What do men feel about the women’s movement? How has it changed them, if at all? To try and answer these questions Helen Franks talked to many men and drew upon research in Britain, the US and Australia. She interviewed men from all social groups – business executives, writers, factory workers, shopkeepers – and all ages, from fifteen to fifty-nine. They included divorced men, husbands, gay men, and some who had ‘swapped roles’ with the women in their lives. She found some surprising results. All men, whatever their attitude to women, seem to be affected, not to say threatened, by feminism. In these pages she documents the thoughts – often confused – of very different kinds of men on sharing housework; women as colleagues; sexual behaviour; pornography; gayness; friendship with other men; fatherhood and marriage. Helen Franks is a sympathetic listener. A committed feminist, she pulls no punches in her criticisms of traditional male attitudes. But she believes that the problems men find in responding constructively to feminism are considerable. After all, men have no broad-based ‘men’s movement’ to sustain them. And she argues that patriarchal society oppresses men, just as, though in a different way, it does women. The feminist classics of the 1960s and 1970s changed women’s lives by revealing a world of shared experiences and unfulfilled potential. The time has come to do the same for men.

What do men feel about the women’s movement? How has it changed them, if at all? To try and answer these questions Helen Franks talked to many men and drew upon research in Britain, the US and Australia. She interviewed men from all social groups – business executives, writers, factory workers, shopkeepers – and all ages, from fifteen to fifty-nine. They included divorced men, husbands, gay men, and some who had ‘swapped roles’ with the women in their lives. She found some surprising results. All men, whatever their attitude to women, seem to be affected, not to say threatened, by feminism. In these pages she documents the thoughts – often confused – of very different kinds of men on sharing housework; women as colleagues; sexual behaviour; pornography; gayness; friendship with other men; fatherhood and marriage. Helen Franks is a sympathetic listener. A committed feminist, she pulls no punches in her criticisms of traditional male attitudes. But she believes that the problems men find in responding constructively to feminism are considerable. After all, men have no broad-based ‘men’s movement’ to sustain them. And she argues that patriarchal society oppresses men, just as, though in a different way, it does women. The feminist classics of the 1960s and 1970s changed women’s lives by revealing a world of shared experiences and unfulfilled potential. The time has come to do the same for men.

Vols. 1-4 include material to June 1, 1929.

The release of Skyfall in 2012 marked the fiftieth anniversary of the James Bond film franchise. It earned over one billion dollars in the worldwide box office and won two Academy Awards. Amid popular and critical acclaim, some have questioned the representation of women in the film. From an aging M to the limited role of the Bond Girl and the characterization of Miss Moneypenny as a defunct field agent, Skyfall develops the legacy of Bond at the expense of women. Since Casino Royale (2006) and its sequels Quantum of Solace (2008) and Skyfall constitute a reboot of the franchise, it is time to question whether there is a place for women in the new world of James Bond and what role they will play in the future of series. This volume answers these questions by examining the role that women have historically played in the franchise, which greatly contributed to the international success of the films. This academic study constitutes the first book-length anthology on femininity and feminism in the Bond series. It covers all twenty-three Eon productions as well as the spoof Casino Royale (1967), considering a range of factors that have shaped the depiction of women in the franchise, including female characterization in Ian Fleming's novels; the vision of producer Albert R. Broccoli and other creative personnel; the influence of feminism; and broader trends in British and American film and television. The volume provides a timely look at women in the Bond franchise and offers new scholarly perspectives on the subject.

One of the founders of the posthumanities, Donna J. Haraway is professor in the History of Consciousness program at the University of California, Santa Cruz. Author of many books and widely read essays, including the now-classic essay "The Cyborg Manifesto," she received the J.D. Bernal Prize in 2000, a lifetime achievement award from the Society for Social Studies in Science. Thyrza Nicholas Goodeve is a professor of Art History at the School of Visual Arts.