Buffy the Vampire Slayer Season 8 Library Edition Volume 1 Pdf, Epub, Ebook
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Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction. -
Buffy & Angel Watching Order
Start with: End with: BtVS 11 Welcome to the Hellmouth Angel 41 Deep Down BtVS 11 The Harvest Angel 41 Ground State BtVS 11 Witch Angel 41 The House Always Wins BtVS 11 Teacher's Pet Angel 41 Slouching Toward Bethlehem BtVS 12 Never Kill a Boy on the First Date Angel 42 Supersymmetry BtVS 12 The Pack Angel 42 Spin the Bottle BtVS 12 Angel Angel 42 Apocalypse, Nowish BtVS 12 I, Robot... You, Jane Angel 42 Habeas Corpses BtVS 13 The Puppet Show Angel 43 Long Day's Journey BtVS 13 Nightmares Angel 43 Awakening BtVS 13 Out of Mind, Out of Sight Angel 43 Soulless BtVS 13 Prophecy Girl Angel 44 Calvary Angel 44 Salvage BtVS 21 When She Was Bad Angel 44 Release BtVS 21 Some Assembly Required Angel 44 Orpheus BtVS 21 School Hard Angel 45 Players BtVS 21 Inca Mummy Girl Angel 45 Inside Out BtVS 22 Reptile Boy Angel 45 Shiny Happy People BtVS 22 Halloween Angel 45 The Magic Bullet BtVS 22 Lie to Me Angel 46 Sacrifice BtVS 22 The Dark Age Angel 46 Peace Out BtVS 23 What's My Line, Part One Angel 46 Home BtVS 23 What's My Line, Part Two BtVS 23 Ted BtVS 71 Lessons BtVS 23 Bad Eggs BtVS 71 Beneath You BtVS 24 Surprise BtVS 71 Same Time, Same Place BtVS 24 Innocence BtVS 71 Help BtVS 24 Phases BtVS 72 Selfless BtVS 24 Bewitched, Bothered and Bewildered BtVS 72 Him BtVS 25 Passion BtVS 72 Conversations with Dead People BtVS 25 Killed by Death BtVS 72 Sleeper BtVS 25 I Only Have Eyes for You BtVS 73 Never Leave Me BtVS 25 Go Fish BtVS 73 Bring on the Night BtVS 26 Becoming, Part One BtVS 73 Showtime BtVS 26 Becoming, Part Two BtVS 74 Potential BtVS 74 -
So Many Traps to Set: Subversions and Subversiveness in Profit
254 GRAAT On-Line issue #6 December 2009 “So many traps to set”: subversion and subversiveness in Profit1 Jean Du Verger Université René Descartes - Paris V. Profit, created by David Greenwalt and John McNamara, produced by Stephen J. Cannell and starring Adrian Pasdar as Jim Profit, was first aired on Fox Broadcasting Company in April 1996 and axed after just four episodes2 (out of the eight originally filmed and scheduled). Probably one of the most controversial and category-defying television serials ever, it portrays Jim Profit, a ruthless and ambitious junior executive, whose hidden agenda is progressively unveiled as he climbs the corporate ladder of the multinational conglomerate Gracen & Gracen (G&G). While throwing into sharp relief the shadowy recesses of corporate America, the series also distorts the dominant ideological and aesthetic patterns of traditional television series, as it develops a subversive discourse on American society. Profit mirrors the complex cultural currents and counter currents that run through American society, provocatively depicting such aspects as the workplace, family values and sexuality. Profit is probably one of the most tantalizing and riveting dramas in television‘s recent history, not only on account of the themes it discusses, but because of its reversal of traditional televisual codes, which contributes to the viewer‘s entrapment in a complex and elaborate narrative structure. This paper will, therefore, discuss the narratological implications of the show‘s Chinese box narrative pattern, highlighting the way in which it subverts the traditional textual structures of television series. I will then examine the camera‘s discourse which, in conveying an impression of fragmentation, imparts a puzzle-like 255 dimension to the narrative overall. -
Death As a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 7 Whedon 2020 Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer Gaelle Abalea Independant Scholar, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the American Popular Culture Commons, Literature in English, British Isles Commons, and the Other Film and Media Studies Commons Recommended Citation Abalea, Gaelle (2020) "Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 7. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/7 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Abalea: Death as a Gift in Tolkien and Whedon's Buffy DEATH AS A GIFT IN J.R.R TOLKIEN’S WORK AND BUFFY THE VAMPIRE SLAYER “Love will bring you to your gift” is what Buffy is told by a spiritual being under the guise of the First Slayer in the Episode “Intervention” (5.18). The young woman is intrigued and tries to learn more about her gift. The audience is hooked as well: a gift in this show could be a very powerful artefact, like a medieval weapon, and as Buffy has to vanquish a Goddess in this season, the viewers are waiting for the guide to bring out the guns. -
