For His Eyes Only - Part 11
Library

Part 11

Doane, Mary Ann. The Desire to Desire: The Woman's Film of the 1940s. Bloomington: Indiana University Press, 1987.

____. Femmes Fatales: Feminism, Film Theory, Psychoa.n.a.lysis. New York and London: Routledge, 1991.

____. "Film and the Masquerade: Theorising the Female Spectator." Feminist Film Theory: A Reader. Ed. Sue Thornham. New York, NY: New York UP, 1999. 131-45.

Dodds, Klaus. "Shaking and Stirring James Bond: Age, Gender and the Resilient Agent in Skyfall (2012)." Journal of Popular Film and Television 42.3 (2014): 116-30.

Dow, Bonnie. Prime-Time Feminism: Television, Media Culture, and the Women's Movement Since 1970. Philadelphia, PA: University of Pennsylvania Press, 1996.

Drake, Alicia. The Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris. London: Bloomsbury, 2006.

Dresner, Lisa M. "'All Mixed Up': James Bond's World of Mixing, Displacement, and Boundary Crossing." James Bond in World and Popular Culture. 2nd ed. Eds. Robert G. Weiner, B. Lynn Whitfield, and Jack Becker. Newcastle upon Tyne: Cambridge Scholars, 2011. 271-87.

Dutz, Britni. "James Bond and the Evolution of the Gaze though Female Spectatorship." James Bond in World and Popular Culture: The Films Are Not Enough. Eds. Robert G. Weiner, B. Lynn Whitfield, and Jack Becker. 2nd ed. Newcastle upon Tyne: Cambridge Scholars, 2011. 183-92.

Dyer, Richard. White. London: Routledge, 1997.

