In their classic analysis of the James Bond phenomenon, Bennett and Woollacott argue that the release of Goldfinger in 1964 “saw the establishment of the Bond films as a distinctive sub-genre” and further highlight how the notion of the “Bondian” was deployed by those involved in their production as “a specific formula, a specific genre of film” (8, 179-180). This seminar presentation will investigate some of the critical and theoretical issues surrounding the construction of Bond as film genre by turning its lens onto a body of works located outside the official, authorized tradition, specifically the Bond-type thrillers produced by Shaw Brothers Studio in the mid to late 1960s. The problem of genre as it relates to Shaw’s Bonds will be explored on two related fronts. First, the notion of the Bond film as genre will be used to analyze how genre functions with respect to the films’ context of production and their encoded systems of meaning. This will be followed by a consideration of how the discursively constructed and textually enacted generic connections to the authorized tradition of Bond films mask and conceal other transnational and intertextual relationships and processes of remaking. The presentation will conclude by discussing the significance of these analytical observations in understanding the role of genre in canon formation and the transnational consumption of globalized popular culture.