For His Eyes Only Part 13

Sked, Alan and Chris Cook. Postwar Britain: A Political History. New York: Penguin Books, 1990.

Smith, Jeff. "Unheard Melodies?: A Critique of Psychoa.n.a.lytic Theories of Film Music" Post-Theory: Reconstructing Film Studies. Eds. David Bordwell and Nol Carroll. Wisconsin: Wisconsin University Press, 1996. 230-47.

____. The Sounds of Commerce: Marketing Popular Film Music. New York: Columbia University Press, 1998.

Smith, Jim, and Stephen Lavington. Bond Films. London: Virgin Books, 2002.

Sontag, Susan. "The Double Standard of Aging." On the Contrary: Essays by Men and Women. Eds. Martha Rainbolt and Janet Fleetwood. Albany, NY: State University of New York Press, 1983. 99112.

Soter, Tom. Investigating Couples: A Critical a.n.a.lysis of the Thin Man, the Avengers, and the X-Files. Jefferson, NC: McFarland, 2002.

Souriau, Etienne. "Die Struktur des filmischen Universums und das Vokabular der Filmologie." Montage AV 6.2 (1997): 140-57.

Spender, Dale. Man Made Language. 2nd ed. London: Pandora Press, 1990.

Spicer, Andrew. Typical Men: The Representation of Masculinity in Popular British Cinema. London: I.B. Tauris, 2001.

Spivak, Gayatri Chakravorty. Can the Subaltern Speak? Basingstoke: Macmillan, 1988.

Stack, Peter. "New Bond More Action Than Style." Rev. of GoldenEye, dir. Martin Campbell. San Francisco Chronicle 17 November 1995. 29 January 2015 .

Stanitzek, Georg. "Vorspann (t.i.tles/credits, generique)." Das Buch zum Vorspann: "The t.i.tle is a Shot." Eds. Alexander Bohnke, Rembert Hser, and Georg Stanitzek. Berlin: Vorwerk, 2006. 8-20.

Starkey, Lycurgus Monroe. James Bond's World of Values. Nashville: Abingdon Press, 1966.

Sterling, Martin, and Gary Morecambe. Martinis, Girls and Guns: 50 Years of 007. London: Robson Books, 2003.

Stock, Paul. "Dial 'M' for Metonym: Universal Exports, M's Office s.p.a.ce and Empire." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2003. 215-31.

Street, Sarah. "Contemporary British Cinema." The Cinema Book. 3rd ed. Ed. Pam Cook. London: British Film Inst.i.tute, 2007. 185-7.

____. Costume and Cinema: Dress Codes in Popular Film. London: Wallflower, 2001.

Sutherland, John A. Fiction and the Fiction Industry. London: Athlone Press, 1978.

Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema. New York: Routledge, 1993.

-----. Working Girls: Gender and s.e.xuality in Popular Cinema. New York: Routledge, 1998.

Tasker, Yvonne, and Diane Negra. "Feminist Politics and Postfeminist Culture". Interrogating Postfeminism: Gender and the Politics of Popular Culture. Eds. Yvonne Tasker and Diane Negra. Durham, NC: Duke University Press, 2007. 1-25.

Tasker, Yvonne, ed. Action and Adventure Cinema. London: Routledge, 2004.

Taylor, Verta and Nancy Whittier. "Collective Ident.i.ty in Social Movements Communities: Lesbian Feminism Mobilization." Waves of Protest: Social Movements Since the Sixties. Eds. Jo Freeman and Victoria Johnson. Lanham, MD: Rowman & Littlefield, 1999. 169-94.

"Teen Spy Party." Press-Courier. 3 July 1965: 11.

Teltsch, Kathleen. "Fedorenko to Mix Politics and Humor in TV Appearance." New York Times. 11 January 1967: 8.

"This Party Is Spy Special." Fairbanks Daily News-Miner. 27 August 1965. 5.

Tincknell, Estella. "Double-0 Agencies: Femininity, Post-Feminism and the Female Spy." Revisioning 007: James Bond and Casino Royale. Ed. Christoph Lindner. New York: Wallflower Press, 2009. 99-113.

Tippins, Stephen B. "007's Masculine Mystique." The American Conservative. 17 October 2012: 34-7.

