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007, Ian Fleming and Playboy magazine

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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Playing Scotsmen in mainland Europe

Twenty-first-century Scottish play-acting draws depth and energy from a European and Western tradition of dreaming Scottish dreams, and this tradition dates back to at least the late eighteenth century, to the beginnings of European Romanticism. This book explores how contemporary celebrations of Scotland build upon earlier Scottish fantasies. The Scottish dreamscape is one of several pre-modern counter-worlds which have been approached through imitation in the past. The book examines the 'Scotland' that is on the play-actors' minds. The Scottish dreamscape was formed in an eighteenth- and nineteenth-century process now best known as Highlandism. It was then that Scotland became associated with the aesthetics and supposed characteristics of its Highland periphery. The book also explores the Scottish dreamscape's spread via the channels of the British Empire and American popular culture. It identifies five key carriers which helped to disseminate the Scottish aesthetic across the world, namely epic poetry, the Highland regiments, music hall entertainment, Hollywood films, and romance novels. The book further focuses on fieldwork conducted in 2009 and 2010. It sheds some light on the different forms of Scottish play-acting, on musicians, athletes, commemorators, and historical re-enactors. The pipers and athletes do not imitate the past; they perform in what they hope are old but living Scottish traditions. Commemorators and historical re-enactors have a different aim. They seek to recreate the past in the present. Finally, the book identifies some of the main reasons for the Scottish dreamscape's special resonance in northern and western Europe.

hypotheses lead the way: 1) The Scottish dreamscape is familiar. It does not need to be reinvented or dug out of dusty archives. It may be sampled from a variety, some would say an exuberance, of novels, films, plays, poems, paintings, photographs etc.32 Invented or not, the Scotsman with his kilt, bagpipe, and tartan is an internationally familiar figure (on Scotswomen, see below).33 This is no coincidence: the Scottish dreamscape was spread by two of the most powerful forces of the past two centuries; the British Empire and American popular culture. From the poems of

in Warrior dreams
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, is the fact that the ‘transglobal Islamic underground’ has been ignored in America despite ‘its clear affinities with the Islamic rhetoric of much African-American hip hop culture’ (14). Fun’da’mental appear to have, in any case, quite an ambivalent attitude to American popular culture and American rap. The opening track on their 2006 album All is War, ‘I Reject’, provides a litany of rejection of American and British cultural practices, beliefs and cultural objects. ‘I reject your beauty and Barbie doll figure / Reject the rappers that use the word ...’ (‘I Reject

in Great Satan’s rage
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Playboy endorsed Fleming and Bond novels, against the backdrop of James Bond’s introduction into American popular culture. 24 The literary Bond Significantly, these acts of endorsement predated the first cycle of Bond films in the 1960s, but soon developed to include Sean Connery’s screen incarnation when the film series became popular with cinema audiences worldwide. Playboy fiction There are essentially two ways of approaching the beginning of the formal relationship between Playboy and James Bond. First, when approached by way of Hefner and Playboy, the start of

in The playboy and James Bond

This chapter explores the enduring myths about the phenomenon of serial murder generally and serial killers in particular, in Britain between 1960 to the present. The Chapter argues that many of these myths have been created and continue to be perpetuated by the print and broadcast media. It is suggested that this process was ignited by American popular culture about serial murder, to the extent that many British students engaged on university courses do so because they want to emulate the heroine of the popular novel The Silence of the Lambs and become the fictional character, Clarice Starling. This observation is used to explore other myths about offender profiling, the role of the profiler in police investigations and the idea that this involves entering the mind of the serial killer by the profiler. Based on his own applied work with serial murderers and on police investigations and after their conviction, the chapter reveals the realities of the phenomenon of serial murder, serial killers and the limits of offender profiling. The chapter uses a number of situations encountered during police investigations and with serial killers to illustrate its arguments. It concludes that we need to harness, rather than dismiss, student interests in this territory in more productive ways. It adopts a structural/victim perspective about serial murder, as opposed to a relentless focus on what might motivate the serial killer to kill. The chapter suggests how this might be done both within the academy and, more broadly in public policy.

in Law in popular belief

the Soviet invasion of Hungary. (His own mother was a concentration camp survivor, and his father an anarchist and cartoonist who had lived in the Budapest ghetto and escaped from the Gulag.) But Mathieu Kassovitz has also been heavily influenced by the impact of African-American popular culture in France, and particularly rap music. He has affirmed that it was rap, when it was still an underground cult in France, which brought him into contact with people from a

in Reframing difference

of narrative is the frequency with which the sanctity and supposedly inherent moral worth of the nuclear family is violently rent asunder. In the Suburban Gothic, in other words, you frequently have the most to fear from those you are related to. In American popular culture, suburbanites are seldom menaced by a terrible ‘other’; instead, they tend to be violently despatched by one of their own, usually

in Gothic kinship

key elements that contributed to the Americanisation of suburban England that included arterial roads, cocktail bars and swimming pools.54 The roadhouse, which featured all three of these components, thus occupied a central position in the long-­running debate about the impact of American popular culture on British life. Other observers regarded aspects of American popular culture as degenerate and dangerous. For example, Tim Cresswell has shown how the British ballroom dancing establishment considered American dance steps too sexual and modified them for British

in The experience of suburban modernity
Hollywood, Christians and the American Culture Wars

. Griffith had turned his hand to the Bible the year before, with Judith of Bethulia (1914). It was not until the 1920s, though, that the production of biblical epics really took off. This decade saw the origins of a nascent modern American conservatism, yet it also witnessed the liberalisation of American popular culture and progressive change for many women. Notable morality battles included those over domestic issues such as education, and also immigration. Film was affected by these morality debates too, as a series of Hollywood scandals led many Christians and other

in The Bible onscreen in the new millennium