Mainz, Universiẗat, Diss., 2003.

Titel: Bonds antagonister - En kvalitativ studie om hur hotbilder förändrats genom åren Handledare: Lennart Hast Examinator: Thomas Knoll Rapport: Kandidatuppsats Utbildning: Medie- och kommunikationsvetenskap 61-90 hp HT -2012 Syfte: Vårt syfte är att redogöra om hotbilder i James Bondfilmerna och de verkliga hotbilderna som finns i vårt samhälle stämmer överens och påverkar varandra. Frågeställning: Hur har fiendebilden förändrats i Bondfilmerna genomtiderna? Metod: Observation av James Bondfilmer Resultat: Resultatet visar att Bonds antagonister har ändrats med åren och liknar de hotbilder som figurerar i dagens samhälle. Vi kan även se att media målar upp stereotypa bilder av de vi skall se som hotbilder. Nyckelord: James Bond, antagonist, hotbild, stereotyp

The character of James Bond which was first introduced in Ian Fleming’s first novel Casino Royale in 1953 and was then featured in 11 subsequent novels, 2 volumes of short stories, and 24 film adaptations has long been considered to be the ultimate man’s man. There is no feat he cannot conquer, villain he cannot best, or lady he cannot bed. However, in an examination of both the novels and the film, clues exist to Bond’s deeper psyche—most notably his repressed homosexuality. While much discussion has been had of Bond’s misogyny, in many ways it masks his true identity possibly even from himself. Utilizing a framework of theoretical analysis drawing upon Sigmund Freud, Jack Hallberstam, Judith Butler, Susan Sontag, Laura Mulvey, and Charles Klosterman (among many others), this dissertation will fully explore the character Fleming created. Additionally, by examining how the male gaze and camp elements have been utilized by the filmmakers in the Bond films, analysis will be conducted how those elements contribute to a “queerness” of the character’s film incarnations. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

I denna uppsats har den musikaliska förändringen i James Bond-temat, sett över de 21 filmer som gjorts fram till denna uppsats genomförande, analyserats och tolkats. Syftet är att dela med mig av mina tankar och analyser om hur temat framförts och utvecklats, samt därmed också bidra till att utveckla kunskapen om James Bond-världen.Efter en litteraturbaserad del, där bakgrunden till James Bond-temats uppkomst behandlas, så analyseras sedan film för film i Bond-serien från Dr. No till Casino Royale. Analysen tar främst upp delarna synkronisering, instrumentering och influenser.Analyserna visar på att James Bond-temat i grund och botten bygger på samma melodi genom alla filmer, men också har förändrats i stor utsträckning i utförandet.

The purpose of this essay was to investigate how the James Bond films portray the beauty ideals for women during a 40-year period by looking at each woman from four different categories. The study used three Bond films, which were: The Man with the Golden gun from 1974, Goldeneye from 1995 and lastly Skyfall from 2012. By using the semiotic theory with film analysis and Yvonne Hirdmans genus theories the main research question was: How has the contemporary beauty ideals for women reflected on the women’s characters in the James Bond films?The analysis showed that the women in the first movie mostly were portrayed with thin waists with a bigger bust area and with natural faces that had little makeup. The ideal around that time was that the focus on a woman’s body should be the breasts and that came across in the movie. In the other two movies the women’s body types hadn’t changed from the first movie, and the ideals around that time were those of a small body in general. The clothes followed the ideals of the second and third feminist waves that wanted that women should be able to wear whatever she wants which the two later movies showed. The second feminist wave were what started the thesis that women could do and work with the same things as men did. This was seen in the movies as the women worked as secretaries and agents and most of them could handle a weapon which is historically seen as a man’s job.

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This study focuses on how the popular culture maintains the so called macho culture through the action character James Bond. The macho culture imposes an unhealthy demand for men to be masculine, which affects their mental health. The two longest car scenes are examined in the latest Bond movie Spectre (2015). The aim of the study is to contribute with knowledge of how macho culture is presented in the film world. The theoretical framework of this study is based on the narrative, which according to Selby and Cowdery (1995), is a story that in many cases is so basic and natural that the viewer overlooks it. According to Selby and Cowdery (1995), the narrative has the power to transform information and manipulate the viewer not to react to the events they see. The narrative analysis is based on semiotics, which means that the study's method is based on the semiotics connotation, denotation, and myth. The study uses an analysis model to make it easier to analyze James Bond, the model is divided into three categories, appearance, emotions, and driving. The analysis showed that the demands and attributes of the macho culture were depicted in the scenes where we studied James Bond's appearance and feelings, and his driving. Mental illness and car crashes is examples of consecvenses that macho culture could lead to. Therefore, it ́s problematic for populare culture to continue depict James Bond in a stereotypical way.

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Thesis (Ph.D.) -- University of Rhode Island, 2009. / Typescript. Includes bibliographical references (leaves 155-158).