Ebert, Roger. Rev. of GoldenEye, dir. Martin Campbell. RogerEbert.com. 17 November 1995. 28 January 2015 .____. Rev. of Skyfall, dir. Sam Mendes. RogerEbert.com. 7 November 2012.28 January 2015 .____. "Salt." The Chicago-Sun Times. 21 July 2010. 28 January 2015 .Eco, Umberto. "Narrative Structures in Fleming." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2009. 34-55.____. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington: Indiana University Press, 1979.Elliot, Andrew J., and Daniela Niesta. "Romantic Red: Red Enhances Men's Attraction to Women." Journal of Personality and Social Psychology 95.5 (2008): 1150-64.Espiritu, Yen Le, "Ideological Racism and Cultural Resistance: Constructing Our Own Images." Contested Images: Women of Color in Popular Culture. Ed. Alma M. Garcia. Plymouth, UK: AltaMira Press, 2012. 3-26.Evans, Dylan. An Introductory Dictionary of Lacanian Psychoa.n.a.lysis. New York, Routledge, 1996.Everett, Wendy. "Songlines. Alternative Journeys in Contemporary European Cinema." Music and Cinema. Eds. James Buhler, Caryl Flinn, and David Neumeyer. Hanover, NH: Wesleyan University Press, 2000. 99-117."Fall Fashion Rumors Are Spiked." Ada Evening News. 7 July 1964: 6.Faludi, Susan. Backlash: The Undeclared War Against American Women. New York: Random House LLC, 2006.Fiegal, Eddi. John Barry, a Sixties Theme: From James Bond to Midnight Cowboy. London: Boxtree, 2001.Fishman, Jack. "Jack Fishman Presents 007 and Me by Ian Fleming." For Bond Lovers Only. Ed. Sheldon Lane. New York: Dell, 1965. 9-34.Fleming, Ian. Casino Royale. 1953. Penguin Cla.s.sics ed. London: Penguin, 2004.____. Casino Royale. A James Bond Novel. 1953. Las Vegas: Thomas & Mercer, 2012.____. Diamonds Are Forever. 1956. London: Penguin, 2004.____. Diamonds are Forever. 1956. London: Vintage Books, 2012.____. Dr. No. 1958. Penguin Cla.s.sics ed. London: Penguin, 2004.____. For Your Eyes Only. 1960. Penguin Cla.s.sics ed. London: Penguin, 2006.____. From Russia, With Love. 1957. Penguin Cla.s.sics ed. London: Penguin, 2004.____. From Russia with Love. New York: Signet, 1957.____. From Russia With Love, Dr. No, Goldfinger. London: Penguin, 2002.____. Goldfinger. 1959. Penguin Cla.s.sics ed. London: Penguin, 2004.____. Goldfinger. 1959. London: Vintage, 2012.____. "How To Write A Thriller." Books and Bookmen, May 1963: 14-16.____. Live and Let Die. 1954. Las Vegas: Thomas and Mercer, 2012.____. "The Living Daylights." Octop.u.s.s.y and the Living Daylights. 1966. New York: Penguin Group, 2004.____. The Man with the Golden Gun. 1965. London: Penguin, 2006.____. Moonraker. 1955. Penguin Cla.s.sics ed. London: Penguin, 2004.____. On Her Majesty's Secret Service. 1963. Penguin Cla.s.sics ed. London: Penguin, 2004.____. On Her Majesty's Secret Service. New York: Signet, 1963.____. The Spy Who Loved Me. 1962. Penguin Cla.s.sics ed. London: Penguin, 2006.____. Thunderball. 1961. Penguin Cla.s.sics ed. London: Penguin, 2004.____. You Only Live Twice. 1964. Penguin Cla.s.sics ed. London: Penguin, 2004.Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Penguin, 1977.____. History of Madness. New York: Routledge, 2006.Freud, Sigmund. On Metapsychology. Trans. James Strachey. London: Penguin Books, 1991.____. On s.e.xuality. Trans. James Strachey. London: Penguin, 1977.Friedan, Betty. The Feminine Mystique. New York: W.W. Norton & Company Inc., 2013."From Greece with Love." New York Times. 13 April 1964: 19."From Russia." The Progress Index. 19 December 1965: 4.Funnell, Lisa. "a.s.similating Hong Kong Style for the Hollywood Action Woman." Quarterly Review of Film and Video 28.1 (2011): 66-79.____. "From English Partner to American Action Hero: The Heroic Ident.i.ty and Transnational Appeal of the Bond Girl." Heroines and Heroes: Symbolism, Embodiment, Narratives and Ident.i.ty. Ed. Christopher Hart. Kingswinford, UK: Midrash, 2008. 61-80.____. "'I Know Where You Keep Your Gun': Daniel Craig as the Bond-Bond Girl Hybrid in Casino Royale." Journal of Popular Culture 44.3 (2011): 455-72.____. "Negotiating Shift in Feminism: The 'Bad' Girls of James Bond." Women on Screen: Feminism and Femininity in Visual Culture. Ed. Melanie Waters. Basingstoke: Palgrave Macmillan, 2011. 199-212.____. Warrior Women: Gender, Race, and the Transnational Chinese Action Star. Albany, NY: SUNY Press, 2014.Gaines, Jane. "Costume and Narrative: How Dress Tells the Woman's Story." Fabrications: Costume and the Female Body. Eds. Jane Gaines and Charlotte Herzog. New York: Routledge, 1990. 180-211.____. "Introduction: Fabricating the Female Body." Fabrications: Costume and the Female Body. Eds. Jane Gaines and Charlotte Herzog. New York: Routledge, 1990. 1-27.Garcia-Blanco, Iaki, and Karin Wahl-Jorgensen. "The Discursive Construction of Women Politicians in the European Press." Feminist Media Studies 12.3 (2012): 422-41.Gardies, Andre. "Am Anfang war der Vorspann." Das Buch zum Vorspann: "The t.i.tle is a Shot." Eds. Alexander Bohnke, Rembert Hser, and Georg Stanitzek. Berlin: Vorwerk, 2006. 21-33.Garland, Tony W. "'The Coldest Weapon of All': The Bond Girl Villain in James Bond Films." Journal of Popular Film and Television 37.4 (2009): 179-88.Gardner, John. COLD. London: Coronet, 1996.