Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

'My tailor... Savile Row' : Sean Connery (1962) -- 'Fitting Fleming's hero' : Sean Connery (1963-1967) -- The man with the Midas touch : lifestyle, fashion and marketing in the 1960s -- 'Coming out of Burton's short of credit' : George Lazenby (1969) -- 'Provided the collars and the cuffs match' : Sean Connery (1971) -- 'Licence to frill' : Roger Moore (1971-1975) -- Breaking his tailor's heart : Roger Moore (1976-1980) -- 'You can always spot a Hayward' : Roger Moore (1980-1985) -- Licence to tailor revoked : Timothy Dalton (1987-1989) -- Cool Brioni : Pierce Brosnan (1995-2002) -- Slick trigger suits : Daniel Craig (2005-2008) -- 'You travel with a tuxedo?' : Daniel Craig (2012-2015).

Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

A history of the James Bond wardrobe.

THE JAMES BOND LEXICON: THE UNOFFICIAL GUIDE TO THE WORLD OF 007 IN MOVIES, NOVELS, AND COMICS 300,000 Words 5,000 Individual entries 200+ stories covered 80+ pieces of original art 6 Years of Research It all adds up to ONE book - THE JAMES BOND LEXICON - the most comprehensive guide to the worlds of James Bond in Movies, Novels, TV, and Comics. Covering 271 James Bond stories released between 1953 and 2019. Written by Alan J. Porter and Gillian J. Porter This husband and wife team are active in the James Bond community and are both members of the Ian Fleming Foundation. Alan J. Porter is the author of JAMES BOND: the illustrated 007 (Hermes Press), the critically acclaimed history of Bond in comics, and has presented shows on the topic at museums, libraries, and various comics and science-fiction conventions. Alan is also a regular show co-host on the On Her Majesty's Secret Podcast channel. Illustrated by Pat Carbajal a prolific artist known for his realistic portraiture and attention to detail, Carbajal has supplied illustrations for several similar pop-culture Lexicon-type projects. He is also a in-demand cover and comics artist.

According to the national mythology, the United States has long opened its doors to people from across the globe, providing a port in a storm and opportunity for any who seek it. Yet the history of immigration to the United States is far different. Even before the xenophobic reaction against European and Asian immigrants in the late nineteenth century, social and economic interest groups worked to manipulate immigration policy to serve their needs. In A Nation by Design, Aristide Zolberg explores American immigration policy from the colonial period to the present, discussing how it has been used as a tool of nation building. A Nation by Design argues that the engineering of immigration policy has been prevalent since early American history. However, it has gone largely unnoticed since it took place primarily on the local and state levels, owing to constitutional limits on federal power during the slavery era. Zolberg profiles the vacillating currents of opinion on immigration throughout American history, examining separately the roles played by business interests, labor unions, ethnic lobbies, and nativist ideologues in shaping policy. He then examines how three different types of migration--legal migration, illegal migration to fill low-wage jobs, and asylum-seeking--are shaping contemporary arguments over immigration to the United States. A Nation by Design is a thorough, authoritative account of American immigration history and the political and social factors that brought it about. With rich detail and impeccable scholarship, Zolberg's book shows how America has struggled to shape the immigration process to construct the kind of population it desires.

During the filming of his celebrated novel THE ENGLISH PATIENT, Michael Ondaatje became increasingly fascinated as he watched the veteran editor Walter Murch at work. THE CONVERSATIONS, which grew out of discussions between the two men, is about the craft of filmmaking and deals with every aspect of film, from the first stage of script writing to the final stage of the sound mix. Walter Murch emerged during the 1960s at the centre of a renaissance of American filmmakers which included the directors Francis Coppola, George Lucas and Fred Zinneman. He worked on a whole raft of great films including the three GODFATHER films, JULIA, AMERICAN GRAFFITI, APOCALYPSE NOW, THE UNBEARABLE LIGHTNESS OF BEING and many others. Articulate, intellectual, humorous and passionate about his craft and its devices, Murch brings his vast experience and penetrating insights to bear as he explains how films are made, how they work, how they go wrong and how they can be saved. His experience on APOCALYPSE NOW - both originally and more recently when the film was completely re-cut - and his work with Anthony Minghella on THE ENGLISH PATIENT provide illuminating highlights.

He Disagreed with Something that Ate Him analyses the two James Bond films starring Timothy Dalton made in 1987 and 1989. Critically overlooked and often seen as a misstep for the series the author argues that both films are a unique contribution to the series and form an important dialogue with the rest of the franchise. By placing the films within the context of the Bond series and the works of Ian Fleming, Cary Edwards argues that The Living Daylights and, in particular, Licence to Kill, are a radical attempt to return Bond to his literary origins, while aiming the film franchise towards a more adult audience.

Popular culture in the latter half of the twentieth century precipitated a decisive change in style and body image. Postwar film, television, radio shows, pulp fiction and comics placed heroic types firmly within public consciousness. This book concentrates on these heroic male types as they have evolved from the postwar era and their relationship to fashion to the present day. As well as demonstrating the role of male icons in contemporary society, this book’s originality also lies in showing the many gender slippages that these icons help to effect or expose. It is by exploring the somewhat inviolate types accorded to contemporary masculinity that we see the very fragility of a stable or rounded male identity.

Mistakes Were Made is a revealing memoir and unexpected love story from model and actress Fiona Lewis about her journey to self-acceptance as she restores a crumbling French chateau. Alone in the French countryside, Lewis reflects on her glamorous youth across London and Paris in the ’60s, Hollywood in the ’70s, and the important, sometimes disastrous, choices she made along the way. Having lived a perfectly satisfactory life in California for over two decades, Fiona Lewis wakes up one day in her fifties and asks herself, Is this it? Is this the existence I’m meant to have? She can hardly complain. After all, her life has been full of adventure and privilege: London and Paris in the ’60s, Los Angeles in the heady ’70s. Now, however, she feels lost, as if she were slipping backward over the edge of a ravine, abandoned not only by her old self, but by that reliable standby, optimism. Realizing she has to find a way to reinvent herself, she impulsively buys a rundown chateau in the South of France. (Her husband is not pleased.) Alone in the depths of the countryside, she contemplates her childhood, her affairs––Roman Polanski, Roger Vadim––her years as an actress in some good and some questionable films, and her first Hollywood marriage to the damaged son of a movie star. As the renovation drags on, fighting with a band of impossible French workmen, she is forced to battle her own fears: her failure to become a real success, her inability to have children, and her persistent fear of aging. And she has to contend with her husband, who has no interest in the French countryside. In fact, he resents her obsession with France, with the house, with the renovations. The house seems to have a hold over her, and he’s not wrong. He reluctantly visits and is annoyed by the cost of the renovation. Was she not content with him in LA? Why can’t she just be happy? It’s an age-old question and one every woman must confront, along with aging, lost love, and missed opportunities. Yet, Fiona’s wit and wisdom prevail. And this provocative, brave memoir takes a stunning turn when all those unanswered questions develop into a tender and unexpected romance.