This is a remark that Playboy has revisited over the years to underline
the strength of its association with the Bond character; it would also
suggest that Fleming himself understood the potential of the bond
between them early on.
Among other things that James Bond and Playboy have in common
is the fact that they are both strongly associated with thesixties, having
launched at about the same time in 1953, and remarkably they are still
around over sixty years later. During the 1960s in particular, the print
and screen versions of Bond made frequent appearances in
The bond beyond
Since the November 1965 issue, Playboy magazine has maintained some
strong connections to James Bond, albeit in changing cultural circumstances. Though the social and cultural landscape of Britain and America
has changed dramatically since thesixties, the use of the Bond and
Playboy formulas has largely endured, and for the most part the relations
established between them continue over fifty years later. However, this
does not mean there have not been some necessary adjustments, especially
since critics and commentators have long speculated
The Playboy magazine has always reminded its readership of the Playboy-Bond connection by commenting on its longevity and significance, especially in relation to times past. Among other things that James Bond and Playboy have in common is the fact that they are both strongly associated with the sixties. They were launched at about the same time in 1953, and are still around. This book is primarily organised around the story of the relationship between them, played out in popular culture as part of wider cultural relations. Though the chapters outline the emergence of the Playboy-Bond relationship, they also draw on relevant historical and theoretical concerns. The research presented focuses on the public version of the Playboy-Bond relationship as mediated by Bond and Playboy magazine and evident within the shifting realms of culture and the media. It also discusses how the close relationship between Ian Fleming and Playboy was publicised in print with some form of commentary. How Fleming and the Bond novels endorsed Playboy, and how Playboy endorsed Ian Fleming and Bond novels, against the backdrop of American popular culture, is discussed. After discussing Connery's Bond, the book presents some illustrative examples of this connection, especially in terms of consumer preferences, style and taste. It draws together arguments on male fantasy of 'strategic and selective "liberation" of women in order to discuss the women in Bond and Playboy. Finally, the book considers how the two remain interconnected, and as long-standing cultural icons representing the playboy lifestyle fantasy.
Laurent Cantet is one of France’s leading contemporary directors
although he has only made a relatively modest number of films.
If the undoubted high point of his career to date was the award of
the Palme d’Or at thesixty-first Cannes film festival in 2008 to his
Entre les murs (The Class), it was not his first critical success. It came
on the back of the Don Quixote award given to L’Emploi du temps
(Time Out) at the Venice film festival in 2001, the French César for
best first film and other prizes given to Ressources humaines (Human
story as thesixty-nine images by the side of the
When Dude in Rio Bravo crawls on the ground to pick out
the silver dollar that Burdett had tauntingly thrown into a spitoon at the
very beginning of the film, it is as if the movement forward of the story
hesitates for an instant at his gesture, intensifying it and the slime of
the dollar in the spitoon, then resumes its path taking Dude
Public , London : Penguin Books .
Marshall , Guy ( 1955 ), ‘ Which Do You Take – Guinness or Burton? ’ Picturegoer , 24 September, 9 .
Marwick , Arthur ( 1998 ), TheSixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958–c.1974 , Oxford : Oxford University Press .
Moran , Joe ( 2010 ), On Roads: A Hidden History , London : Profile Books .
Morgan , James ( 1955 ), ‘ Books and Magazines ’, Sight & Sound , January– March, 161 .
Murphy , Robert ( 2012 ), ‘ Dark Shadows
the 1950s some American men revolted against
the norms of the traditional breadwinner role, long-term commitment
represented by marriage, the responsibilities of family and the burdens
of conformity, in favour of a more hedonistic playboy ideal and a
form of masculinity built around, and even defined by, consumption.
She contends that ‘Playboy presented, by the beginning of thesixties,
something approaching a coherent program for male rebellion.’ This
included ‘a critique of marriage, a strategy for liberation (reclaiming the
indoors as a realm for masculine
‘thesixties’ emblematised the lapsarian moment from which a diagnosis
of contemporary malaise took its form and force. In right-wing rhetoric,
symptoms linked to the 1960s could include anything from the breakdown
of the family and the rise in violent crime, to the emergence of
multicultural separatism and the crisis of university education. The
liberal-left response, vociferously argued by the so
relationships between the characters involved in the production (primarily Mick Jagger, James Fox and Anita Pallenberg) as the film text itself. Further proof of the development of the complex cult reputation of Performance can be found in its inclusion in Ali Catterall and Simon Wells’s 2002 book Your Face Here: British Cult Movies Since theSixties 36 and Sarah Barrow and John White’s 2008 book Fifty Key British Films . 37
Justin Smith persuasively argues that Performance is an ‘important’ British film because it broke new ground
prefab four: Dirk, Nasty, Stig and
Barry, who made thesixties what they are today. The fabulous
The most telling line from this
opening caption is probably ‘the group who made thesixties what they
are today’, which carries the suggestion that thesixties are
typically reconstructed through a familiar series of icons. The objective of