____. GoldenEye. New York: Boulevard Books, 1995.____. Win, Lose or Die. London: Coronet, 1990.Gavron, Hannah. The Captive Wife: Conflicts of Housebound Mothers. London: Routledge and K. Paul, 1966.Gerhard, Jane F. Desiring Revolution: Second-wave Feminism and the Rewriting of American s.e.xual Thought, 1920 to 1982. New York: Columbia UP, 2001.Giammarco, David. For Your Eyes Only: Behind the Scenes of the James Bond Films. Toronto: ECW Press, 2002.Gill, Rosalind, and Christina Scharff. "Introduction." New Femininities: Postfeminism, Neoliberalism and Subjectivity. Eds. Rosalind Gill and Christina Scharff. New York: Palgrave Macmillan, 2011. 1-18. Print.Girard, Rene. Violence and the Sacred. Baltimore: Johns Hopkins University Press, 1972."The Girls of Russia and the Iron Curtain Countries." Playboy. March 1964: 104-16, 136-40.Goldie, Terry. "The Representation of the Indigine." The Post-colonial Studies Reader. Eds. Bill Ashcroft, Gareth Griffiths, and Helen Tiffin. London: Routledge, 1995. 232-236.Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Indianapolis: Indiana University Press, 1987.Grant, Donald. "Prof. Fedorenko Lectures at the U.N." New York Times. 16 July 1967: 172.Greiner, Wilhelm. Kino macht Korper: Konstruktionen von Korperlichkeit im neueren Hollywood-Film. Alfeld (Leine): Coppi-Verlag, 1998.Grella, George. "James Bond: Culture Hero (Book)." New Republic 150.22 (1964): 17-20.Grosz, Elizabeth. Jacques Lacan: A Feminist Introduction. London: Routledge, 1990.Guerrero, Ed. "The Black Image in Protective Custody: Hollywood's Biracial Buddy Films of the Eighties." Black American Cinema. Ed. Manthia Diawara. New York & London: Routledge, 1993. 237-46.Gunther, John. Inside Russia Today. New York: Harper, 1957.Hamad, Hannah. Postfeminism and Paternity in Contemporary US Film: Framing Fatherhood. New York: Routledge, 2014.Hartmann, Susan. "Gender and the Transformation of Politics." Ed. Mark C. Carnes. The Columbia History of Post WWII America. New York: Columbia University Press, 2007. 285310.Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. 2nd ed. Chicago: University of Chicago Press, 1987.Haworth, Catherine. "Introduction: Gender, s.e.xuality and the Soundtrack." Music, Sound and the Moving Image 6.2 (2012): 113-35.Hediger, Vinzenz. "Now, in a World where: Trailer, Vorspann und das Ergebnis des Films." Das Buch zum Vorspann: "The t.i.tle is a Shot." Eds. Alexander Bohnke, Rembert Hser, and Georg Stanitzek. Berlin: Vorwerk, 2006. 102-22.Hesford, Victoria. Feeling Women's Liberation. Durham, NC: Duke University Press, 2013.Heung, Marina. "Representing Ourselves: Films and Videos by Asian American/Canadian Women." Feminism, Multiculturalism, and the Media: Global Diversities. Ed. Angharad N. Valdivia. Thousand Oaks, CA: SAGE Publications, 1995. 82-104.Hills, Elizabeth. "From 'Figurative Males' to Action Heroines: Further Thoughts on Active Women in the Cinema." Screen 40.1 (1999): 38-50.Hindus, Maurice. House without a Roof. Garden City, NY: Doubleday, 1961.Hines, Claire. "Entertainment for Men: Uncovering the Playboy Bond." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2003. 169-77.Hockley, Luke. "Shaken, Not Stirred: James Bond and the Puer Archetype." Perpetual Adolescence: Jungian a.n.a.lyses of American Media, Literature, and Pop Culture. Eds. Sally Porterfield, Keith Polette and t.i.ta French Baumlin. Albany, NY: State University of New York Press, 2009. 105-22.hooks, bell. Black Looks: Race and Representation. Boston: South End Press, 1992.____. Reel to Real: Race, s.e.x, and Cla.s.s at the Movies. New York: Routledge, 1996.Hollows, Joanne. Feminism, Femininity and Popular Culture. Manchester: Manchester University Press, 2000.Hovey, Jaime. "Lesbian Bondage, or Why d.y.k.es Like 007." Ian Fleming & James Bond: The Cultural Politics of 007. Eds. Edward P. Comentale, Stephen Watt, and Skip Willman. Bloomington, IN: Indiana UP, 2005. 42-54.Hubai, Gergely. "Recapturing the Midas Touch: A Critical Reading of the Bond Songs' Chart Positions." James Bond in World and Popular Culture: The Films are Not Enough. Eds. Robert G. Weiner, B. Lynn Whitfield, and Jack Becker. 2nd ed. Newcastle upon Tyne: Cambridge Scholars, 2011. 129-41.Hulko, Wendy. "The Time- and Context-Contingent Nature of Intersectionality and Interlocking Oppressions." Affilia, 24.1 (2009): 44-55."'In' Fashions to Make the Scene." Kingsport Times-News. 22 September 1968: 2d."James Bond Double Bill Set for Manor Theater." San Mateo Times. 18 May 1965: 15.Jeffords, Susan. Hard Bodies: Hollywood Masculinity in the Reagan Era. New Jersey: Rutgers University Press, 1994.Jenkins, Tricia. "James Bond's 'p.u.s.s.y' and Anglo-American Cold War s.e.xuality." Journal of American Culture 28.3 (2005): 309-17.Jennings, Ros. "It's All Just a Little Bit of History Repeating: Pop Stars, Audiences, Performance and Ageing-Exploring the Performance Strategies of Shirley Ba.s.sey and Petula Clark." Rock On: Women, Ageing and Popular Music. Eds. Ros Jennings and Abigail Gardner. Aldershot: Ashgate, 2012. 35-52.Jiwani, Yasmin. "The Eurasian Female Hero(ine): Sydney Fox as Relic Hunter." Journal of Popular Film and Television 32.4 (2005): 182-91.