Families on Television: Now and Then By: Caitlin estlow Research Questions How have families changed on television? Have they changed that much over the years? Compare and contrast through coding (The Brady Bunch and Modern Family) Changes in family structure The Brady Bunch was our first look at a non traditional family. Mike and Carol had children from previous relationships. They then move in together to create this blended family. This was one of the first shows that showed blended families and the idea that you could love again after divorce or being a widow. Changes in family structure Modern family is just that, a modern day family. There are a number different blended families from a homosexual couple, step kids, mixed ethnicities under one roof. Modern family shows us how far we have come as a society. Spousal interaction Even spousal interaction is different from 1970 to now. Carol Brady was very sweet and traditional mom. I don’t think we ever witnessed Carol arguing with Mike. The Brady’s were happy go lucky. Minimal issues. Spousal Interaction Modern families is very different from the Brady Bunch. Times have changed very much from 1970 to now. Modern family shows modern issues. Spouses argue. Some episodes are even based around spousal conflict. Women take on husband like characteristics. (Claire being a CEO) Parenting techniques Parenting and children have changed over the years. The worst thing that happened in the Brady Bunch was Cindy’s doll went missing. Mike and Carol did not point fingers and let the kids figure out what happened to the missing doll. This then turned into an empowering and learning moment for the kids. Parenting techniques Modern family is a little different when it comes to parenting. Peer-ing was introduced early on by Phil Dunphy. The idea behind this is act like a parent talk like a peer. Parents need “me time”. Children have changed over the years. There is more issues like drugs, sex, and attitudes. Modern family addresses these issues with relatable scenarios. relationships Mike and Carol were a seemingly perfect couple. A great chemistry. Effortlessly parenting biological kids and step kids. Relationships Families on TV: Now and then Analyze a contemporary show to the Brady bunch Characteristics that can be compare Occupations Ages Race Lifestyles Relationships with others conclusion Diverse family structures in Modern Family. Families have changed with time. Blended families. Media Analysis Project OVERVIEW Overall, each student is expected to produce and submit an 8-12-page, double-space media analysis report that is based on systematic observation, analysis, and synthesis of a selected set of mass media content. In your paper, use examples from the media content as evidence to support your arguments and state all your claims and premises explicitly. For example, if you wish to say that an ad for Levi’s reinforces traditional gender ro ...

1. Families on Television:
Now and Then
By: Caitlin estlow
Research Questions
How have families changed on television?
Have they changed that much over the years?
Compare and contrast through coding (The Brady Bunch and
Modern Family)
Changes in family structure
The Brady Bunch was our first look at a non traditional family.
Mike and Carol had children from previous relationships.
They then move in together to create this blended family.
This was one of the first shows that showed blended families
and the idea that you could love again after divorce or being a
widow.
Changes in family structure
Modern family is just that, a modern day family.
There are a number different blended families from a
homosexual couple, step kids, mixed ethnicities under one roof.
Modern family shows us how far we have come as a society.

2. Spousal interaction
Even spousal interaction is different from 1970 to now.
Carol Brady was very sweet and traditional mom.
I don’t think we ever witnessed Carol arguing with Mike.
The Brady’s were happy go lucky.
Minimal issues.
Spousal Interaction
Modern families is very different from the Brady Bunch.
Times have changed very much from 1970 to now.
Modern family shows modern issues.
Spouses argue.
Some episodes are even based around spousal conflict.
Women take on husband like characteristics. (Claire being a
CEO)
Parenting techniques
Parenting and children have changed over the years.
The worst thing that happened in the Brady Bunch was Cindy’s
doll went missing.
Mike and Carol did not point fingers and let the kids figure out
what happened to the missing doll.
This then turned into an empowering and learning moment for
the kids.

3. Parenting techniques
Modern family is a little different when it comes to parenting.
Peer-ing was introduced early on by Phil Dunphy. The idea
behind this is act like a parent talk like a peer.
Parents need “me time”.
Children have changed over the years. There is more issues like
drugs, sex, and attitudes.
Modern family addresses these issues with relatable scenarios.
relationships
Mike and Carol were a seemingly perfect couple.
A great chemistry.
Effortlessly parenting biological kids and step kids.
Relationships
Families on TV:
Now and then
Analyze a contemporary show to the Brady bunch
Characteristics that can be compare
Occupations
Ages
Race
Lifestyles

4. Relationships with others
conclusion
Diverse family structures in Modern Family.
Families have changed with time.
Blended families.
Media Analysis Project
OVERVIEW
Overall, each student is expected to produce and submit an 8-
12-page, double-space media analysis report that is based on
systematic observation, analysis, and synthesis of a selected set
of mass media content.
In your paper, use examples from the media content as evidence
to support your arguments and state all your claims and
premises explicitly. For example, if you wish to say that an ad
for Levi’s reinforces traditional gender roles (and hence the
dominant ideology), you need to describe what you saw in the
ad, and explicitly tell us why and how it does that.
The focus of this assignment is to analyze media content. Thus,
in your papers, there should be very little detailed and elaborate
recounting of what you saw. Instead, you should spend most of
your time analyzing the content. In grading this type of
analysis, the emphasis is on your insight, appropriate
application of course concepts, and depth and sophistication of
the arguments presented (a separate grading rubric will be