Tremonte, Colleen M., and Linda Racioppi. "Body Politics and Casino Royale: Gender and (Inter) national Security." The James Bond Phenomenon: A Critical Reader. 2nd ed. Ed. Christoph Lindner. Manchester: Manchester University Press, 2009. 184-204.

"Wai Lin's Cut Role from Die Another Day." M16: The Home of James Bond 007. 1 May 2003. 29 January 2015 .

Wallace, Jo-Ann. "De-scribing The Water Babies: 'The Child' in Post-colonial Theory." De-Scribing Empire: Post-Colonialism and Textuality. Eds. Chris Tiffin and Alan Lawson. London: Routledge, 1994. 171-84.

Walser, Robert, "The Rock and Roll Era." The Cambridge History of American Music. Ed. David Nicholls. Cambridge: Cambridge University Press, 1998. 345-87.

Watts, Stephen. "On Britain's Bustling Film Scene." New York Times 1 November 1964: X13.

Weiler, A.H. "New James Bond: George Lazenby Follows the Connery Pattern." Review of On Her Majesty's Secret Service., New York Times. 19 December 1969. 29 January 2015 .

Weiner, Robert G., B. Lynn Whitfield, and Jack Becker, eds. James Bond in World and Popular Culture: The Films are Not Enough. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010.

Weiss, Penny A. "Feminist Reflections on Community." Feminism and Community. Eds. Penny A. Weiss and Marilyn Friedman. Philadelphia: Temple University Press, 1995. 3-20.

Welldon, Estella V. Mother, Madonna, Wh.o.r.e: The Idealization and Denigration of Motherhood. London: Karnac Books, 1992.

Westad, Odd Arne. The Global Cold War: Third World Interventions and the Making of our Times. New York: Cambridge University Press, 2007.

Wheelwright, Julie. "Poisoned Honey: The Myth of Women in Espionage." Queen's Quarterly 100.2 (1993): 291-309.

White, Rosie. Violent Femmes: Women as Spies in Popular Culture. London: Routledge, 2007.

Willis, Martin. "Hard-Wear: The Millennium, Technology, and Brosnan's Bond." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2003. 151-68.

Willman, Skip. "The Kennedys, Fleming, and Cuba: Bond's Foreign Policy." Ian Fleming & James Bond: The Cultural Politics of 007. Eds. Edward P. Comentale, Stephen Watt, and Skip Willman. Bloomington IN: Indiana University Press, 2005. 178-201.

____. "The Politics of James Bond: From Fleming's Novels to the Big Screen (review)." Symploke 13.1 (2006): 350-52.

Wilson, Earl. "It Happened Last Night." The Progress Index. 3 April 1964: 17.

Wong, Eugene Franklin. On Visual Media Racism: Asian in the American Motion Pictures. New York: Arno, 1978.

Wood, Julia T. Gendered Lives: Communication, Gender, and Culture. 9th ed. Boston: Wadsworth, 2011.

Woodward, Steven. "The Arch Archenemies of James Bond." Bad: Infamy, Darkness, Evil, and Slime on Screen. Ed. Murray Pomerance. Albany: SUNY Press, 2004. 173-86.

Woolf, Virginia. A Room of One's Own. Peterborough, ON: Broadview Press, 2001.

Woollacott, Janet. "The James Bond Films: Conditions of Production." The James Bond Phenomenon: A Critical Reader. Ed. Christoph Lindner. Manchester: Manchester University Press, 2003. 99-118.

Wright, Robin Redmon. "The Avengers and Feminist Ident.i.ty Development: Learning the Example of Critical Resistance from Cathy Gale." Television and the Self: Knowledge, Ident.i.ty, and Media Representation. Eds. Kathleen M. Ryan and Deborah A. Macey. New York: Lexington, 2013. 189-204.

Young, Iris Marion. "The Ideal of Community and the Politics of Difference." Feminism/ Postfeminism. Ed. Linda J. Nicholson. New York: Routledge, 1990. 300-23.

"The Young Generation Presents Fashion Flickers '68." Lowell Sunday Sun. 4 August 1968: 2.

Zeiger, Henry A. Ian Fleming, the Spy Who Came in with the Gold. New York: Duell, Sloan and Pearce, 1965.

Zizek, Slavoj. "The Desert and the Real." Lacan.com. 1 September 2001. 29 January 2015 .

"Zulus Can't See 'Zulu' in South Africa." New York Times. 17 November 1969: 25.

end.