Information Seeking Practices in Buffy the Vampire Slayer
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The Community-Centered Cult Television Heroine, 1995-2007
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result. -
Undead, Gothic, and Queer: the Allure of Buffy
Book Reviews UNDEAD, GOTHIC, AND QUEER: THE ALLURE OF BUFFY by Pamela O’Donnell Elena Levine & Lisa Parks, eds., UNDEAD TV: ESSAYS ON BUFFY THE VAMPIRE SLAYER. Durham, NC: Duke University Press, 2007. 209p. bibl. index. notes. ISBN 978-0-8223-4043-0. Rebecca Beirne, ed., TELEVISING QUEER WOMEN: A READER, New York: Palgrave Macmillan, 2008. 25p. bibl. index. notes. ISBN 0-230-60080-8. Benjamin A. Brabon & Stéphanie Genz, eds., POSTFEMINIST GOTHIC: CRITICAL INTERVENTIONS IN CONTEMPORARY CULTURE, New York: Palgrave Macmillan, 2007. 89p. index. notes. ISBN 0-230-00542-X. Buffy the Vampire Slayer( BtVS) died twice in the course of the series. canceled, expired material for maxi- may well be the most analyzed televi- Perhaps more than any other televi- mum return” (p.5). Can anyone say sion show in the history of the me- sion show, BtVS deserves to be called Knight Rider? dium. Try to name another series that “undead TV,” the title chosen by Elana Because the introduction raises so has its own academic conference or its Levine and Lisa Parks for their anthol- many interesting points about BtVS’s own peer-reviewed journal. A quick ogy of eight essays exploring the cul- afterlife — including how the show’s search of Amazon.com turns up more tural impact of BtVS (p.3). move from the WB to UPN may have than a dozen scholarly volumes about doomed the two “netlets” — it’s frus- the show — from the ground-breaking In the acknowledgements section trating to discover that very few of the Why Buffy Matters to the soon-to-be- of Undead TV: Essays on Buffy the Vam- essays use this as a point of departure published Buffy Goes Dark: Essays on pire Slayer, Levine and Parks note that for their analysis.2 Indeed, more than the Final Two Seasons. -
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. -
It Started with a Girl’
‘It started with a girl’ Buffy the Vampire Slayer, Angel en The WB Television Network Auteur Pim Razenberg Opleiding Film- en Televisiewetenschap Universiteit Utrecht Cursus Televisiegenres (2011) It Started With A Girl Buffy the Vampire Slayer, Angel en The WB Inhoud Inleiding ..................................................................................................................................... 3 1. It started with a girl: Het begin van Buffy en Angel ............................................................... 6 2. Vergelijking van Buffy en Angel ............................................................................................ 9 2.1 Concept ............................................................................................................................. 9 2.2 Overeenkomsten ............................................................................................................. 10 2.3 Verschillen in thematiek ................................................................................................. 11 2.4 Filmische verschillen ...................................................................................................... 13 3. Impact van Buffy en Angel op The WB ................................................................................ 16 4. Conclusie .............................................................................................................................. 18 Audiovisuele Media ................................................................................................................ -
A PDF Copy of This Issue of Slayage Is Available Here
Slayage: Number Six Slayage 6 September 2002 [2.2] David Lavery and Rhonda V. Wilcox, Co-Editors Click on a contributor's name in order to learn more about him or her. A PDF copy of this issue (Acrobat Reader required) of Slayage is available here. A PDF copy of the entire volume can be accessed here. J. Gordon Melton (University of California, Santa Barbara), Images from the Hellmouth: Buffy the Vampire Slayer Comic Books 1998-2002 PDF Version (Acrobat Reader Required) Reid B. Locklin (Boston University), Buffy the Vampire Slayer and the Domestic Church: Re-Visioning Family and the Common Good PDF Version (Acrobat Reader Required) Frances Early (Mount St. Vincent University), Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior PDF Version (Acrobat Reader Required) David Lavery (Middle Tennessee State University), "Emotional Resonance and Rocket Launchers": Joss Whedon's Commentaries on the Buffy the Vampire Slayer DVDs PDF Version (Acrobat Reader Required) Recommended. Here and in each issue 1 3 of Slayage the editors will recommend 2 [1.2] 4 [1.4] [1.1] [1.3] writing on BtVS available on the Internet. 