Pierce Brosnan (Tomorrow Never Dies) as Agent 007 is about to learn that the world is not enough for a twisted mind.Robert Carlyle (The Full Monty) unveils his sinister side as the brain-damaged egomaniac who can feel no pain.With Sophie Marceau, Denise Richards, and Judi Dench. Directed by Michael Apted. Screenplay by Neil Purvis and Robert Wade with Dana Stevens and Bruce Feirstein. Novelization by acclaimed Bond author Raymond Benson...
The definitive history of the flamboyant life of Ian Fleming and his most famous creation, James Bond. This new biography of Ian Fleming presents a fresh and illuminating portrayal of the iconic creator of James Bond. Oliver Buckton provides the first in-depth exploration of the entire process of Ian Fleming’s writing—from initial conception, through composition, to his involvement in the innovative publication methods of his books. He also investigates the vital impact of Fleming’s work in naval intelligence during World War Two on his later writings, especially the wartime operations he planned and executed and how they drove the plots of the James Bond novels. Buckton considers the vital role of wartime deception, disinformation, and propaganda in shaping Fleming’s later techniques and imaginative creations. Offering a radically new view of Fleming’s relationships with women, Buckton traces the role of strong, independent, and intelligent women such as Maud Russell, Phyllis Bottome, and his wife, Ann, on Fleming’s portrayal of female characters. The book concludes with a thorough analysis of the James Bond films from Eon productions, and their influence in promoting, while also distorting, the public’s recognition of Fleming’s writing.
Explores globalization, its opportunities for individual empowerment, its achievements at lifting millions out of poverty, and its drawbacks--environmental, social, and political.
"Nobody does 007 encyclopedias better than Bond historian Steven Jay Rubin. Buy this one. M's orders." —George Lazenby, James Bond in On Her Majesty's Secret Service Packed with behind-the-scenes information, fascinating facts, trivia, bloopers, classic quotes, character bios, cast and filmmaker bios, and hundreds of rare and unusual photographs of those in front of and behind the camera Ian Fleming's James Bond character has entertained motion picture audiences for nearly sixty years, and the filmmakers have come a long way since they spent $1 million producing the very first James Bond movie, Dr. No, in 1962. The 2015 Bond title, Spectre, cost $250 million and grossed $881 million worldwide—and 2021's No Time to Die is certain to become another global blockbuster. The James Bond Movie Encyclopedia is the completely up-to-date edition of author Steven Jay Rubin's seminal work on the James Bond film series. It covers the entire series through No Time to Die and showcases the type of exhaustive research that has been a hallmark of Rubin's work in film history. From the bios of Bond girls in front of the camera to rare and unusual photographs of those behind it, no detail of the Bond legacy is left uncovered.
"Trump is extreme but he's not a Martian. He is the logical conclusion of many of the most dangerous trends of the past half-century. He is the personification of the merger of humans and corporations--a one-man megabrand, with wife and children as spin-off brands. This book is to help understand how we arrived at this surreal political moment, how to keep it from getting a lot worse, and how, if we keep our heads, we can flip the script and seize the opportunity to make things a whole lot better in a time of urgent need. A tool-kit for shock-resistance." --from the Introduction The election of Donald Trump produced a frightening escalation in a world of cascading crises. The Trump Administration's vision--the deconstruction of the welfare and regulatory state, the unleashing of a fossil fuel frenzy (which requires the sweeping aside of climate science) and an all-out attack on vulnerable communities under the guise of a war on crime and terrorism--will generate wave after wave of crises and shocks around the world, to the economy, to national security, to the environment. In No Is Not Enough, Naomi Klein embraces a lively conversation with the reader to expose the forces behind Trump's success and explain why he is not an aberration but the product of our time--Reality TV branding, celebrity obsession and CEO-worship, Vegas and Guantanamo, fake news and vulture bankers all rolled into one. And she shares a bold vision, a clear-eyed perspective on how to break the spell of his shock tactics, counter the rising chaos and divisiveness at home and abroad, and win the world we need.
The ultimate oral history of the only gentleman secret agent with a license to kill... and thrill...telling the incredible, uncensored true stories of the James Bond franchise and spy mania. For over five decades, the cinematic adventures of James Bond have thrilled moviegoers. Now, bestselling authors Mark A. Altman and Edward Gross take you behind-the-scenes of the most famous and beloved movie franchise of all-time filled with reflections from over 150 cast, crew, critics and filmmakers who reflect on the impact of this legendary movie franchise as well as share their thoughts about their favorite (and least) favorite 007 adventures and spy mania which gripped fans the world over in the wake of the success of the James Bond films. From Russia--with love, course--to Vegas, from below the bright blue waters of the Bahamas in search of a missing nuclear weapon to the top of the Golden Gate Bridge, from below the seas in Stromberg’s new Noah's Ark of Atlantis into orbit with Hugo Drax, Nobody Does It Better: The Complete Uncensored, Unauthorized Oral History of James Bond tells the amazing, true story of the birth of James Bond through the latest remarkable James Bond adventures as well as the Spy mania classics that enthralled the world. It’s Bond and Beyond from the critically acclaimed authors of the bestselling The Fifty-Year Mission and So Say We All. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses: * haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier * the eroticism of period costume in films such as The Piano and The Age of Innocence * clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction * generic male chic in Goodfellas, Reservoir Dogs, and Leon * pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City * drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.
Following one woman on her search for humanity in a broken system, The World Is Not Big Enough is the less-told story of asylum seekers and refugees in Australia.
International arbitration is a remarkably resilient institution, but many unresolved and largely unacknowledged ethical quandaries lurk below the surface. Globalization of commercial trade has increased the number and diversity of parties, counsel, experts and arbitrators, which has in turn lead to more frequent ethical conflicts just as procedures have become more formal and transparent. The predictable result is that ethical transgressions are increasingly evident and less tolerable. Despite these developments, regulation of various actors in the system arbitrators, lawyers, experts, third-party funders and arbitral institutions remains ambiguous and often ineffectual. Ethics in International Arbitration systematically analyses the causes and effects of these developments as they relate to the professional conduct of arbitrators, counsel, experts, and third-party funders in international commercial and investment arbitration. This work proposes a model for effective ethical self-regulation, meaning regulation of professional conduct at an international level and within existing arbitral procedures and structures. The work draws on historical developments and current trends to propose analytical frameworks for addressing existing problems and reifying the legitimacy of international arbitration into the future.
Now in paperback, a transcendent and wide-ranging collection of stories by László Krasznahorkai: “a visionary writer of extraordinary intensity and vocal range who captures the texture of present-day existence in scenes that are terrifying, strange, appallingly comic, and often shatteringly beautiful.”—Marina Warner, announcing the Booker International Prize In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“here I would leave this earth and these stars, because I would take nothing with me”). As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative…” A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on and on about the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils. “The excitement of his writing,” Adam Thirlwell proclaimed in The New York Review of Books, “is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”
