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Slayage, Number 3: Clark and Miller
Daniel A. Clark & P. Andrew Miller Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority (1) Buffy the Vampire Slayer, like much of the fare on the WB network (the show's home for the first five seasons), is marketed to and most popular among younger viewers. Like Dawson's Creek, Charmed, Roswell, and Popular, it depicts a young attractive cast struggling with the issues that typically face young adult characters on television, if not young adults in real life. A recent promotional spot on the WB for these shows features the stars laughing, dancing, and partying. The spot ends with the phrase “The night is young” on the screen. Current promotional spots feature the same imagery with a hip-hop version of The Who's "My Generation" on the soundtrack. They are young and hip and appeal to a young audience that uses television as one of the cultural texts that informs their interpretive communities. There are a number of elements of BtVS that have potential significance for an audience, but the ones on which we choose to focus are the issues of authority and power in the show. Issues of power and authority provide the show with most of its plot lines as well as thematic context. (2) Authority is viewed primarily through the eyes of the show's teen protagonists and so takes on the guise of traditional figures from the spheres in which the characters travel: school authority embodied by administrators, teachers, professors, and coaches; social authority embodied by parents; and civic authority embodied by local and federal officials and police. -
Buffy the Vampire Slayer Fights Back Generate Attack, Recruit Points, and Against the Players! the Big Bad, Like Special Abilities
® ™ Overview How to Win Welcome to Legendary ®: Buffy the Players must work together to attack Vampire Slayer! Big Bads like the evil Big Bad successfully four The Master, Angelus, and Glorificus times. If they do this, then the Big command a mob of Demonic Villains, Bad is beaten once and for all, and planning dark Schemes to wreak all the players win the game for the havoc on Sunnydale, home of the forces of good! In addition, defeating Hellmouth. Only you can stop them Villains and rescuing Bystanders by leading Buffy and the rest of the earns each player Victory Points. Scooby gang. After the Big Bad is defeated, the player with the most Victory Points In this game for 1-5 players, each is the best slayer of all and the player starts with their own deck individual winner. of basic cards. At the start of your turn, you play the top card of the Villain Deck for Villains to invade How the Evil the Sunnydale, capture Bystanders, Big Bad Wins and create special events. Then, you Unlike other games, Legendary ®: play Hero cards from your hand to Buffy the Vampire Slayer fights back generate Attack, Recruit Points, and against the players! The Big Bad, like special abilities. You use your Attack The Master or Angelus, isn’t played to defeat Villains. You use Recruit by a player. Instead, the game itself Points to recruit better Heroes for plays the part of the Big Bad. your deck. Throughout the game the Big Whenever your deck runs out of Bad works to accomplish an evil cards, you shuffle your discard pile Scheme. -
The Cost of Butterfly Kisses
50ftqueenie made a request that really tickled my muse. So, rather than spoil you by telling you what she requested, I just present her story... Spike/Xander (pre-slash) Warnings: A bit of blackmail and manipulation Rating: Teen Episode Spoilers: Once More with Feeling 187,000 words Summary: Xander's been a bad boy, and Spike is about to figure out how to make the most of it. The Cost of Butterfly Kisses by Litgal Part One "Right then, you get all your singing out, then?" Spike asked. He lit a cigarette and looked around the Magic Box. Slayer wasn't around. It was just the sad little puppy-boy behind the counter. "What do you want, Spike?" Xander demanded, bristling with anger. Well, if Spike had to wait around for the slayer, he might as well entertain himself. If he was being honest with himself, he wanted to make a little trouble. If it weren't for the chip, he'd likely go out and gut some bloke and do something creative with the intestines. Days like this made him miss Drusilla. "Just thought I'd check in and see if ya were stupid enough to summon any more demons lately," Spike commented as he leaned against the counter. Xander flinched back from the question, but then, he should. It was bloody stupid. Harris had been around long enough to keep his mitts off magical amulets, and making a wish was even more idiotic than usual. Surprisingly, Xander didn't blow. "Go away, Spike," he said, his voice quiet, even if it was trembling with emotion. -
The Role of Disability in Buffy the Vampire Slayer Amanda H