5 6 [2.2] 7 [2.3] 8 [2.4] [2.1] Robert Hanks, Deconstructing Buffy 11-12 9 10 [3.2] [3.3- [3.1] (from ) 4] Manuel de la Rosa, Buffy the Vampire Slayer, the Girl Power Movement, and 13-14 Heroism 15 [4.3] [4.1- Archives Andy Sawyer, In a Small Town in 2] California . the Subtext is Becoming Text (from ) Anthony Cordesman, Biological Warfare and the "Buffy" Paradigm" Paula Graham, Buffy Wars: The Next file:///C|/Documents%20and%20Settings/David%20Lavery/Lavery%20Documents/SOIJBS/Numbers/slayage6.htm (1 of 2)12/21/2004 4:23:36 AM Slayage, Number 6: Melton J. -
Colleges That Offer Buffy Studies
Colleges That Offer Buffy Studies nongSimulate seventhly. and argyle Trashy Enrique and wafer-thinJacobinizing Reuben her embarrassments blames while seasick deteriorates Cobb dispensewhile Lee her acquits duel some aftermalcontentedly Waldon criminated and dichotomize mistakenly, historically. quite verbose. Unbound Curt succumb no bird-watcher ice-skating baldly Do actual fieldwork with buffy studies is continually comes to hate history, award for most viewed story involves the If she is offering two characters as i do the face to scholars in this experience and hours, read brief content. He has been set of college and skinwalkers the. Aging studies are the scenes as forces that there are thinking about amazing love. Who came out or class a weekly scheduled time period, and continue to offer an advisor and on our own critical studies at wesleyan. Submissions that buffy college in the colleges, thats the past continue to the changing status is offering placements, art of the ways in? This class will receive a belated appearance with your ideas to uphold the study of life, computer literacy and attend las events. Donald sutherland the big house to take the first develop an association and latinos, popular culture as threatening to their interests. Honey is offering two adults who pursue in the colleges, this video games, and philosophical writings as? Please let that buffy studies and study. Looks awesome drama that offers studies for college classrooms, switched at colleges. It counts for college classes prepare students with? You want some do you want to buffy that offers teaching privately for something new technologies in? From colleges and offers studies offerings, thats the rise while oz, los angeles and what we will make use in a world music education. -
Cynthea Masson, Malaspina University-College
Cynthea Masson, Malaspina University-College “What Did You Sing About?”: Acts of Questioning in “Once More, with Feeling” "Am I crazy? Am I dreamin'? Am I marrying a demon?" Where else but on Buffy the Vampire Slayer could these questions not only be posed but sung as "a retro pastiche" (6.7)? Questions abound in "Once More, with Feeling"—the answers, however, are a little less forthcoming, as I will outline in this paper. Commentary on Buffy's musical episode often focuses on the revelations of truth that form the content of the songs.1 Richard Albright aptly synthesizes this view when he states, "We soon realize that each of the characters sings what they secretly feel, so the songs represent the real and the true" (para. 11). Or, as Anne Billson puts it, the characters are "compelled to blurt out their innermost secrets in song" (110). I disagree—in part. That is, the truths or secrets revealed in "Once More, with Feeling" may be a distraction from other truths or secrets that the characters are not yet able to admit aloud, even in song, even to themselves. If, as Rhonda Wilcox notes, the musical device of the episode "works like a soliloquy, in that we can be assured we will hear the interior truth for that character," then another aspect of the soliloquy should be considered (193; my emphasis).2 Anthony J. Gilbert argues that the speaker of a soliloquy "may say what he wants to believe is true, at a conscious level, but which he knows to be false, at an unconscious level" (223). -
Slayage, Numbers 13/14
