Fifty shades of spy (notice n° 501925)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 01276cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121082910.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Blistène, Pauline |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Fifty shades of spy |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2019.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 91 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | French spy fiction is famous for its implausibility and often depicts brutal, burlesque and/or xenophobic spies. This all seems to have changed since 2015, with the broadcasting of Le Bureau des légendes ( The Bureau) on Canal+, the first TV series to have the explicit support of the French intelligence agency (DGSE), which demystified—without banalizing—the universe of intelligence and espionage. Besides its undeniable narrative quality, the ability of the series to carry out a total refresh of the image of France’s spies, sweeping aside the figures of the past, constitutes one of its main points of interest. The increasing demand for information on the real activities of the French intelligence services, combined with the apparent realism of the series, transformed it into a full-scale societal phenomenon. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Inflexions | o 42 | 3 | 2019-08-29 | p. 113-120 | 1772-3760 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-inflexions-2019-3-page-113?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-inflexions-2019-3-page-113?lang=en&redirect-ssocas=7080</a> |
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