Fan Phenomena: James Bond
Having recently celebrated the 50th anniversary of the James Bond films in 2012, and with pre-production on Bond 24 underway, Intellect’s Fan Phenomena book series is now seeking chapters for a new volume on fandom and James Bond. The Fan Phenomena books explore and decode the fascination we have with what constitutes an iconic or cult phenomenon and how a particular person, TV show or film character/film infiltrates its way into the public consciousness. Over the years Bond has proved to be popular with fans, and is an enduring global cultural phenomenon, making him a perfect icon to be covered by the series.
From the original Bond stories written by Ian Fleming, through to the success of the EON-produced films, and other licensed Bond novels, video games and tie-in products, the Bond franchise is long-running and highly financially lucrative, having generated billions of dollars in revenue. But unsurprisingly, given his status as a global icon, Bond has also evolved well beyond this official image to become a popular hero who is deeply influential and widely appropriated. The James Bond (Fan Phenomena) title will examine aspects of the Bond fan culture, and may consider in particular what exploring fans and fandom might bring to debates about Bond’s continued cultural relevance. The emphasis will be on fan culture as an aspect of the Bond phenomenon, and the collection will aim to analyse some of the ways in which this iconic character has been taken up and (re)interpreted, (re)appropriated and (re)branded by and for his fan-base, and across media.
Topics of particular interest might include, but are not limited to:
– Bond as lifestyle icon
e.g. Bond’s influence on fashion, the emulation of Bond through the purchase of clothing/accessories/fragrance, fan appropriation or identification with the Bond image or role, Bond-themed experiences, or Bond as cult hero
– The Bond brand
e.g. the creation of brand partnerships, brand recognition and reinforcement, the significance of ‘Bondomania’, the Bond brand reboot, transmedia Bond, the Bond villain, or Bond girl
– Bond merchandise, memorabilia and collecting
e.g. the significance of product consumption, marketing or creation
– Bond fans’ use of different media to create community
e.g. fan clubs, fanzines, Bond on the internet, video games, books, music or comic books
– The phenomena of Bond fan art, fan fiction, fan films and other fan responses
e.g. the Bond/Q pairing, crossover fan fiction (such as Bond and Harry Potter, Bond and Dr Who, or Bond and Batman), fan interpretations of the Bond character, or Bond fan fiction and copyright
– Bond fan demographics
e.g. the role of gender, sexuality, age in the Bond fan base, global examples of Bond fandom, or stereotypes of the Bond fan
– Arguments and divides between Bond fans
e.g. fans of the Bond books vs. fans of the films, Bond bests and worsts (actors/films/characters), or fan responses to particular characters, casting choices or the direction of the Bond franchise (such as DanielCraigisnotBond.com)
– Bond-inspired tourism
e.g. fans who visit Bond film shooting locations, Bond tours, Bond’s London, or the Bond-related tourist industry
– Bond-inspired spoofs, satires, parodies, imitations and references in film, books, videogames, on TV or other media
e.g. Austin Powers (1997, 1999, 2002), James Pond (1990), ‘You Only Move Twice’ (1996) The Simpsons’ episode, Johnny English (2003), or the short story ‘Bond Strikes Camp’ (1963)
– Bond and philosophy
e.g. the philosophical questions raised by Bond, or the appeal of Bond’s philosophy
– The language of Bond
e.g. key terminology (the ‘Bondian’), the significance of Bond’s body language, or of the repetition of iconic phrases (by fans)
Like other titles in the Fan Phenomena series, this book is aimed at both fans and those interested in the cultural and social aspects of James Bond. As such the book is intended to be entertaining, informative, and accessible to a broad audience.
Please send an abstract (300 words) and a short bio, or direct enquiries to Claire Hines email@example.com by 30 June 2014. Final chapters will be 3,000 – 3,500 words.