5. distributed later).
PROJECT GUIDELINES
One of the best ways to “see” media at work is to analyze in it
firsthand. For this paper, you will understand media
representations through content analysis and using examples in
the media to find evidence to a research inquiry that is both
empirically and socially valuable.
Choose one form of media from the following list for your
research. You may select from:
MEDIA
SAMPLE SIZE
Song lyrics
at least 30 (must then include all the lyrics)
Music videos
at least 15
TV shows
at least 5 episodes (1 hour) or 10 episodes of 30 minutes
Movies
at least 4
Magazine ads
at least 50 (include actual ads)
News articles
at least 15 (include a copy of the articles)
Television commercials
at least 30
YouTube Videos
at least 15
**Any other suggestions, must receive permission by the
instructor beforehand.
Be careful about how you choose your media (movies, TV
shows, etc.) as you want to be able to find substantial evidence
to make a valid finding. You can narrow your selection by
certain criteria (which you’ll talk about in your methods) such

6. as a specific time frame, highest ratings or movies based on a
certain theme. Some good sites to utilize to narrow your search
are: www.imdb.com (Internet Movie Database); www.tv.com;
www.vaio.com; www.filmsite.org; www.watch-movies.net
• Decide on a research question. Choose a question that both
interests you and you can feasibly research. Think about what
you want to look at with regards to mass media.
• Create a codebook. This is a method of recording what you
specifically want to look at. The codebook needs to be done
BEFORE you begin the final coding and examining of your
media sample.
• Watch your movies/listen to your songs/look at your ads. As
you do so, you will fill out your coding sheet, writing down
evidences you notice.
• Analyze your coding sheets. What patterns do you see?
What stood out? What do the patterns mean? THEN…
In about 8-12 pages, address the following sections. Use these
headings.
I. Introduction (about 2page)
· Introduce your research topic and why you chose it.
· Explicitly state your research question(s).
· What makes this topic sociologically important?
II. Methods (about 2-3 page): Content Analysis
· Introduce the titles of the sources you analyzed and provide
rationales (be specific; for example, if three different
magazines, which ones, which month/year and why?) What
criteria did you use to select your sample? How did you decide
on which movies to watch?
· How did you collect the data? (i.e., how did you record your

7. observations?) What specifically did you look at? What were
the categories on your codebook?
· How did you then organize your data?
· Did you run into difficulties in your data collection? What are
the limitations of doing this kind of research? What are the
limitations to this study specifically?
III. Findings and Analysis (about 6-7 pages)
Findings = description of patterns found; Analysis = what do
the patterns mean?
This section should be the main part of your paper.
· Discuss any patterns you found and/or relationships between
aspects with regards to your research inquiry (eg. messages,
assumptions, representations of race, class, gender, etc.)
· Organize this section according to the themes or patterns you
found (using subheadings). Use some specific examples from
your data to support the themes.
· Connect to communication. How might your findings relate to
a media/mass comm theory discussed in class?
· So what? What do these patterns tell you about society? What
local and global consequences do they have? What message or
dominant ideology is being promoted?
IV. Conclusion (about 1 page)
· This should summarize the major points of your paper. What
conclusions can you draw from your research?
· What further questions about your research inquiry need to be
explored? (If someone else was to do a similar study, what

8. should they look at?)
V. APPENDIX (separate page)
· Include a list of the movies watched, magazine ads or song
lyrics with details of dates, year, artist etc., and your codebook.
IMPORTANT NOTES ABOUT YOUR PAPER:
· Papers must be typed, double spaced with 12 pt. font and one-
inch margins. Please page number your paper.
· Attach your completed/filled out coding sheets to the back of
your paper. (Note: even if you are analyzing song lyrics or
magazine advertisements, you should be constructing a coding
sheet about themes/patterns you are seeing).
“DOING SOCIOLOGY” FINAL PROJECT CHECKLIST
Please check:
· My margins, font size and spacing are correct
· I numbered my pages
· I used headings and sub-headings
· I included an appendix with a list of the media I used
· I included my codebook in an appendix
· I included a bibliography (if sources referenced)
· I reviewed my paper for spelling and grammatical errors
Grading Rubric for the Paper
Grading Components
Expectations

9. Points
Research topic and research questions
· The research topic is clearly stated with articulation of the
purpose and scope (5)
· There is explicit statement of the sociocultural impact of the
issue (5)
· The research topic is further operationalized through more
concrete and specific research questions. (5)
· The research questions are suitable to be answered via content
analysis of media materials. (5)
20
Content analysis and codebook
· Selection of media materials reflects strategic thinking based
on research topic and research questions (5)
· The codebook is relevant to the research topic and includes
effective coding labels for the exploring research inquiries (10)
· The coding labels and coding categories reflect layered and in-
depth analysis of media content (15)
· The write-up of the method part is clear, concise, to-the-point,
and explicit (10)
40
Results and findings
· The results are reported logically and clearly with concrete
evidence and specific examples backing them up (10)
· The results entail responses to the research questions (10)
· The results are synthesized into themes and patterns that
facilitate more holistic understanding toward the research
inquiries (10)
· The results and findings shed light for further understanding

