Licence to Thrill: A Cultural History of the James Bond Films

by James Chapman

Book Overview

"Licence to Thrill" follows Bond from the 1962 'Dr No', through all the subsequent Bond films, exploring them within the culture and politics of the times, as well as within film culture itself. When... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0231120486
• ISBN13: 9780231120487
• Release Date: May 2000
• Publisher: Columbia University Press
• Length: 336 Pages
• Weight: 1.40 lbs.
• Dimensions: 1.3" x 6.4" x 9.5"

Customer Reviews

Still a Survivor

James Chapman's "Licence to Thrill" examines the James Bond cinematic series from the perspective of its time and place as it fit into the real world. The series had its effect on society and in turn society affected the series. Initially the James Bond series was an innovative trend setting piece of filmmaking that had a great influence on society in the 60s. In a reversal the series soon became a reflection of society going into the 70s copying trends rather than setting them. Withstanding four decades the James Bond cinematic franchise is still a survivor and has remained an ever changing constant for an ever changing world. James Chapman's insights are objective and intelligent and always endearing.

5/5

Over the past five decades, James Bond films have established themselves as the most popular film series in history. Some estimates have it that a quarter of the world's population has seen a 007 film, and this worldwide fascination with the Bond character has manifested itself in the thousands of fan clubs, fan conventions, web sites, and movie guides in existence today. But while there exists an abundance of literature about Ian Fleming's fictional spy, no book has actually considered the 007 phenomenon in the context of cultural and film history until now. James Chapman's Licence to Thrill attempts to examine the Bond series in a scholarly manner, and succeeds marvelously at doing so. From the start, Chapman's meticulous, comprehensive study of these films is presented in an objective and refreshing manner. Chapman immediately sets the tone for the book, arguing that the viewer needs to look beyond the fantastic scenarios and hedonistic nature of Bond's life in order to grasp the real meanings of these films -- that is, that they nostalgically represent Great Britain's global strength during an actual period of decline. Chapman goes on to discuss the various film genres (spy thrillers, cliffhangers, action movies) that have been hybridized into the "Bondian" formula, and goes on to show that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology. The most impressive aspect of Licence to Thrill is its comprehensiveness. Chapman places the Bond films in the context of film history, and by doing so, provides a larger framework by which to assess their cultural impact. He also examines the influence of other film genres on the Bond series; for example, the influence of the "blaxploitation" movement of the early 70's on 1972's Live and Let Die, which features an unusually high proportion of black characters for a Bond film. The rest of the book concentrates on the Bond films themselves, grouping them according to theme and charting the development and evolution of the franchise. Although Chapman clearly illustrates that the generic formula of these films is virtually designed to change with the British political climate, he also maintains that Bond's adventures are representative works of nostalgia for British imperialism and nationalism. For example, in discussing 1983's Octopussy, which is set largely in India, Chapman notes the numerous television series in Britain during the 1980's devoted to the former British colony and the abundance of works at the time analyzing Anglo-Indian relations. Other films are set against the contemporary British political mindset, such as 1981's For Your Eyes Only, which strongly references Thatcherism, and the end result is that we see the films in an entirely new light. Enlightening, entertaining and thought provoking, this book is highly recommended for anyone who is serious about film. For the rabid Bond fan, it is simply indispensable.

Outstanding and breakthrough work of 007 scholarship

If you?re like I am, you probably cannot get enough of the world of James Bond, Agent 007. The male (and female) fascination with Ian Fleming?s fictional creation is now clearly ubiquitous since 007 conventions, fan clubs, web sites, and ?official? and ?unofficial? James Bond movie guides can be found all over the world. The recent re-release of special edition James Bond films on VHS and DVD provides a clearer indication of the success that the Bondian industry enjoys. While there exists an abundance of literature about Ian Fleming?s fictional spy, few works actually consider the 007 phenomenon in a serious manner. In fact, the only title that comes to mind is Kingsley Amis? 1965 work, The James Bond Dossier, an extended essay analyzing Ian Fleming?s secret agent as he appears in print. There has yet to be a thorough discussion of the Bond novels and their adaptation into film ? until now. Released this past spring by Columbia University Press, Licence to Thrill by James Chapman breaks new ground as an in-depth study of James Bond and lends credibility to addressing the 007 phenomenon in a scholarly manner. Chapman?s introduction, ?Taking James Bond Seriously,? sets the tone for the work: this is not another fan guide to the behind-the-scene insights from the movies. As Chapman writes, the ?numerous books on the Bond films?all emanated from what might be termed the Bond fan culture rather than academia.? Arguing that one must look beyond 007?s hedonistic male fantasy life in order to observe how his imaginary world nostalgically represents Great Britain?s global strength as Empire and Cold Warrior during an actual period of decline, Chapman?s meticulously researched and comprehensive critical study of James Bond is presented in an objective and refreshing manner.Chapman?s early discussion of various genres of film (British imperialist spy thriller, cliffhanger adventure serial, Hollywood action movie, etc.) and the nature of British cinema adequately provides the reader with the requisite knowledge necessary to understand the role of cinematography. Chapman allows proper transition so as to introduce his concept of the ?Bondian? genre ? that is, that the Bond films themselves, despite borrowing upon other formulas, have actually developed their own ideology. The most impressive aspect of Licence to Thrill is its comprehensive narrative. Despite an overabundance of facts (citing, for example, that Kingsley Amis himself argues that Bond is not a spy but is rather presented as a secret agent), quotes, and analyses, the book flows smoothly. That Chapman does not limit his analysis merely to Bond films but rather incorporates British and American films preceding them ? Bulldog Drummond (1929), Dick Barton ? Special Agent (1948), North by Northwest (1959) ? allows the reader to place Bond films within a larger framework. In doing so, Chapman?s argument that the James Bond film series exemplifies the progression of spy thrillers films from B-movie to b

Recommended for Bond fans & popular culture students.

Licence to Thrill is a cultural review of the James Bond movies and provides an excellent survey of the changing Bond image in movies; from its start with the 1962 Dr. No to its progression beyond Fleming's spy novels to classic films. Bond became a symbol of a Cold War world where Britain was no longer the ruler: this examines how movies reflect and affect social change through images of politics and culture.

One of the Best of its Kind

The trouble with being a fan of something (and I mean a real fan - short for fanatic) is that we read everything on our subject and often know when the author is faking it, or if he knows his stuff. This Chapman guy knows his stuff, and I agree with most of what he says. I have a few quibbles here and there, but generally it is a good read. Being a fan of the series is, however, a prerequisite for understanding what he is saying, and I really like the way he often compares the Bond novels with their film counterparts. Stay away from the Steven Jay Rubin books, and get this (now if we could only get British author John Brosnan to update and edit his James Bond In The Cinema Book...)