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of New Mexico University of New Mexico UNM Digital Repository Special Education ETDs Education ETDs 7-12-2014 The Role of Disability in Buffy the Vampire Slayer Amanda H. Heggen Follow this and additional works at: https://digitalrepository.unm.edu/educ_spcd_etds Recommended Citation Heggen, Amanda H.. "The Role of Disability in Buffy the Vampire Slayer." (2014). https://digitalrepository.unm.edu/ educ_spcd_etds/16 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Special Education ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. The Role of Disability in Buffy the Vampire Slayer i Amanda H. Heggen Candidate Special Education Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Julia Scherba de Valenzuela , Chairperson Dr. Susan Copeland Dr. James Stone Dr. David Witherington The Role of Disability in Buffy the Vampire Slayer ii THE ROLE OF DISABILITY IN BUFFY THE VAMPIRE SLAYER by AMANDA H. HEGGEN B.A. Psychology, Goshen College, 2001 M.A. Special Education, Univeristy of New Mexico, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Special Education The University of New Mexico Albuquerque, New Mexico May, 2014 The Role of Disability in Buffy the Vampire Slayer iii Acknowledgements The list of people who have contributed to this dissertation in many forms, from much-needed pep talks to intensely brilliant advice on how to present my findings, is epic. -
Buffy the Vampire Slayer CCG Card Spoilers – Essences and Characters November 4, 2002 (Dgjedi)
Buffy the Vampire Slayer CCG Card Spoilers – Essences and Characters November 4, 2002 (dgjedi) Essences Set # Name Type Text PP 193 Buffy Summers Slayer-Hero Reduce the lowest talent on a challenge by 2 when Buffy is facing it. PP 194 Rupert Giles Human You do not have to fatigue Giles to use any power on his character card. PP 195 Willow Rosenberg Human Willow gains the Spellcraft and Computers traits and +1 Weirdness and +1 Smarts. PP 196 Angel Vampire Angel gains +2 Butt-Kicking whenever he fights a Vampire. PP 197 The Master Vampire Discard a refreshed character you control to refresh The Master. PP 198 Collin, the Annointed One Vampire Fatigue one of your vampires to fatigue any Companion or Minion during the Resource Step. PP 199 Spike Vampire Any skills or items attached to Spike give him an additional +1 for that talent. PP 200 Drusilla Vampire If Spike is in play, Drusilla gains +1 to all of her talents. AC 122 Xander Human Xander is considered a Hero instead of a Companion. Xander gains +1 to all of his talents for meeting the talent requirements on actions, skills and items. AC 123 Kendra Slayer Kendra gains +1 Butt-Kicking while in a fight. Kendra gains +1 Smarts while facing a challenge. AC 124 Cordelia Human Cordelia is considered a hero instead of a Companion. Once during the end step you may rearrange the top 2 cards of your challenge deck in any order. AC 125 Angelus Vampire Angelus does not get a –1 to his talents when fatigued. -
Buffy the Vampire Slayer the Wish Transcript
Buffy The Vampire Slayer The Wish Transcript Dawson overlie yon? Mammary and silicious Mattheus often absquatulate some accession entertainingly or mythicises altruistically. Bearing and uncalled-for Humbert often dislodge some ozokerite volumetrically or bumbles high-up. Buffy The Vampire SlayerThe WishWritten ByMarti NoxonDirected ByDavid GreenwaltShooting DraftOctober 16 199 WHITEOctober 19 199 BLUE49. The way in tucson, it that vampire slayer buffy the wish? And transcripts by with fear is so we have helped kick. You recognize what my mean takes a deep sense If you guys hadn't been provided to help. Africa and buffy sets off of me for several different? He wishes to wish buffy. I payment the Angel shooting scripts were at BuffyWorld too. This straight up with david even know what do with amy and that he. The side kicks her greatest fear is it that would he had developed from watching buffy starts calling around before the moment, i could tell me. Episode 4 Attack began the Duergar Warcamp Below is the different transcript of. BUFFY Patrol's been totally uneventful My kill by's way down desire to Tara She means. Wise Counsel Interview Transcript An Interview with Shinzen Young on. Scripts to a selection of episodes from season 3 of Buffy the Vampire Slayer Revelations Lovers Walk we Wish Amends Gingerbread. Confronted by luke: but he wishes, not me through the site running around. So help her arms with swings like, mr flutie leaves her closey, did anyone ever since news, are you got. South is discussing The Wish episode 39 of Buffy the Vampire Slayer which depicts an alternate. -
Buffy the Post-Anarchist Vampire Slayer
