From James Bond with love: tourism and tourists in the Bond saga

‘We could meet at the Saint Sophia mosque. – Like we were tourists,’ suggests James Bond to Russian agent Tatiana Romanova in From Russia with Love. Since 1962 and the release of Dr. No, tourism and tourists have played an important role in the James Bond saga in terms of affording viewers some esca...

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Main Authors: Marie-Hélène Chevrier, Chloé Huvet
Format: Article
Language:deu
Published: Association Via@
Series:Via@
Subjects:
Online Access:https://journals.openedition.org/viatourism/3083
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author Marie-Hélène Chevrier
Chloé Huvet
author_facet Marie-Hélène Chevrier
Chloé Huvet
author_sort Marie-Hélène Chevrier
collection DOAJ
description ‘We could meet at the Saint Sophia mosque. – Like we were tourists,’ suggests James Bond to Russian agent Tatiana Romanova in From Russia with Love. Since 1962 and the release of Dr. No, tourism and tourists have played an important role in the James Bond saga in terms of affording viewers some escapism. Each film turns into a picture postcard as it takes the hero off to new destinations. The Bond films play on archetypes of destination (which they reinforce) and of tourism practices. These archetypal representations, from mass tourism to luxury tourism and from collective practices to individual practices, are all linked in the films to the image and sound (music and sound design) environments. In this article, we highlight how the Bond saga reflects the evolution of the core tourism practices and representations in Western societies from the 1960s to the present day.
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spelling doaj.art-944e116a0b614f46bc3d1929da31457c2024-02-14T13:30:19ZdeuAssociation Via@Via@2259-924X1410.4000/viatourism.3083From James Bond with love: tourism and tourists in the Bond sagaMarie-Hélène ChevrierChloé Huvet‘We could meet at the Saint Sophia mosque. – Like we were tourists,’ suggests James Bond to Russian agent Tatiana Romanova in From Russia with Love. Since 1962 and the release of Dr. No, tourism and tourists have played an important role in the James Bond saga in terms of affording viewers some escapism. Each film turns into a picture postcard as it takes the hero off to new destinations. The Bond films play on archetypes of destination (which they reinforce) and of tourism practices. These archetypal representations, from mass tourism to luxury tourism and from collective practices to individual practices, are all linked in the films to the image and sound (music and sound design) environments. In this article, we highlight how the Bond saga reflects the evolution of the core tourism practices and representations in Western societies from the 1960s to the present day.https://journals.openedition.org/viatourism/3083James Bondsound designrepresentationsarchetypestourism practicescinematic immersion
spellingShingle Marie-Hélène Chevrier
Chloé Huvet
From James Bond with love: tourism and tourists in the Bond saga
Via@
James Bond
sound design
representations
archetypes
tourism practices
cinematic immersion
title From James Bond with love: tourism and tourists in the Bond saga
title_full From James Bond with love: tourism and tourists in the Bond saga
title_fullStr From James Bond with love: tourism and tourists in the Bond saga
title_full_unstemmed From James Bond with love: tourism and tourists in the Bond saga
title_short From James Bond with love: tourism and tourists in the Bond saga
title_sort from james bond with love tourism and tourists in the bond saga
topic James Bond
sound design
representations
archetypes
tourism practices
cinematic immersion
url https://journals.openedition.org/viatourism/3083
work_keys_str_mv AT mariehelenechevrier fromjamesbondwithlovetourismandtouristsinthebondsaga
AT chloehuvet fromjamesbondwithlovetourismandtouristsinthebondsaga