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Agent 007 za żelazną kurtyną. Fenomen Jamesa Bonda w piśmiennictwie kulturalnym Polski Ludowej

100%
Dudziński R.
Literatura i Kultura Popularna
|
2018
|
vol. 24
289 - 311
EN
The topic of the article is the reception of the phenomenon of James Bond in cultural writings from the times of the Polish People’s Republic. Though an average member of the Polish audience could not be directly familiar with the character (neither in literature nor in film), the scale of the popularity of the brand in the West meant that the echoes of the so-called Bondomania started to reach countries behind the Iron Curtain. Polish critics and journalists tried to acquaint their readers with the issue and explain it using various interpretative categories. The article attempts to reconstruct these categories and their hierarchy of values. Based on theses formulated by Janet Staiger (Interpreting Films: Studies in the Historical Reception of American Cinema), the author analyses the changes to Polish interpretations and opinions on the Bond phenomenon in subsequent decades and indicates the historical conditions that influenced those changes. The text focuses primarily on two periods: 1964–1971 and the latter half of the 1980s, because it was in those times that the interest of Polish critics in James Bond was particularly strong.
2

The concept of the postmodern seducer: Don Juan or James Bond?

98%
Stankevičiūtė K.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2016
|
issue 13
213-237
EN
The French thinkers Gilles Deleuze and Felix Guattari in their theory of the concept claim that every concept is a point of coincidence, or accumulation of its own components, i.e. the other concepts that it consists of. The concept of Don Juan as ‘the archetypal seducer’ has been circulating in Western culture for several centuries. Independently of epoch and national character, therefore, the figure of Don Juan has been a point of coincidence for three important concepts associated with the character: seduction, transgression, and power/domination. The aim of this article is to consider the development of the Don Juan concept in postmodern society. The article suggests that the established Don Juan concept, based on prohibition, became obsolete at the end of the 20th century, and has been replaced by a new seducer figure – that of the film hero James Bond.
FR
Selon la théorie de Gilles Deleuze et Félix Guattari, chaque concept est un point de coïncidence ou une accumulation de ses propres composants, c‘est-à-dire les autres concepts dont il est fait. Le concept de Don Juan comme le « séducteur archétype » a circulé dans la culture occidentale pendant plusieurs siècles. Indépendamment des époques et du caractère national, la figure de Don Juan a été le point de coïncidence des trois concepts importants associés avec le caractère : séduction, transgression et pouvoir / domination. L’objectif de cet article est de considérer le déve-loppement du concept de Don Juan dans la société postmoderne. L’article suggère que le concept établi de Don Juan, basé sur la prohibition, est devenu désuet à la fin du XXème siècle, et qu’il a été remplacé par une nouvelle figure du séducteur – le héros du cinéma, James Bond.
PL
W swej teorii pojęcia francuscy myśliciele Gilles Deleuze i Felix Guattari twierdzą, że każde pojęcie jest punktem zbiegu, bądź też akumulacji jego komponentów, czyli innych pojęć, które się na nie składają. Pojęcie Don Juana jako „archetypowego uwodziciela” funkcjonuje w zachodniej kulturze od kilku stuleci. Niezależnie od epoki i charakteru narodowego, postać Don Juana stała się punktem przecięcia trzech istotnych pojęć: uwodzenia, trangresji oraz władzy/dominacji. Celem artykułu jest ukazanie rozwoju pojęcia Don Juana w społeczeństwie ponowoczesnym. Artykuł dowodzi, że w dwudziestym wieku ogólnie przyjęte pojęcie Don Juana, oparte na zakazie, stało się przestarzałe i zastąpił go nowy uwodziciel: filmowy bohater James Bond.
3
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Kultywacja czy dekonstrukcja mitu? Zmiany w paradygmacie bonzowskim w kontekście trzech najnowszych części serii (Casino Royale, Quantum of Solace, Skyfall)

85%
Przytuła P.
Media – Kultura – Komunikacja Społeczna
|
2013
|
issue 9
142-153
EN
The aim of this study is to identify the changes that have occurred in the paradigm of Bond movies, in the context of the last three parts of the series: Casino Royale, Quantum of Solace and Skyfall. In addition, the text is also an attempt to analyze the phenomenon of the cultural impact of Her Majesty’s most famous agent, including the reasons for his popularity. The first part of the article is the definition of the Bond movie model, which is based on narrative patterns defined and cultivated over the years. The paradigm of the Bond movie has also a strictly-demarcated form, containing such elements as the title track and the distinctive opening, soundtrack and “Gun Barrel” Theme. The next part of the text is an indication of the innovations that have been introduced to the paradigm of the Bond movie over the three most recent films of the series. Contrasts and references to the classic formula are clear.
4