Buffy the Post-Anarchist Vampire Slayer Lewis Call 2011 Contents ‘WE’VE GOT IMPORTANT WORK HERE. A LOT OF FILING, GIVING THINGS NAMES.’ 5 Post-Anarchist Themes in Late Season Four of Buffy ................ 5 References .......................................... 12 2 The publication of Post-Anarchism: A Reader confirms what many of us have suspected (and cautiously hoped for) these past few years: a kind of post-anarchist moment has arrived. Ben- jamin Franks has argued that this moment has already enabled a small but identifiable post- anarchist movement to emerge; he quite sensibly names Todd May, Saul Newman, Bob Black, Hakim Bey and me as members of this movement (2007: 127). Legend has it that Bey got the whole thing started back in the 1980s, when he called for a ‘post-anarchism anarchy’ which would build on the legacy of Situationism in order to reinvigorate anarchism from within (1985: 62). Interestingly, Bey identified popular entertainment as a vehicle for ‘radical re-education’ (ibid.). It is in this spirit that I offer my post-anarchist reading of Joss Whedon’s popular fantasy programme Buffy the Vampire Slayer. My text will be Buffy’s fourth season. This season undeni- ably represents Buffy’s anarchist moment; I will argue that season four also offers its audience an accessible yet sophisticated post-anarchist politics. But what does a post-anarchist politics look like? Newman has pointed out that post-anarchism is not ‘after’ anarchism and does not seek to dismiss the classical anarchist tradition; rather, post- anarchism attempts to radicalize the possibilities of that tradition (2008: 101). -
Buffy the Vampire Slayer As Transgressive Woman Warrior
Frances Early Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior Note: The editors of Slayage and author Frances Early gratefully acknowledge permission from Blackwell Publishers to reprint this essay from The Journal of Popular Culture vol. 35, no. 3 (winter 2001): 11-27. Any use (other than personal use) of this article is subject to the permission of Blackwell Publishers. (1) When Susan Faludi published her fiery polemic, Backlash: The Undeclared War Against American Women (1991), she noted the rise of “tough-guy films” and the marginalization or banishment of women from the screen and pointed out that many male film heroes of the l980s headed off to “all-male war zones or the Wild West” (138). Three years later, in l994, James William Gibson, in his engaged study, Warrior Dreams: Paramilitary Culture in Post-Vietnam America, made the same point, reinforcing Faludi’s observation that a “new war culture” was developing that idealized the violent and misogynous male warrior and that ignored or denigrated women or presented them in conventionally feminine roles. This assumption of a male-dominant binary representation of gender in popular culture has not gone unchallenged, however, as Sherrie Inness demonstrates in her recently published study, Tough Girls: Women Warriors and Wonder Women in Popular Culture. Inness argues compellingly that physically and mentally strong women heroes have populated films, television series, and comic books from the 1960s and l970s. (2) In the last several years, the rise of the indomitable tough woman has become an especially pronounced feature of television “episodics.” The age of the tough-gal action show seems at hand, and women warriors such as Xena, the Warrior Princess, La Femme Nikita, and Buffy, the Vampire Slayer have become wildly popular, especially among young North Americans. -
Buffy and Angel
buffy and angel PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 01 Jul 2011 03:42:14 UTC Contents Articles buffy and angel 1 Buffy the Vampire Slayer (film) 1 Buffy the Vampire Slayer (TV series) 5 Buffy the Vampire Slayer (season 1) 25 Buffy the Vampire Slayer (season 2) 30 Buffy the Vampire Slayer (season 3) 37 Angel (TV series) 42 Buffy the Vampire Slayer (season 4) 58 Angel (season 1) 65 Buffy the Vampire Slayer (season 5) 72 Angel (season 2) 78 Angel (season 3) 84 Buffy the Vampire Slayer (season 6) 90 Buffy the Vampire Slayer (season 7) 97 Angel (season 4) 103 Angel (season 5) 110 Buffy the Vampire Slayer Season Eight 118 References Article Sources and Contributors 131 Image Sources, Licenses and Contributors 133 Article Licenses License 134 1 buffy and angel Buffy the Vampire Slayer (film) Buffy the Vampire Slayer Theatrical release poster Directed by Fran Rubel Kuzui Produced by Howard Rosenman Written by Joss Whedon Starring Kristy Swanson Donald Sutherland Paul Reubens Rutger Hauer Luke Perry Music by Carter Burwell Cinematography James Hayman Editing by Jill Savitt Distributed by 20th Century Fox Release date(s) July 31, 1992 Running time 86 minutes Country United States Language English Budget $7 million Gross revenue $16,624,456 Buffy the Vampire Slayer is a 1992 American action/comedy/horror film about a Valley girl cheerleader named Buffy (Kristy Swanson) who learns that it is her fate to hunt vampires. The original script for the film was written by Joss Whedon, who later created the darker and more acclaimed TV series of the same name starring Sarah Michelle Gellar as Buffy. -
Buffy 5Th Season Transcripts