10. and explanation of mass media content (10)
40
Discussion and conclusion
· The key points/conclusions/arguments of the media analysis
study are recapped (6)
· There is discussion about the implications and significance of
your study (8)
· State how future research, based on your analysis, can further
explore this range of media analysis (8)
20
Language and writing
· Typos and grammatical errors are reduced to the minimum
· Language is thoughtfully and clearly written that facilitates
readability and comprehension
20
Organization and Logics
· Logical flow exists between sentences, points, and paragraphs
· Overall structure reflects careful and purposeful formatting,
with headings assisting navigation
10
Appendix A
A list of media materials coded and analyzed
-5 if absent
Appendix B
Complete codebook
-10 if absent
1. DOING THE RESEARCH
2. WRITING THE PAPER

11. Caitlin Estlow
7.16.2019
COMM 1021
Modern family vs The Brady Bunch TV Shows Codebook
TV Shows: Modern Family vs The Brady Bunch
Research: Family norms and family structures.
Has society become more accepting of new family lifestyles?
Collection of Data: With this codebook I am going to look into
the two specific TV shows the Brady Bunch (1969-1974) and
Modern Family (2009 to current).
Characters: On the Brady Bunch we see the pattern of white
blonde hair blue eyed kids and a few brunette children. There is
the husband, his wife, their maid, and of course the kids. Carol
Brady has three daughters she brought to this family while
Mike, the husband had three boys of his own prior to meeting
Carol. This was the first step in blended families. Families
outside of the traditional Mom, Dad and biological kids.
On Modern Family we have a much more diverse/blended
families. Just on the main characters alone we have Mitchell
and Cameron (a gay couple) who have adopted Lily. Claire and
Phil have two girls and a boy. And then there is Jay and Gloria.
Jay and Gloria were both previously married. Gloria has a son
(Manny) from her previous relationship with Javier. They also
had a child together, Fulgencia. Jay and Gloria seem very
opposite but have come together to create a blended family.
Cast:
The Brady Bunch:
· 1 Main characters
· 1 Mike Brady
· 2 Carol Brady
· 3 Greg Brady

12. · 4 Marcia Brady
· 5 Peter Brady
· 6 Jan Brady
· 7 Bobby Brady
· 8 Cindy Brady
· 9 Alice Nelson
· 2 Notable recurring characters
· 1 Sam Franklin
· 2 Cousin Oliver
Modern Family:
· 1 Main Cast
· 2 The Dunphy family
· 1 Phil Dunphy
· 2 Claire Dunphy
· 3 Haley Marshall
· 4 Alex Dunphy
· 5 Luke Dunphy
· 3 The Pritchett-Delgado family
· 1 Jay Pritchett
· 2 Gloria Pritchett
· 3 Manny Delgado
· 4 Joe Pritchett
· 5 Stella
· 4 The Tucker-Pritchett family
· 1 Mitchell Pritchett (Mitch)
· 2 Cameron Tucker (Cam)
· 3 Lily Tucker-Pritchett
· 4 Larry
· 5 Other family members
· 1 Overview
· 2 DeDe Pritchett
· 3 Frank Dunphy
· 4 Javier Delgado
· 5 Barb Tucker
· 6 Donnie Pritchett

13. · 7 Merle Tucker
· 8 Pilar Ramirez
· 9 Sonia Ramirez
· 10 Pam Tucker
· 11 Dylan Marshall
Race: While the Brady bunch had more of a “white” American
early 70s vibe. The Modern family cast is much more diverse.
You can see the transition in family blending between the two
shows. While The Brady bunch was white American while the
Modern family has a majority white cast but has sprinkled in
some Hispanic cast members and even a few season in there are
African American and Asian characters.
Life Style: The Brady bunch was two heterosexual people (Mike
and Carol) who found each other and remarried. They have
Alice the maid, who you really cannot pin down her sexual
preference and seems to be single as their live in maid. Not the
norm for 1970 but still pretty normal in family structures.
Husband, wife and kids.
Modern family looks more into blended family. I mean this by
the gay couple who adopted a little girl. The divorced couple
who finds each other and has a child together all while still
dealing with exes and step children. And then the regular
Dunphy family (husband, wife and kids). One thing is for sure
all of these families might be different but all have something
in common that has brought them all together.
Name: Caitlin
Labels
Expectations
Points
Visual Aid
· Visual aids are well-formatted and informative enough to
facilitate presentation of the study. (5) 5

14. · Visual aids supplement verbal delivery, that the two align well
with each other and are not distractive of each other. (5) 5
10
· Good work! The visual aids can be more vivid with inclusion
of more pictures and illustrations.
Verbal Delivery and presentational style
· Verbal delivery has satisfactory level of diction, volume, and
vocal variety. Verbal delivery is extemporaneous and engaging
with complete sentence structure. (5) 5
· Students dress in presentable attire and present in professional
manner with confidence and composure. Students engage in
good posture, effective hand gestures, and frequent and even
eye contact to the audience. (5) 0 no video
10
· You are very articulate!
· The delivery is very extemporaneous with great vocal energy!
Study design, analytical effort, and clarity
· All parts of the study are reviewed in the presentation (i.e.
introduction, method, findings, and discussions). (5) 4
· The study design reflects clear understanding of the purpose
and application of media content analysis. (5) 4
· The presentation has great logical flow, which facilitates easy
understanding of and navigation through various sections and
main points. (5) 3
· Presentation of findings and discussions are meaningful and
purposeful, leave the audience with something to think about
the reviewed media content. (5) 4
20
· You need to make stronger connection between the findings
and your methodological effort. Right now, it is a bit hard for
the audience to know the coding process you go through to