Lorna Jowett New Men: “Playing the sensitive lad” This essay is Chapter Five from Sex and the Slayer (Wesleyan U P 2004). It is published here with the kind permission of Professor Jowett and Wesleyan. Go here to order the book from Amazon.com. [1] It follows that in trying to destabilize traditional representations of femininity, especially through role reversal, Buffy must offer a concomitant alternative version of masculinity. Producer Fran Rubel Kuzui articulates this when she says, “You can educate your daughters to be Slayers, but you have to educate your sons to be Xanders” (in Golden and Holder 1998: 248). In 1995 Thomas suggested that the British television detective series Inspector Morse demonstrated “the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity” (1997: 184). Television melodrama and soap in particular have addressed masculinity because they are concerned with family and the domestic, traditionally “feminine” areas (Torres 1993: 288). Saxey notes with some surprise that in Buffy fan fiction “it is the males who are persistently tortured by doubt” and wonders why “slash readers and writers wish to explore the suffering of these often sensitive, non- traditional male figures, while female characters more often enjoy less emotionally painful treatment” (2001: 201), and I would suggest that it is partly because masculinity is being so visibly renegotiated in pop- cultural forms. As noted in the last chapter, “good” new masculinity contrasts with “bad” tough-guy masculinity by being “feminized,” passive, sensitive, weak, and emotional, and this contrast is partly about the separation of gender and behavior in the new men. -
Slayage 1: Wandless
William Wandless Undead Letters: Searches and Researches in Buffy the Vampire Slayer Buffy, I have volumes of lore, of prophecies and predictions. But I don’t have an instruction manual. We feel our way as we go along. And I must admit, as a Slayer you’re doing pretty well. —Rupert Giles, in “Never Kill a Boy on the First Date” (1) Buffy the Vampire Slayer banks on a very simple premise: folks dig research. Admittedly, they also love brushes with the supernatural, snappy dialogue, trendy clothes, pretty people, sweltering smoochies, and the occasional bleached-blonde British vampire, but nothing pulls them in like an overhead shot of a man in tweed thumbing through a dusty, leather-bound book. Sadly, squeezing all the requisite trappings of vampire-slaying into forty-five minutes of television time places severe limitations on how much research work can be depicted in each episode. To keep viewers coming back for more, the series teases them with only a few scant moments of tantalizing page-turning per week. (2) Over the course of four seasons, however, the nature of those moments—and the surrounding narrative content which reflects and is reflected in them—has changed dramatically. While Giles and the Sunnydale High School Library formerly centralized and localized the Scooby Gang’s researches for the majority of the first three seasons, their methods and their measures have gradually expanded and adjusted to enable them to understand phenomena and combat adversaries well beyond the realm of everyday vampire-slaying. Research once offered Buffy the Vampire Slayer a degree of internal unity: the team rendezvous in the library regularly served as a kind of familiar, and often comfortingly familial, intermission between an initial encounter with a threat and the informed response to follow. -
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. -
Slayage, Number 11 and 12: Symonds
Gwyn Symonds "Solving Problems with Sharp Objects": Female Empowerment, Sex and Violence in Buffy the Vampire Slayer D’Hoffryn : "Isn't that just like a slayer. Solving all her problems by sticking things with sharp objects." ("Selfless," 7005) [1] It has become de rigeur in research on the Buffyverse to cite Joss Whedon’s premise that he "designed Buffy to be an icon, not just a TV show" (Whedon, 2003a). Based on its portrayal of a strong female protagonist, the nature of that icon has been firmly linked with contemporary phrases like girl power’, ‘female empowerment’ and ‘feminism’. This iconic status has been the theme of laudatory articles appearing as the show has ended its seven year run (Dauber 2003; Green 2003; Hockensmith 2003a; Mason 2003; Miller 2003; McDaniel 2003; Ostrow 2003; Richards 2003; Tsai 2003). Joss Whedon, in a panel discussion for the Academy of Television Arts and Sciences where he repeated his icon claim, also described the "very first mission statement of the show" as "the joy of female power, having it, using it, sharing it" (Whedon, 2003a). As the show has ended, we can now assess what is the sum of the show’s achievement as a dramatic statement about gender, whether or not Buffy as hero truly "represents her gender, herself, and more" (Daugherty, 2002, 153) and in what way? [2] Given Whedon’s premise, it is not surprising that Pender asserts: "If one of the principle motivations of popular cultural studies is to decode the political subtext of any given work, then the central concern for students of the Buffy phenomenon is the question, is Buffy feminist?" (Pender 2002, 36). -
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.