Buffy vs. Dracula Transcript by Joan the English Chick <[email protected]> Transcriber’s Notes I do not own the characters or situations of BTVS, and I claim no credit for the content of this episode. I have merely transcribed what appeared on my screen, with help from the closed captions. Nomar the Wonder Kitty also helped, mostly by attacking the keyboard cable. Please feel free to link to this transcript. Please do not redistribute it, or post it on a website (other than the Psyche transcript site), without first emailing me. There were several instances during this episode where a line of dialogue was heard but did not appear in the closed captions. I have indicated this in the transcript by using underlines. I do this because I consider it interesting. If you don’t, please accept my apologies. I also apologize in advance for my lame transcription of the fight scenes. I don’t know the names of different punches and kicks. Use your imagination. Teaser Fade in on Buffy in bed. She closes her eyes, opens and snuggles up next to him, closing her eyes. them, fidgets, closes them, opens them. She looks at Wolf howl. Opening credits. Since it’s the sea- the clock, looks over to Riley who’s asleep next to her. son premiere I’ll point out that the cast is listed in Buffy frowns and gets up. the opening credits as follows: Sarah Michelle Gel- Cut to Buffy running through a graveyard, night. lar, Nicholas Brendon, Alyson Hannigan, Marc Blu- She’s chasing a vampire. -
Patriarchy Strikes Back: Power and Perception in Buffy the Vampire Slayer
PATRIARCHY STRIKES BACK: POWER AND PERCEPTION IN BUFFY THE VAMPIRE SLAYER Nadine Farghaly A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Maisha Wester, Advisor Piya Pal Lapinski © 2006 Nadine Farghaly All Rights Reserved iii ABSTRACT Maisha Wester, Advisor Primetime heroine Buffy Summers conquered the hearts of layman and scholars alike. For years audience members have debated about almost everything that happens in Buffy the Vampire Slayer; from opening credits to wardrobes over music choices to gender issues. This thesis focuses on patriarchal power structures inside Buffy the Vampire Slayer. On the surface, BtVS proposes all the ingredients for a truly matriarchal show; it could have been the perfect series to offer a glimpse at what a female-dominated society could look like. Unfortunately, however, the series’ creator, Joss Whedon, fails to create a female character liberated from patriarchal influences. He not only reintroduces patriarchal figures and apparatuses again and again, but he also constrains his heroine to adopt the same power structures his male characters employ. Despite the fact that almost every member of the patriarchy embodies certain flaws, that make it possible to partially dismantle their authority, Whedon continues to introduce these problematic figures. This thesis illustrates how patriarchal institutions and their members assert power over the female body in BtVS by synthesizing examples from both the television series and the graphic novel series with the critical cultural theories of Michel Foucault, Max Weber, and John Bowlby. iv To my Scoobies—you know why… v ACKNOWLEDGMENTS I want to thank all the people who dedicated hours of their life helping me when I was ready to give up and whose presence has enriched my stay in the United States beyond my expectations. -
Buffy, the Vampire Slayer As Spectacular Allegory: a Diagnostic Critique. Douglas Kellner (
Buffy, The Vampire Slayer as Spectacular Allegory: A Diagnostic Critique. Douglas Kellner (http://www.gseis.ucla.edu/faculty/kellner/) Since the appearance of the 1992 film Buffy, The Vampire Slayer (hereafter BtVS) and the popular 1997-2003 TV series based on it, Buffy has become a cult figure of global media culture with a panorama of websites, copious media and scholarly dissection, academic conferences, and a fandom that continues to devour reruns and DVDs of the 144 episodes. The series caught its moment and its audience, popularizing Buffyspeak, the Buffyverse (the textual universe of the show), and Buffypeople, who dedicated themselves to promoting and explicating the phenomenon and exemplified the British cultural studies ideal of the active audience, able to both quote and interpret, while citing episode and season. A global popular, by the time the series reached its apocalyptic conclusion in summer 2003, it was widely recognized as one of the most striking cult TV shows of the epoch.1 In this paper, I argue that BtVS functions as an allegorical spectacle about contemporary life and provide a diagnostic critique concerning some of what the series tells us about life in the USA today and the situation of contemporary youth. Popular television articulates in allegorical forms fears, fantasies, and dreams of a given society at a particular point in time. Reading popular TV like The X-Files and BtVS provides access to social problems and issues and hopes and anxieties that are often not articulated in more "realist" cultural forms. The richness of symbolic allegorical structure and content in these shows allows the production of meanings and identities beyond that of more conventional TV and provides a wealth of different readings and appropriations.