Kwartalnik Neofilol. 2-18.Indd
KWARTALNIK NEOFILOLOGICZNY, LXV, 2/2018 R FIONA HAYWARD (INDEPENDENT ACADEMIC) BUFFY THE VAMPIRE SLAYER. THE MAIDEN IS DEATH: DEATH IS HER GIFT1 ABSTRACT Buffy The Vampire Slayer was a television series broadcast from 1997 to 2003. The narrative follows the heroine, Buffy Summers, ostensibly a normal teen, however she is also the latest in a long line of Slayers. Death is a gift of the Slayer. The three facets of this gift point to the conclusion that Buffy, the Maiden, is Death. KEYWORDS: Buffy, vampire slayer, death, maiden, quest, gift STRESZCZENIE Buffy The Vampire Slayer jest serialem telewizyjnym, który był wyświetlany w latach 1997–2003. Fabuła śledzi losy bohaterki, Buffy Summers, pozornie przeciętnej nastolatki, która jednakże jest najmłodszym przedstawicielem rodu Slayers – Pogromców. Śmierć jest ich “darem”. Wiele aspektów tego “daru” prowadzi do podsumowania, że Buffy – dziewica – jest Śmiercią. SŁOWA KLUCZOWE: Buffy, pogromczyni wampirów, śmierć, dziewica, misja, dar INTRODUCTION ‘Death is what I live and breathe’. (Potential. S7E12) It is at the live, beating heart of who Buffy Summers is. Buffy Summers, a lightweight, sunny, Valley Girl name but Buffy is The Slayer, the heart of darkness. Take away the weapons, take away her friends, take away hope, strip back all the wit and banter, and what is left is the very image of Death, because that is what The Slayer is. Buffy challenges many filmic conventions – in horror the pretty blonde is the victim of the vampires; Buffy subverts that with deliberate intent. Joss Whedon is often quoted as saying he wanted to explore what it would be like for the vampire 1 I would like to thank and acknowledge the encouragement of Fiona Papps, the editorial assistance of Meg Hayward and Joanna Wlochal for the Polish translation. -
Opposing Buffy
Opposing Buffy: Power, Responsibility and the Narrative Function of the Big Bad in Buffy Vampire Slayer By Joseph Lipsett B.A Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research In partial fulfillment of the requirements for the degree of Masters of Arts in Film Studies Carleton University, Ottawa, Ontario April 25, 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-16430-3 Our file Notre reference ISBN: 978-0-494-16430-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Joss Whedon's Commentaries on the Buffy the Vampire Slayer Dvds
“Emotional Resonance and Rocket Launchers”: Joss Whedon’s Commentaries on the Buffy the Vampire Slayer DVDs I think everybody who makes movies should be forced to do television. Because you have to finish. You have to get it done, and there are a lot of decisions made just for the sake of making decisions. You do something because it’s efficient and because it gets the story told and it connects to the audience. Joss Whedon, Interview in The Watcher’s Guide, Vol. 2 (323) The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers. Joss Whedon, Audio Commentary for “Innocence” (1) According to an old witticism (credited to, of all people, Otto von Bismarck), “Laws are like sausages, it is better not to see them being made.” Perhaps television shows and movies should be added to the list. The magic we so often experience as members of the audience of both media may well not be visible on the production set. With the advent of the DVD, however, we are now often given the opportunity to peek behind the curtain and see the wizard for what he is, especially when the wizard does the audio commentary. On the DVD releases of Buffy the Vampire Slayer’s first and second seasons, the great and powerful Joss Whedon speaks over the two part pilot, “Welcome to the Hellmouth” and “The Harvest” (1001 and 1002; hereafter “Hellmouth” and “Harvest” respectively) and “Innocence” (2014), and in the process we are given the opportunity to see through his eyes how Buffy was made. -