15. extract the themes and patterns.
· The TV shows are reviewed, yet it is hard to say that they
have been systematically analyzed. Try to walk the readers
through the analytical effort you took to get to your
conclusions.
· The findings are actually very interesting, layered, and
meaningful. It would be nice if they are backed up with actual
coding evidences.
Organization, Flow, and Transitions
· Preview and signposts are present and are further
corresponded by subsequent slides. (5) 4
· Transitions and connective phrases are used between points
and sections to enhance overall flow of the presentation. (5) 4
10
· A nice preview can be included in the beginning lay out the
structure of the presentation and the study.
38/50
Name: Caitlin
Labels
Expectations
Points
Visual Aid
· Visual aids are well-formatted and informative enough to
facilitate presentation of the study. (5) 5
· Visual aids supplement verbal delivery, that the two align well
with each other and are not distractive of each other. (5) 5
10
· Good work! The visual aids can be more vivid with inclusion
of more pictures and illustrations.

16. Verbal Delivery and presentational style
· Verbal delivery has satisfactory level of diction, volume, and
vocal variety. Verbal delivery is extemporaneous and engaging
with complete sentence structure. (5) 5
· Students dress in presentable attire and present in professional
manner with confidence and composure. Students engage in
good posture, effective hand gestures, and frequent and even
eye contact to the audience. (5) 0 no video
10
· You are very articulate!
· The delivery is very extemporaneous with great vocal energy!
Study design, analytical effort, and clarity
· All parts of the study are reviewed in the presentation (i.e.
introduction, method, findings, and discussions). (5) 4
· The study design reflects clear understanding of the purpose
and application of media content analysis. (5) 4
· The presentation has great logical flow, which facilitates easy
understanding of and navigation through various sections and
main points. (5) 3
· Presentation of findings and discussions are meaningful and
purposeful, leave the audience with something to think about
the reviewed media content. (5) 4
20
· You need to make stronger connection between the findings
and your methodological effort. Right now, it is a bit hard for
the audience to know the coding process you go through to
extract the themes and patterns.
· The TV shows are reviewed, yet it is hard to say that they
have been systematically analyzed. Try to walk the readers
through the analytical effort you took to get to your
conclusions.
· The findings are actually very interesting, layered, and

17. meaningful. It would be nice if they are backed up with actual
coding evidences.
Organization, Flow, and Transitions
· Preview and signposts are present and are further
corresponded by subsequent slides. (5) 4
· Transitions and connective phrases are used between points
and sections to enhance overall flow of the presentation. (5) 4
10
· A nice preview can be included in the beginning lay out the
structure of the presentation and the study.
38/50
Families on Television:
Now and Then
By: Caitlin estlow
Research Questions
How have families changed on television?
Have they changed that much over the years?
Compare and contrast through coding (The Brady Bunch and
Modern Family)
Changes in family structure
The Brady Bunch was our first look at a non traditional family.
Mike and Carol had children from previous relationships.

18. They then move in together to create this blended family.
This was one of the first shows that showed blended families
and the idea that you could love again after divorce or being a
widow.
Changes in family structure
Modern family is just that, a modern day family.
There are a number different blended families from a
homosexual couple, step kids, mixed ethnicities under one roof.
Modern family shows us how far we have come as a society.
Spousal interaction
Even spousal interaction is different from 1970 to now.
Carol Brady was very sweet and traditional mom.
I don’t think we ever witnessed Carol arguing with Mike.
The Brady’s were happy go lucky.
Minimal issues.
Spousal Interaction
Modern families is very different from the Brady Bunch.
Times have changed very much from 1970 to now.
Modern family shows modern issues.
Spouses argue.
Some episodes are even based around spousal conflict.
Women take on husband like characteristics. (Claire being a
CEO)

19. Parenting techniques
Parenting and children have changed over the years.
The worst thing that happened in the Brady Bunch was Cindy’s
doll went missing.
Mike and Carol did not point fingers and let the kids figure out
what happened to the missing doll.
This then turned into an empowering and learning moment for
the kids.
Parenting techniques
Modern family is a little different when it comes to parenting.
Peer-ing was introduced early on by Phil Dunphy. The idea
behind this is act like a parent talk like a peer.
Parents need “me time”.
Children have changed over the years. There is more issues like
drugs, sex, and attitudes.
Modern family addresses these issues with relatable scenarios.
relationships
Mike and Carol were a seemingly perfect couple.
A great chemistry.
Effortlessly parenting biological kids and step kids.
Relationships

20. Families on TV:
Now and then
Analyze a contemporary show to the Brady bunch
Characteristics that can be compare
Occupations
Ages
Race
Lifestyles
Relationships with others
conclusion
Diverse family structures in Modern Family.
Families have changed with time.
Blended families.
Caitlin Estlow
7.16.2019
COMM 1021
Modern family vs The Brady Bunch TV Shows Codebook

