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Claire Hines

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 the sixties, 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

in The playboy and James Bond
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Claire Hines

6 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 the sixties, 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

in The playboy and James Bond
007, Ian Fleming and Playboy magazine
Author: Claire Hines

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.

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Martin O’Shaughnessy

Introduction 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 the sixty-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 Resources

in Laurent Cantet
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Sam Rohdie

story as the sixty-nine images by the side of the narratives. 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

in Montage
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Andrew Roberts

Public , London : Penguin Books . Marshall , Guy ( 1955 ), ‘ Which Do You Take – Guinness or Burton? ’ Picturegoer , 24 September, 9 . Marwick , Arthur ( 1998 ), The Sixties: 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

in Idols of the Odeons
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Claire Hines

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 the sixties, 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

in The playboy and James Bond
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

, ‘the sixties’ 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

in Memory and popular film
Paul Newland

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 the Sixties 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

in British art cinema
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Jane Roscoe and Craig Hight

prefab four: Dirk, Nasty, Stig and Barry, who made the sixties what they are today. The fabulous Rutles. The most telling line from this opening caption is probably ‘the group who made the sixties what they are today’, which carries the suggestion that the sixties are typically reconstructed through a familiar series of icons. The objective of

in Faking it