Ethnic and Gender Stereotypes in James Bond Film Series

85%
Petráň T.
Národopisná revue (Journal of Ethnology)
|
2020
|
issue 1
36 - 58
EN
The article demonstrates mutual interconnection between the ongoing social discourse and narratives of popular culture over the last fifty years on the example of film series with protagonist James Bond. The chosen method that combines the multidisciplinary approach to the analysis with the contextualisation of a pop-cultural text is aimed at demonstrating the possibilities of visual anthropology in the realm of social and cultural analysis. The texts highlights the examples when an artistic narrative is controlled by diverse types of social dispositive and the resulting art text also forms and determines the way of thinking about bases of social discourse. The social discourse practice and the pop-cultural narratives are addressed in a dialectic symbiosis: depiction of relationship between man and woman, frequency of sexual intercourse or its absence in a narrative, way of depicting the “otherness”, and ethnicity and nationality of characters are signs that reflect geopolitical situation, types of global threat, social taboo and imperatives, stratification of the society, and ideals of lifestyle. Simultaneously, the above signs spread and strengthen the depicted stereotypes in pop-cultural texts. The reflection and reproduction of social reality dissolve in the pop-culture, and as a consequence, they influence the behaviour and ways of thinking, the product of which they are.
5
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Węgierska parodia filmowa. Skutki uboczne parodii filmowych z czasów Kádára

85%
Hučko T.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 14
|
issue 23
49-56
EN
In the rich and colorful Hungarian film history from post-war years to the present day we find an abundance of comedies combining satire, epigram, burlesque, but true parody film among them is not too much, is a rare phenomenon. What is the reason? We are looking for the answers in examples of two trials of parody film: the first and the only parody of James Bond: Az Oroszlan ugrani készül (dir. György Révész, 1969) and Kojak Budapesten (dir. Sándor Szalkai,1980), inspired by the main character of the American television series Kojak. Both attempts are accompanied with specific “side effects”. It tells a lot about the possibilities and limits of the Hungarian film parody.
6
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Product placement as a way of promoting on an international scale based on a series of films about James Bond

85%
Anielak K., University of Lodz
Ekonomia Międzynarodowa
|
2015
|
vol. 012
EN
This article presents the characteristics of product placement as global promotion. The reader may refer to the types of product placement, its regulatory framework and its short genesis and evolution. The paper presents the results of a survey conducted on a group of 123 respondents. The survey results indicate that product placement in James Bond films is noticeable by more than 90% of respondents. The respondents have positive opinions on the use of product placement to promote the products. This may encourage potential investors to make more use of film as a medium of product placement.
7

Casino Royale — między powieścią a adaptacją filmową

80%
Dunin-Wilczyński S.
Roczniki Kulturoznawcze
|
2018
|
vol. 9
|
issue 1
71-90
PL
Postać Jamesa Bonda, stworzona przez Iana Fleminga w powieści szpiegowskiej Casino Royale w 1962 r., jest przedmiotem różnorodnych adaptacji filmowych, telewizyjnych, komiksowych, radiowych i komputerowych. Spośród nich wyróżnia się film Casino Royale z 2006 r., gdyż jest jednocześnie adaptacją powieści, jak i rebootem całej serii, przez co balansuje pomiędzy próbą powrotu do literackiego pierwowzoru, uszanowaniem kanonu (tzw. formuły bondowskiej) a potrzebą odświeżenia i rewitalizacji serii na potrzeby widowni XXI wieku. Autor artykułu stara się odpowiedzieć na pytanie: co to właściwie znaczy, że Bond wraca do literackich korzeni? Zauważalnie prawdziwa redefinicja w przypadku postaci Jamesa Bonda następuje na poziomie strukturalnym w odniesieniu do sposobów budowania napięcia w filmie. Suspens można uznać za klucz adaptacyjny, który wymusza zmiany na poziomie charakteryzacji protagonisty i antagonisty, a także urealnienia znaczenia stawki i konfliktu w fabule.
EN
James Bond was created by Ian Fleming on the pages of Casino Royale, a 1962 spy thriller, who since has been adapted in various media: film, television, radio, comics and computer games. However the 2006 Casino Royale film adaptation stands out, because, as a reboot of the series, it balances between honoring the literary original and staying true to the James Bond film formula, at the same time reinvigorating and refreshing the whole franchise for a new movie-going audience. The Author of this article aims at answering the question: what does it really mean that James Bond is going back to its roots? As a result, the real redefinition of the James Bond paradigm can be seen on a structural level in reference to mechanism of tension building. Suspense may be seen as a key to adapting Casino Royale, which opens up modifications in the way the protagonist and the antagonist are characterized, as well as making the narrative conflicts and stakes more real and meaningful.
8
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“Jerome at the BBC”: Subversion, caricature, and humanity in Three Men in a Boat

71%
Sehmby D. S.
The European Journal of Humour Research
|
2014
|
vol. 2
|
issue 2
EN
Through characters who openly express distress over imagined pains, “Jerome at the BBC” treats BBC’s Three Men in a Boat as a playful critique of heroic masculinity, or what the paper defines as confident cognisant agency. Airing in 1975, BBC’s adaptation is released after the media ascension of James Bond and in the heyday of tough Hollywood heroes, bold figures who refuse to complain about, let alone give in, to physical pain – unlike Jerome’s men. Jerome’s original and its BBC adaptation are layered comical texts. By channelling Jerome’s critique of the colonial, seafaring male into contemporary notions of the Hollywood-hero type, this paper examines the BBC film’s boisterous lack of masculine agency, the quiet parody of action sequences, and the gingerly movement towards a conclusion that does not bang, but whimpers. Moreover, the paper asserts that the humour also functions on a less grand level, by being an effective caricature of human behaviour – a healthy dose of cultural self-mockery. Furthermore, through revealing moments, by the telefilm’s end, the characters do not simply remain caricatures to be laughed at, but become identifiable and relatable human beings.
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