21. TV Shows: Modern Family vs The Brady Bunch
Research: Family norms and family structures.
Has society become more accepting of new family lifestyles?
Collection of Data: With this codebook I am going to look into
the two specific TV shows the Brady Bunch (1969-1974) and
Modern Family (2009 to current).
Characters: On the Brady Bunch we see the pattern of white
blonde hair blue eyed kids and a few brunette children. There is
the husband, his wife, their maid, and of course the kids. Carol
Brady has three daughters she brought to this family while
Mike, the husband had three boys of his own prior to meeting
Carol. This was the first step in blended families. Families
outside of the traditional Mom, Dad and biological kids.
On Modern Family we have a much more diverse/blended
families. Just on the main characters alone we have Mitchell
and Cameron (a gay couple) who have adopted Lily. Claire and
Phil have two girls and a boy. And then there is Jay and Gloria.
Jay and Gloria were both previously married. Gloria has a son
(Manny) from her previous relationship with Javier. They also
had a child together, Fulgencia. Jay and Gloria seem very
opposite but have come together to create a blended family.
Cast:
The Brady Bunch:
· 1 Main characters
· 1 Mike Brady
· 2 Carol Brady
· 3 Greg Brady
· 4 Marcia Brady
· 5 Peter Brady
· 6 Jan Brady
· 7 Bobby Brady
· 8 Cindy Brady
· 9 Alice Nelson
· 2 Notable recurring characters
· 1 Sam Franklin
· 2 Cousin Oliver

22. Modern Family:
· 1 Main Cast
· 2 The Dunphy family
· 1 Phil Dunphy
· 2 Claire Dunphy
· 3 Haley Marshall
· 4 Alex Dunphy
· 5 Luke Dunphy
· 3 The Pritchett-Delgado family
· 1 Jay Pritchett
· 2 Gloria Pritchett
· 3 Manny Delgado
· 4 Joe Pritchett
· 5 Stella
· 4 The Tucker-Pritchett family
· 1 Mitchell Pritchett (Mitch)
· 2 Cameron Tucker (Cam)
· 3 Lily Tucker-Pritchett
· 4 Larry
· 5 Other family members
· 1 Overview
· 2 DeDe Pritchett
· 3 Frank Dunphy
· 4 Javier Delgado
· 5 Barb Tucker
· 6 Donnie Pritchett
· 7 Merle Tucker
· 8 Pilar Ramirez
· 9 Sonia Ramirez
· 10 Pam Tucker
· 11 Dylan Marshall
Race: While the Brady bunch had more of a “white” American
early 70s vibe. The Modern family cast is much more diverse.
You can see the transition in family blending between the two

23. shows. While The Brady bunch was white American while the
Modern family has a majority white cast but has sprinkled in
some Hispanic cast members and even a few season in there are
African American and Asian characters.
Life Style: The Brady bunch was two heterosexual people (Mike
and Carol) who found each other and remarried. They have
Alice the maid, who you really cannot pin down her sexual
preference and seems to be single as their live in maid. Not the
norm for 1970 but still pretty normal in family structures.
Husband, wife and kids.
Modern family looks more into blended family. I mean this by
the gay couple who adopted a little girl. The divorced couple
who finds each other and has a child together all while still
dealing with exes and step children. And then the regular
Dunphy family (husband, wife and kids). One thing is for sure
all of these families might be different but all have something
in common that has brought them all together.
1
James Bond 007 Analysis Codebook
Kimberly A. Neuendorf, Ph.D.
Patrika Janstova
Sharon Snyder-Suhy
Vito Flitt
School of Communication, Cleveland State University
&
Thomas D. Gore, M.A.

24. School of Communication Studies, Kent State University
March 9, 2006
Unit of Data Collection: Each female character depicted in each
Bond film who speaks in the
film to any other character, or who does not speak but is
introduced by another character, or who
does not speak but is shown and referred to by another
character, or is shown in close-up (i.e.,
head shot or head and shoulders shot), or engages in any
codable sexual behavior, or experiences
codable physical harm. When judging whether the female
characters speaks or is referred to, the
coder must be able to both hear the female character and see
that character’s mouth moving as
she speaks, or must hear her name when she is introduced or
referred to. In addition, only
females that appear over the age of 18 will be coded (no
teenagers or children).
Other Coding Instructions:
Do not code the opening or closing credits.
For all coding, use only the information available to you as a
viewer (i.e., do not use information
you might have as a fan of Bond films, a fan of a particular
actor, etc.).
Code a female character’s use of weapons/target of weapons
only from the point at which she
becomes a codable character. That is, if early in the film, a
group of undifferentiated (and

25. uncodable) females are carrying guns, and then later one of
them becomes codable because she
kisses Bond, do not go back and code her earlier gun-carrying
behavior.
Also, if information about a female character changes
throughout the film (e.g., she gets her hair
cut), code the character as she is at the end of the film (this rule
does not apply to item 4.).
Finally, please code with the DVD subtitles/closed captioning
(English) on.
2
Film ID: On each code sheet write the film’s ID number from
the following list and write a
brief shortened title of the Bond film.
Film
ID
Film Title Year of Film Actor Portraying Bond
1 Dr No 1962 Sean Connery
2 From Russia With Love 1963 Sean Connery
3 Goldfinger 1964 Sean Connery
4 Thunderball 1965 Sean Connery
5 You Only Live Twice 1967 Sean Connery
6 On Her Majesty's Secret Service 1969 George Lazenby
7 Diamonds Are Forever 1971 Sean Connery
8 Live and Let Die 1973 Roger Moore
9 The Man With the Golden Gun 1974 Roger Moore
10 The Spy Who Loved Me 1977 Roger Moore