A Terminologia Da Série Grimm: Uma Análise Com Base Em Corpus Paralelo Inglês/Português
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE LETRAS DEPARTAMENTO DE LÍNGUAS ESTRANGEIRAS E TRADUÇÃO LÍNGUAS ESTRANGEIRAS APLICADAS AO MULTILINGUISMO E À SOCIEDADE DA INFORMAÇÃO ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. BRASÍLIA – DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Orientador: Prof. Dr. Marcos de Campos Carneiro. BRASÍLIA - DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Brasília, 06 de dezembro de 2019. BANCA EXAMINADORA Prof. Dr. Marcos de Campos Carneiro (orientador) (LET/UNB) Profª. Drª. Helena Santiago Vigata (LET/UNB) Prof. Dr. Thiago Blanch Pires (LET/UNB) AGRADECIMENTOS A Deus, primeiramente, por ter me dado forças, inteligência e capacidade para vencer mais essa fase da minha vida. Mesmo com todas as dificuldades e percalços enfrentados nesses cinco anos de curso, só tenho a agradecer por todas as benções que recebi nesses anos. Na tentativa de conduzir esta pesquisa, em suas várias etapas de desenvolvimento, surgiram diversas incertezas e desafios, com os quais só pude lidar devido às contribuições diretas e indiretas de vários parceiros. -
Slayer and Signal: Joss Whedon Versus the Big Bads." Nerd Ecology: Defending the Earth with Unpopular Culture
Lioi, Anthony. "Slayer and Signal: Joss Whedon Versus the Big Bads." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 145–168. Environmental Cultures. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 01:18 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Slayer and Signal: Joss Whedon Versus the Big Bads In which I argue that Buffy the Vampire Slayer confronts the problem of world-destruction in a California haunted by demons that suburbia refuses to acknowledge. It is a work of advanced nerdism whereby freaks and geeks become aware of their capacity for self-and-world-defense. Here, nerd culture considers what new tropes, plots, and characters are necessary to resist the Powers of predation and eugenics. Buffy figures these forces as demonic Powers in the Pauline sense: the spirits of broken social institutions that attempt to destroy the nerd. Chief among these demons is Gender, the system of norms that dictates what good boys and girls must do to please the Powers. The story of the Slayer begins with a solitary female messiah doomed to destroy vampires and be destroyed in turn; it evolves into a narrative of alliance in which rejected children defend the world by moving into the queer, the uncanny, and the monstrous. Buffy’s creator, Joss Whedon, extended his exploration of the effluvial and the degenerate through his space Western, Firefly/ Serenity, in which a band of misfits uncovers a government conspiracy to hide the poisoning of a planet, Miranda. -
UNIT 4 CINEMA the Cinema, Like the Detective Story, Makes It Possible To
UNIT 4 CINEMA The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life. Carl Jung Before you start doing the main activities of this unit, brush up on active vocabulary to the topic. Exercise 1. Answer t:e following questions: 1. Do you like watching films? Why? / Why not? How often do you… a) go to the cinema, b) rent DVDs, c) buy DVDs, d) watch films on TV? 2. What’s your favourite film? Why do you like it? Who stars in it? Who directed it? How many times have you seen it? Does it hold any special memories for you? Can you tell the plot in thirty seconds? What genre(s) of films do you a) love, b) hate? Why 3. Have you got a video camera? What do you use it for? Why do people make home movies? Which is more special, a home movie or a photo? Why? 4. Would you like to work in the film industry? Why? / Why not? Which job(s) do you think are the most rewarding? Why? Do you prefer to watch films made in your country, or Hollywood movies? Why? 5. Have you ever downloaded a film from the internet – either legally or illegally? How do you prefer to watch films, and why? Have you ever watched a film on… a) a plasma TV, b) a very large IMAX screen, c) an iPod? Compare these experiences to watching films on a normal TV.