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Publication date: 26 March 2020

Llewella Chapman

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

Abstract

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.

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From Blofeld to Moneypenny: Gender in James Bond
Type: Book
ISBN: 978-1-83867-163-1

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Publication date: 26 March 2020

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From Blofeld to Moneypenny: Gender in James Bond
Type: Book
ISBN: 978-1-83867-163-1

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Article
Publication date: 23 December 2019

Rizky Fauzan

The purpose of this study is to examine potential predictors and moderating relationships involving one type of organizational cynicism – cynicism about organizational…

656

Abstract

Purpose

The purpose of this study is to examine potential predictors and moderating relationships involving one type of organizational cynicism – cynicism about organizational transformation (CAOC).

Design/methodology/approach

A total of 137 subjects participated in this study. The participants had been in their current positions at work for an average of 4.77 years and had been with their current organization an average of 7.28 years. CAOC was measured using the 12-item scale (α = 0.86) from Wanous et al.’s (2000) study. The response scale had five points ranging from “strongly disagree” to “strongly agree.”

Findings

CAOC and negative affectivity were positively correlated, thus supporting H1. H2 was not supported, i.e. subjective change was not related to CAOC, and objective change was actually correlated negatively with CAOC. H3 was not supported, i.e. individuals with a higher organizational commitment will not have a less positive relationship between CAOC and organizational transformation (subjective and objective) than individuals with lower organizational commitment. H4 was not supported, i.e. individuals who perceive a higher degree of petty tyranny will not have a stronger relationship between CAOC and organizational transformation (subjective and objective) than individuals who perceive a lower degree of petty tyranny. H5 was not supported, i.e. individuals who perceive a higher degree of perceived organizational support (POS) will not have a weaker relationship between CAOC and organizational transformation (subjective and objective) than individuals who perceive a lower degree of POS.

Originality/value

The intent of the present study is to examine potential causes of CAOC and potential moderators of the relationships between those antecedents and CAOC. In particular, two variables are proposed as antecedents (negative affectivity with past organizational transformations) and three as moderators (organizational commitment, petty tyranny by supervisors and POS).

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International Journal of Organizational Analysis, vol. 28 no. 3
Type: Research Article
ISSN: 1934-8835

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Publication date: 26 March 2020

James Chapman

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…

Abstract

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.

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From Blofeld to Moneypenny: Gender in James Bond
Type: Book
ISBN: 978-1-83867-163-1

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Article
Publication date: 1 April 1983

Speech recognition machines currently on the market are all built upon the same research foundation. The most important milestones on the road to present‐day systems are reviewed…

53

Abstract

Speech recognition machines currently on the market are all built upon the same research foundation. The most important milestones on the road to present‐day systems are reviewed in this article based largely on an interview with Dr Roger Moore of the Royal Signals and Radar Establishment.

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Sensor Review, vol. 3 no. 4
Type: Research Article
ISSN: 0260-2288

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Article
Publication date: 1 February 1990

M.E. Freer

AT the last Aerotech Conference and exhibition held in October 1987, Mr Roger Moore of the Ministry of Defence Procurement Executive, delivered a paper entitled “Military Ground…

20

Abstract

AT the last Aerotech Conference and exhibition held in October 1987, Mr Roger Moore of the Ministry of Defence Procurement Executive, delivered a paper entitled “Military Ground Support Equipment”. In this paper Mr Moore made reference to the current requirement for a hydraulic servicing trolley which would cope with the RAF's mid‐range equipment.

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Aircraft Engineering and Aerospace Technology, vol. 62 no. 2
Type: Research Article
ISSN: 0002-2667

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Article
Publication date: 12 April 2013

Roger Moore

700

Abstract

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Strategic HR Review, vol. 12 no. 3
Type: Research Article
ISSN: 1475-4398

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Article
Publication date: 22 April 1991

Roger L. Moore and Albert A. Vicere

Five distinguishing characteristics of non profit organizations are identified and explored. They are: a different and more complex environment, more altruistic purposes with…

193

Abstract

Five distinguishing characteristics of non profit organizations are identified and explored. They are: a different and more complex environment, more altruistic purposes with strong traditions, importance of motivating and rewarding volunteers, staff structures that exist in parallel with volunteer structures, and frequent short‐run/annual budget orientations as opposed to effective strategic planning. The authors reject the notion that non profit management should be different from that in the private, for‐profit sector, but emphasize that these five characteristics must be recognized and addressed before attempting to directly apply business experience to nonprofit environments.

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American Journal of Business, vol. 6 no. 1
Type: Research Article
ISSN: 1935-519X

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Book part
Publication date: 26 March 2020

Melanie Williams

Johanna Harwood was the first, and until Phoebe Waller-Bridge’s hiring on No Time to Die, the only woman screenwriter to work on the Bond films. Harwood was there at the…

Abstract

Johanna Harwood was the first, and until Phoebe Waller-Bridge’s hiring on No Time to Die, the only woman screenwriter to work on the Bond films. Harwood was there at the beginning, gaining credits for her work on Dr No (1962) and From Russia with Love (1963), but her chequered experiences of trying to gain leverage within the film industry as a writer, having to contend with institutionalised as well as individualised sexism, prompted her eventual decision to leave Bond, her former employer Harry Saltzman, and the film industry behind. Her story not only provides valuable insights into the genesis of Bond on screen, it also shows the importance of incorporating production studies into discussions of gender and James Bond films, thinking about off-screen as well as on-screen female representation. Beyond Bond, it also illuminates some of the obstacles faced by women trying to build a career in the film industry in the 1960s (not that their problems are limited to that decade) and how film production labour done by women frequently goes uncredited or is discredited, despite its often formative importance.

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From Blofeld to Moneypenny: Gender in James Bond
Type: Book
ISBN: 978-1-83867-163-1

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Publication date: 26 March 2020

Robert Shail

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next…

Abstract

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next 10 years adaptations of the novels and short stories appeared in the newspaper with Bond’s appearance fashioned firstly by John McLusky and then Yaroslav Horak. When the supply of Fleming’s stories was exhausted, new adventures were penned by Jim Lawrence with artwork by Horak, McLusky or Harry North. From 1977 publication switched to the Sunday Express and then the Daily Star. Eventually, the strips were reprinted for a whole new audience by Titan Books.

Subsequently, Bond appeared in a number of other comic book adaptations and reworkings, including key adaptations by the independent publishers Dark Horse and Dynamite, offering contemporary re-imaginings of this iconic, but always controversial, male icon. Taken together they provide a run of Bond adventures over more than 50 years. As such, they contain an alternative Bond universe, where his embodiment of male heroism mimics and varies Fleming’s original and the images constructed in the film franchise. This chapter will consider these mirror images and their responses to changing societal pressures as Bond adapts to new definitions of what constitutes the male hero.

Details

From Blofeld to Moneypenny: Gender in James Bond
Type: Book
ISBN: 978-1-83867-163-1

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