26. 11 Moonraker 1979 Roger Moore
12 For Your Eyes Only 1981 Roger Moore
13 Octopussy 1983 Roger Moore
14 A View to a Kill 1985 Roger Moore
15 The Living Daylights 1987 Timothy Dalton
16 License to Kill 1989 Timothy Dalton
17 GoldenEye 1995 Pierce Brosnan
18 Tomorrow Never Dies 1997 Pierce Brosnan
19 The World is Not Enough 1999 Pierce Brosnan
20 Die Another Day 2002 Pierce Brosnan
Coder ID: Indicate the individual who coded according to the
coder ID list. For example, if
Sharon was the coder she would indicate 7 by Coder ID.
Coder ID Coder Name
1 Amy
2 Han
3 Kim
4 Marcie
5 Patrika
6 Renee
7 Sharon
8 Tom
9 Vito
10 Zlatko
Date: Fill in the date that the coding form was completed, in the
following format:
Month/Day/Year (e.g., 11/15/05).
Page Number: Indicate the page number for that particular film
in the following fashion: “Page
__2__ of __2__” when there are 2 pages total for that particular
film.

27. Year of Film: Please indicate the year the film was released.
The coder can refer to the Film ID
table above.
3
Bond ID: Give each actor portraying Bond an ID. (The coder
can refer to the Film ID table.)
Code in the following manner:
1. Sean Connery
2. George Lazenby
3. Roger Moore
4. Timothy Dalton
5. Pierce Brosnan
1. Female Character Name/Description: If the character’s name
is provided, list this name
(e.g., Octopussy, Holly Goodhead, Tiffany Case, or Pussy
Galore, etc.). If the character’s name
is not provided give a brief and discriminating description of
the character (e.g., the front counter
girl with blond hair and red dress).
2. Female Character ID: Give each character a unique number,
beginning with 1 and
proceeding upward without duplication within each film. These
numbers should correspond to
the characters’ first appearance in the film. That is, the first
codable female in Goldfinger will be
1, the second codable female who appears will be 2, and so
forth. The first codable female in
Octopussy will be 1, the second will be 2, and so on.
3. Role: Indicate whether the female character has a minor,

28. medium or a major part in the Bond
film.
1. Minor: If in the film the female character is peripheral to the
action, having five or fewer
lines (complete sentences or phrases that are part of a dialogue),
then the character will be
listed as minor.
2. Medium: If in the film the female character has more than
five lines, but does not appear to
be a major character.
3. Major: If in the film the female character is featured in a
significant portion of the film (e.g.,
the film’s “Bond girl”) then the character will be listed as
major.
4. Good or Bad: Indicate whether the female’s character
changes during the film. Example:
Does she appear to be a bad character in the beginning of the
film but by the end of the film turns
good?
1. Starts off as good but turns bad
2. Starts off as bad but turns good
3. Is bad throughout the entire film
4. Is good throughout the entire film
99. Unable to determine
5. Chronological Age: report or estimate the character’s
chronological age in years. Record a
single figure, not a range. If unable to determine, code as 99.

29. 6. Race: Write in the number corresponding with the apparent
racial identification of the
character.
1. Caucasian
2. African-American, African
3. Asian
4. Native-American (including Eskimo and those of Native
South American, Native Central
American, and Native Mexican extraction)
5. Arab – Middle Eastern
88. Other
4
7. Hispanic Ethnicity: Indicate whether the female charter is of
Hispanic background (i.e.,
from a family with its roots in the Spanish-speaking cultures of
Mexico, Central America, South
America, relevant countries in the Caribbean, and Spain).
1. Hispanic
2. Not Hispanic
8. Accent: Indicate the female character’s accent
1. U.S. (All accents derived from U.S. including: standard,
Southern, Boston, New York)
2. European
3. Asian
4. Middle Eastern
5. Hispanic
88. Other

30. 9. Hair color: Indicate what color hair the female character has.
1. Blonde (all shades from the palest blond to dark blonde)
2. Red (all shades from the lightest red to deep red)
3. Light Brown (mostly brown with some blonde highlights)
4. Medium Brown (brown with no blonde highlights)
5. Dark Brown (brown and almost appearing black)
6. Black
7. Gray (all or predominantly gray)
8. White (i.e., as found in older adults, not bleached)
88. Other
99. Unable to determine
10. Hair Length: Indicate the length of the female character’s
hair according to the following
categories:
1. Short (hair lies above or just past female’s ears)
2. Medium (hair lies at or just above or just below female’s
shoulders)
3. Long (hair lies to the middle of female’s back)
4. Very long (hair lies past females waist)
99. Unable to determine hair length
11. Hair Style: Indicate the style of the female character’s hair
according to the following
categories:
1. Straight (hair appears to be straight)
2. Wavy (hair appears to have some waves and is not completely
straight but not totally curly)
3. Curly (hair appears to have mostly curls)
4. Afro (hair appears to have very tight curls)
99. Unable to determine hairstyle
12. Glasses: Indicate whether the female character is shown
wearing glasses all the time, some
of the time, or never. This does not include sunglasses unless
they appear to be prescription.

