian counterparts. The article concludes that there are only minor differences in the distribution of non‐standard working hours in Australia and New Zealand. This finding challenges the notion that the arbitration system is a major impediment to the organisation of working‐time. Rather, it appears that production and operational demands are the central imperative in the structuring of working‐time within firms.
The food values of fruits have during recent years attracted considerable attention from the leading chemists of the day. The enhanced supplies, arriving as they do from every quarter of the globe, prove that food fruits are increasing in popularity and form an important part of the national dietary.
Uses Wenger’s learning architecture as a conceptual framework for analysing the design and support of a Web‐based continuing professional development (CPD) course…
Uses Wenger’s learning architecture as a conceptual framework for analysing the design and support of a Web‐based continuing professional development (CPD) course. Describes the key elements of the learning architecture and discusses their relevance to Web‐based CPD. In particular notes the importance of a design paradigm that focuses on social networks and the support necessary for their development. Using empirical data from a Web‐based course for professionals in health and social care to illustrate aspects of Wenger’s learning architecture, evaluates successful CPD learning against this theoretical framework. The course drew heavily on the participants’ ongoing workplace practice and was significant in shaping that practice. Concludes, on the basis of experience gained through the course, that Wenger’s concepts provide a useful evaluation framework and design paradigm for Web‐based CPD.