For His Eyes Only - Part 12
Library

Part 12

Jones, Alan. "Interview with Michael Apted." Cinefantastique 31.9 (1999): 36-8.

Johnson, Paul. "s.e.x, Sn.o.bbery and Sadism." New Statesman 5 April 1958: 431.

Johnson, Allan G. "The Social Construction of Difference." Readings for Diversity and Social Justice. 2nd ed. Eds. Maurianne Adams et al. New York: Routledge, 2010. 15-20 Kackman, Michael. Citizen Spy: Television, Espionage, and Cold War Culture. Minneapolis: University of Minnesota Press, 2005.

Kael, Pauline. Reeling. Boston: Little and Brown, 1976.

Kamitsuka, Margaret. Feminist Theology and the Challenge of Difference. New York: Oxford University Press, 2006.

Klein, Renate and Susan Hawthorne. "Reclaiming Sisterhood: Radical Feminism as an Antidote to Theoretical and Embodied Fragmentation of Women." Desperately Seeking Sisterhood: Still Challenging and Building. Eds. Magdalene Ang-Lygate, Chris Corrin and Millsom S. Henry. New York: Taylor and Francis, 1997. 57-70.

Koestenbaum, Wayne. The Queen's Throat: Opera, h.o.m.os.e.xuality, and the Mystery of Desire. New York: Vintage, 1993.

Krainitzki, Eva. "Judi Dench's Age-Inappropriateness and the Role of M: Challenging Normative Temporality." Journal of Aging Studies 29 (2014): 32-40.

Krueger, John. "Which Beauty Will Be Bonded?" Stars and Stripes. 22 March 1963: 11.