31. 0. Never wears glasses
1. Wears glasses intermittently (occasionally wears glasses,
e.g., for reading)
2. Wears glasses all of the time
13. Height: Indicate whether the female character is tall (5’ 8”
or more), medium
(5’ 4” – 5’ 7”), or short (5’ 3” or less). Assess this with the
assumption that Bond is
approximately 6 feet tall.
1. Tall
5
2. Medium
3. Short
99.Character is always seated, never stands up
14. Body Size: (from Thompson & Gray, 1995). Using the
female figures below, indicate the
number that best matches the body-shape of the female
character’s body shape.
15. Physical Appearance: Indicate whether the female character
is extremely attractive
(professional model status), attractive (very pleasant looking,
above average), average (pleasant
looking but average in looks), below average (not pleasant
looking, below average looks),
extremely unattractive (extremely non-pleasant looking, or
considered ugly).
1. Extremely Attractive

32. 2. Attractive
3. Average
4. Below Average
5. Extremely Unattractive
16. Verbal Expressions of Love toward Bond: Indicate whether
a female character in any part
of the film verbally refers to her own feelings of love toward
James Bond.
0. No, does not refer to loving Bond
1. Yes, refers to loving Bond and appears to mean it
2. Yes, refers to loving Bond but lies
17. & 18. Sexual Contacts with Bond: Count and indicate the
amount of sexual contact the
character shares with Bond. Mild sexual contact is defined as
kissing while standing or seated.
Strong sexual contact is defined as implied sexual activity, with
the characters appearing to
have had or about to have some form of direct sexual contact.
Record the number of occurrences
of each type for each female character (e.g., If a female kisses
Bond twice, it would be coded as
mild sexual contact with Bond = 2 (occurred twice); If there
was no strong sexual contact with
Bond, it would be coded as strong sexual contact with Bond =
0.)
19. & 20. Sexual Contacts with Non-Bond Protagonist(s):
Count and indicate the amount of
sexual contact the character shares with protagonist(s) (i.e.,
“good guys”) other than Bond. Mild
sexual contact is defined as kissing while standing or seated.
Strong sexual contact is defined
as implied sexual activity, with the characters appearing to have

33. had or about to have some form
of direct sexual contact. Record the number of occurrences of
each type for each female
character.
21. & 22. Sexual Contacts with Non-Bond Antagonist(s):
Indicate the amount of sexual
contact the character shares with any antagonist(s) (i.e., “bad
guys”). Mild sexual contact is
defined as kissing while standing or seated. Strong sexual
contact is defined as implied sexual
6
activity, with the characters appearing to have had or about to
have some form of direct sexual
contact. Record the number of occurrences of each type for
each female character.
23. & 24. Physical Harm from Bond: Indicate the amount of
physical harm experienced by a
female character by the actions of James Bond. Mild physical
harm is defined as harm that hurt
the female, but will not maim or kill her—e.g., the female
character is slapped, punched, pushed,
hair pulled, kicked or thrown down. Strong physical harm is
defined as harm that has a high
probability of resulting in severe harm or death—e.g., extreme
beating, burned, strangled,
drowned, poisoned, suffocated, stabbed, shot, eaten by sharks/or
piranhas, blown up, pushed out
window and/or plane, and anything else which results in death
or near death. Code the number
of occurrences of each (e.g., Mild = 2; Strong =0). If no harm
of any type is experienced by the

34. female as a result of Bond’s actions, code 0 for both.
25. & 26. Physical Harm from Female Protagonist(s): Indicate
the amount of physical harm
experienced by a female character by the actions of female
protagonist(s) (i.e., “good girls”)
Mild physical harm is defined as harm that hurt the female, but
will not maim or kill her—e.g.,
the female character is slapped, punched, pushed, hair pulled,
kicked or thrown down. Strong
physical harm is defined as harm that has a high probability of
resulting in severe harm or
death—e.g., extreme beating, burned, strangled, drowned,
poisoned, suffocated, stabbed, shot,
eaten by sharks/or piranhas, blown up, pushed out window
and/or plane, and anything else which
results in death or near death. Code the number of occurrences
of each (e.g., Mild = 2; Strong
=0). If no harm of any type is experienced by the female as a
result of the actions of non-Bond
protagonists, code 0 for both.
27. & 28. Physical Harm from Non-Bond Male Protagonist(s):
Indicate the amount of
physical harm experienced by a female character by the actions
of male protagonist(s) (i.e.,
“good guys”) other than James Bond. Mild physical harm is
defined as harm that hurt the
female, but will not maim or kill her—e.g., the female character
is slapped, punched, pushed,
hair pulled, kicked or thrown down. Strong physical harm is
defined as harm that has a high
probability of resulting in severe harm or death—e.g., extreme
beating, burned, strangled,
drowned, poisoned, suffocated, stabbed, shot, eaten by sharks/or
piranhas, blown up, pushed out

35. window and/or plane, and anything else which results in death
or near death. Code the number
of occurrences of each (e.g., Mild = 2; Strong =0). If no harm of
any type is experienced by the
female as a result of the actions of non-Bond protagonists, code
0 for both.
29. & 30. Physical Harm from Female Antagonist(s): Indicate
the amount of physical harm
experienced by a female character by the actions of female
antagonist(s) (i.e., “bad girls”).
Mild physical harm is defined as harm that hurt the female, but
will not maim or kill her—e.g.,
the female character is slapped, punched, pushed, hair pulled,
kicked or thrown down. Strong
physical harm is defined as harm that has a high probability of
resulting in severe harm or
death—e.g., extreme beating, burned, strangled, drowned,
poisoned, suffocated, stabbed, shot,
eaten by sharks/or piranhas, blown up, pushed out window
and/or plane, and anything else which
results in death or near death. Code the number of occurrences
of each (e.g., Mild = 2; Strong
=0). If no harm of any type is experienced by the female as a
result of the actions of antagonists,
code 0 for both.
31. & 32. Physical Harm from Male Antagonist(s): Indicate the
amount of physical harm
experienced by a female character by the actions of male
antagonist(s) (i.e., “bad guys”). Mild
physical harm is defined as harm that hurt the female, but will
not maim or kill her—e.g., the
female character is slapped, punched, pushed, hair pulled,
kicked or thrown down. Strong
physical harm is defined as harm that has a high probability of

36. resulting in severe harm or
death—e.g., extreme beating, burned, strangled, drowned,
poisoned, suffocated, stabbed, shot,
7
eaten by sharks/or piranhas, blown up, pushed out window
and/or plane, and anything else
which results in death or near death. Code the number of
occurrences of each (e.g., Mild = 2;
Strong =0). If no harm of any type is experienced by the female
as a result of the actions of
antagonists, code 0 for both.
33. Attempt to Kill Bond: Indicate whether a female character
attempts to kill Bond, and
whether this occurs in any proximity to a Bond sexual
encounter.
0. Does not try to kill Bond
1. Tries to kill Bond before sexual activity (foreplay)
2. Tries to kill Bond during sexual activity
3. Tries to kill Bond shortly after sexual activity
4. Attempts to kill Bond but there was no sexual activity in
proximity to the attempt
99. Unable to determine
34. Weapons used by Female Characters: Indicate which
weapon(s) the female character has
in her possession at any point in the film after she becomes
codable, and how she uses or does
not use them.
34.1. Gun

37. 0. Female does not have a gun
1. Female has it, but does not use it
2. Female uses it
34.2. Blunt object weapon
0. Female does not have a blunt object weapon
1. Female has it, but does not use it
2. Female uses it
34.3. Sharp object weapon
0. Female does not have a sharp object weapon
1. Female has it, but does not use it
2. Female uses it
34.4. Poison
0. Female does not have poison
1. Female has it, but does not use it
2. Female uses it
34.5. Explosives
0. Female does not have explosives
1. Female has them, but does not use them
2. Female uses them
34.6. Animals as weapons
0. Female does not have “animal weapons”

38. 1. Female has it/them, but does not use them
2. Female uses it/them
34.7. Hand-to-hand combat (e.g., martial arts, strangulation)
0. Female does not display ability to engage in HTH combat
1. Female displays ability, but does not use it
2. Female uses HTH techniques
8
35. Weapons used against Female Characters: Now, indicate
whether each type of weapon is
used against that female at any point in the film after she
becomes codable.
35.1. Gun
0. No gun is used against female
1. Gun is used against female
35.2. Blunt object weapon
0. No blunt object weapon is used against female
1. Blunt object is used against female
35.3. Sharp object weapon
0. No sharp object weapon is used against female
1. Sharp object weapon is used against female

39. 35.4. Poison
0. No poison is used against female
1. Poison is used against female
35.5. Explosives
0. No explosives are used against female
1. Explosives are used against female
35.6. Animals as weapons
0. No animal(s) are used as weapon(s) against female
1. Animal(s) are used against female
35.7. Hand-to-hand combat (e.g., martial arts, strangulation)
0. No HTH combat is used against female
1. HTH combat is used against female
36. Consequence at End of Film: For each female characters
coded indicate her status at the
end of the film in the following manner:
1. Alive and appears to continue on with Bond
2. Presumed alive but not with Bond
3. Presumed dead
4. Explicitly shown to be dead
88. Other

40. 9
James Bond Film Coding Form—2006 (2/15/06) Page
_______ of _______
Film ID ______ Film Title_________________ Coder ID
__________Date __________
Year of Film ____________ Bond ID _________________
1. Female Character Name
and/or description
2. Female Character ID
3. Role
4. Good or Bad
5. Chronological Age
6. Race
7. Hispanic Ethnicity
8. Accent
9. Hair Color
10. Hair Length
11. Hair Style
12. Glasses
13. Height
14. Body Size
15. Physical Appearance
16. Verbal Expressions of Love for Bond
17. Mild Sexual Contacts with Bond
18. Strong Sexual Contacts with Bond
19. Mild Sexual Contacts with NB Protagonist(s)
20. Strong Sexual Contacts with NB Protagonist(s)

41. 21. Mild Sexual Contacts with Antagonist(s)
22. Strong Sexual Contacts with Antagonist(s)
23. Mild Physical Harm from Bond
24. Strong Physical Harm from Bond
25. Mild Physical Harm from Female Protags
26. Strong Physical Harm from Female Protags
27. Mild Physical Harm from NB Male Protags
28. Strong Physical Harm from NB Male Protags
29. Mild Physical Harm from Female Antags
30. Strong Physical Harm from Female Antags
31. Mild Physical Harm from Male Antags
32. Strong Physical Harm from Male Antags
33. Attempts to Kill Bond
34. Female Use of Weapons: -------- -------- -------- --------
34.1. Gun
34.2. Blunt object weapon
34.3. Sharp object weapon
34.4. Poison
34.5. Explosives
34.6. Animals
34.7. HTH Combat
35. Weapons used Against Females: -------- -------- -------- ------
--
35.1. Gun
35.2. Blunt object weapon
35.3. Sharp object weapon
35.4. Poison
35.5. Explosives
35.6. Animals
35.7. HTH Combat
36. Consequences at End of Film