Kyriazi, Paul. "A Bond Girl Threatens Suicide to Keep Her Part." AuthorsDen.Com 17 May 2014. 28 January 2015 .Lacan, Jacques. The Psychoses: The Seminar of Jacques Lacan Book III. Trans. Russell Grigg. New York: W.W. Norton & Company, Inc., 1993.____. "The Signification of the Phallus." ecrits: The Complete Collection. Trans. Bruce Fink. New York: W.W. Norton & Company, Inc., 1996. 575-84.Ladenson, Elisabeth. "p.u.s.s.y Galore." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2003. 184-201.Laing, Heather. "Emotion by Numbers: Music, Song and the Musical." Musicals: Hollywood and Beyond. Eds. Bill Marshall and Robynn Stilwell. Exeter and Portland: Intellect, 2000. 5-13.Landis, Deborah Nadoolman. Screencraft - Costume Design. Burlington: Focal Press, 2003.Lauzen, Martha M., and David M. Dozier. "Maintaining the Double Standard: Portrayals of Age and Gender in Popular Films." s.e.x Roles 52.7/8 (2005): 437-46.Leach, Jim. "'The World Has Changed': Bond in the 1990s-and Beyond?" The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Machester: Manchester University Press, 2003. 248-58.____. "The Spymaster who Loved Me: M and the Gender Dynamics of the Bond Phenomenon." Beauty and the Abject: Interdisciplinary Perspectives. Eds. Leslie Boldt-Irons, Corrado Federici, and Ernesto Virgulti. New York: Peter Lang, 2006. 225-33.Lenoir, Jean-Pierre. "Spying behind the Curtain." New York Times. 18 September 1965: BR56.Leppert, Richard. The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity. Boulder: Westview Press, 2007.Lindner, Christoph, ed. The James Bond Phenomenon: A Critical Reader. Manchester: Manchester University Press, 2003.____. Revisioning 007: James Bond and Casino Royale. London: Wallflower, 2009.London, Justin. "Leitmotifs and Musical Reference in the Cla.s.sical Film Score." Music and Cinema. Eds. James Buhler, Caryl Flinn, and David Neumeyer. Hanover, NH: Wesleyan University Press, 2000. 85-96.Lorde, Audre. Sister Outsider: Essays and Speeches. Trumansburg, NY: Crossing, 1984.Lu, Sheldon H. China, Transnational Visuality, Global Postmodernity. Stanford: Stanford University Press, 2001.Lukas, J. Anthony. "Withholding of 'Zhivago' Film Stirs Indian Storm." New York Times. 21 June 1966: 3.Lupton, Deborah. "Monsters in Metal Coc.o.o.ns: 'Road Rage' and Cyborg Bodies". Body and Society 5.1 (1999): 57-72.Lycett, Andrew. Ian Fleming: The Man Behind James Bond. London: Weidenfeld & Nicolson, 1995.Lynch, Annette. p.o.r.n Chic: Exploring the Contours of Raunch Eroticism. New York: Berg, 2012.Macey, David. Dictionary of Critical Theory. London: Penguin, 2000.MacColl, Rene. Just Back from Russia: 77 Days Inside the Soviet Union. London: Daily Express, 1960.Madden, Karl. "The Melancholy Touch: Romantic Shades of John Barry's Bond." 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. 11828.Manatu, Norma. African American Women and s.e.xuality in the Cinema. Jefferson, NC: McFarland, 2003.Marchetti, Gina. Romance and the "Yellow Peril": Race, s.e.x, and Discursive Strategies in Hollywood Fiction. Los Angeles: University of California Press, 1993.Martinson, Jane. "Is Skyfall a Less s.e.xist Bond Film?" The Guardian: The Woman's Blog. 30 October 2012. 29 January 2015 .Marwick, Arthur. The Sixties: Cultural Revolution in Britain, France, Italy and the United States, c.1958-c.1974. Oxford: Oxford University Press, 1998.Matheson, Sue. "He Who Eats Meat Wins: Appet.i.te, Power, and Nietzsche in the Novels of Ian Fleming." James Bond and Philosophy: The Questions Are Forever. Eds. James B. South and Jacob M. Held. Chicago: Open Court, 2006. 63-78.Mazower, Mark. Dark Continent: Europe's Twentieth Century. New York: Knopf, 1998.McCarthy, Todd. Rev. of GoldenEye, dir. Martin Campbell. Variety 15 November 1995. 29 January 2015 .McClary, Susan. Feminine Endings: Music, Gender, & s.e.xuality. 2nd ed. Minneapolis: University of Minnesota Press, 2002.McDermot, Mark K. "'He Strikes Like Thun-n-n-nder-r-r-r-BALL-L-L-L-L-L!': The Place of the James Bond Theme Song." 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. 102-17.McKay, Sinclair. The Man with the Golden Touch: How the Bond films Conquered the World. New York: Overlook Press, 2010.McNeely, Tom L. "The Feminization of M: Gender and Authority in the Bond Films." James Bond in World and Popular Culture: The Films are Not Enough. 2nd ed. Eds. Robert G. Weiner, B. Lynn Whitfield, and Jack Becker. Newcastle upon Tyne: Cambridge Scholars Press, 2011. 156-61.____. "Somebody Does it Better: Competent Women in the Bond Films." James Bond in World and Popular Culture. Eds. Robert G. Weiner, B. Lynn Whitfield, and Jack Becker. Cambridge: Cambridge Scholars Publishing, 2011. 178-82.McRobbie, Angela. "Post-Feminism and Popular Culture." Feminist Media Studies 4.3 (2004): 255-64.Mera, Miguel. "Invention/re-invention." Music, Sound, and the Moving Image 3.1 (2009): 1-20.Miller, Daniel. "Driven Society." Car Cultures. Ed. Daniel Miller. Oxford: Berg, 2001. 1-33.Miller, Martin. "Letter from Max." Portsmouth Times. 18 November 1963: 6.Miller, Toby. "Cultural Imperialism and James Bond's p.e.n.i.s." Spyscreen: Espionage on Film & TV from the 1930s to the 1960s. Oxford: Oxford University Press, 2003. 122-53.Modleski, Tania. Feminism without Women: Culture and Criticism in a "Postfeminist" Age. New York: Routledge, 1991.Moniot, Drew. "James Bond and America in the Sixties: An Investigation of the Formula Film in Popular Culture." Journal of the University Film a.s.sociation 28.3 (Summer 1976): 25-33.Montgomery, Fiona. Women's Rights: Struggles and Feminism in Britain c.1770-1970. 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Bill Osgerby and Anna Gough-Yates, London: Routledge, 2001. 221-35."On Her Majesty's Secret Service." Review. Variety 31 December 1968. 29 January 2015 ."Oswald Read a.s.sa.s.sination, Kennedy Books." Wisconsin State Journal. 29 November 1963: 1.Palmer, William J. The Films of the Eighties. Carbondale, IL: Southern Illinois University Press, 1995.Parker, Barry. Death Rays, Jet Packs, Stunts, and Supercars: The Fantastic Physics of Film's Most Celebrated Secret Agent. Baltimore: Johns Hopkins University Press, 2005.Paulin, Scott D. "Richard Wagner and the Fantasy of Cinematic Unity: The Idea of Gesamtkunstwerk in the History and Theory of Film Music." Music and Cinema. Eds. James Buhler, Caryl Flinn, and David Neumeyer. Hanover, NH: Wesleyan University Press, 2000. 58-84.Payne, Barbara, and Frank Whittington. "Older Women: An Examination of Popular Stereotypes and Research Evidence." Social Problems 23.4 (1976): 488-504.Pearson, John. The Life of Ian Fleming. 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"Return of the 'Angry Woman': Authenticating Female Physical Action in Contemporary Cinema." Women on Screen: Feminism and Femininity in Visual Culture. Ed. Melanie Waters. New York: Palgrave Macmillan, 2011. 185-98.____. Contemporary Action Cinema. Edinburgh: Edinburgh University Press, 2011.Redshaw, Sarah. In the Company of Cars: Driving As a Social and Cultural Practice. Aldershot: Ashgate, 2008.Reich, Charles A. The Greening of America. New York: Bantam Books, 1970.Reid, Susan E. "Cold War in the Kitchen; Gender and the De-Stalinization of Consumer Taste in the Soviet Union under Khrushchev." Slavic Review 61.2 (2002): 211-52.Richards, Mark. "John Barry's James Bond Scores (Part 6 of 6): Barry's Changing Bond Style." Film Music Notes: a.n.a.lysis, Style, Technique, and More. 30 June 2013. 29 January 2015 .Richler, Mordecai. "James Bond Unmasked." Ma.s.s Culture Revisited. Eds. Bernard Rosenberg and David Manning White. New York: Van Nostrand Reinhold, 1971. 341-55.Rogers, Michael. "Book Reviews: Cla.s.sic Returns." Library Journal 128.16 (2003): 123.Roof, Judith. "Living the James Bond Lifestyle." Ian Fleming and The Cultural Politics of James Bond. Ed. Edward Comentale, Stephen Watt and Skip Willman. Bloomington: Indiana University Press, 2005. 71-86.Rubin, Steven Jay. The James Bond Films. New York: Arlington House, 1981.Rudy, Kathy. "Radical Feminism, Lesbian Separatism, and Queer Theory." Feminist Studies 27.1 (Spring 2001): 190-222.Ryall, Tom. Britain and the American Cinema. New York: SAGE Publications, 2001.Ryan, Kathleen M., and Deborah A. Macey, eds. Television and the Self: Knowledge, Ident.i.ty, and Media Representation. New York: Lexington, 2013.Salisbury, Harrison. To Moscow-And Beyond: A Reporter's Narrative. New York: Harper, 1959.Sarris, Andrew. "Diamonds Are Forever." Village Voice. 16 December 1971. 79.Savoye, Daniel Ferreras. The Signs of James Bond: Semiotic Explorations in the World of 007. Jefferson, NC: McFarland, 2013.Scheibel, Will. 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