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A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected]
Student Research and Creative Works Book Collecting Contest Essays University of Puget Sound Year 2015 The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/book collecting essays/6 Krista Silva The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works I am an inhabitant of the Whedonverse. When I say this, I don’t just mean that I am a fan of Joss Whedon. I am sincere. I live and breathe his works, the ever-expanding universe— sometimes funny, sometimes scary, and often heartbreaking—that he has created. A multi- talented writer, director and creator, Joss is responsible for television series such as Buffy the Vampire Slayer , Firefly , Angel , and Dollhouse . In 2012 he collaborated with Drew Goddard, writer for Buffy and Angel , to bring us the satirical horror film The Cabin in the Woods . Most recently he has been integrated into the Marvel cinematic universe as the director of The Avengers franchise, as well as earning a creative credit for Agents of S.H.I.E.L.D. My love for Joss Whedon began in 1998. I was only eleven years old, and through an incredible moment of happenstance, and a bit of boredom, I turned the television channel to the WB and encountered my first episode of Buffy the Vampire Slayer . I was instantly smitten with Buffy Summers. She defied the rules and regulations of my conservative southern upbringing. -
A Journal for Critical Debate Vol. 27 (2018)
Connotations A Journal for Critical Debate Volume 27 (2018) Connotations Society Connotations: A Journal for Critical Debate Published by Connotations: Society for Critical Debate EDITORS Inge Leimberg (Münster), Matthias Bauer (Tübingen), Burkhard Niederhoff (Bochum) and Angelika Zirker (Tübingen) Secretary: Eva Maria Rettner Editorial Assistants: Mirjam Haas, Tobias Kunz, Alia Luley, Sara Rogalski EDITORIAL ADDRESS Professor Matthias Bauer, Eberhard Karls Universität Tübingen, Department of English, Wilhelmstr. 50, 72074 Tübingen, Germany Email: [email protected] http://www.connotations.de EDITORIAL BOARD Judith Anderson, Indiana University Bloomington Åke Bergvall, University of Karlstad Christiane Maria Binder, Universität Dortmund Paul Budra, Simon Fraser University Lothar Černý, Fachhochschule Köln Eleanor Cook, University of Toronto William E. Engel, The University of the South Bernd Engler, Eberhard Karls Universität Tübingen David Fishelov, The Hebrew University of Jerusalem John P. Hermann, University of Alabama Lothar Hönnighausen, Rheinische Friedrich-Wilhelms-Universität Bonn Arthur F. Kinney, University of Massachusetts, Amherst Frances M. Malpezzi, Arkansas State University J. Hillis Miller, University of California, Irvine Angela Alaimo O’Donnell, Fordham University Martin Procházka, Charles University, Prague Alan Rudrum, Simon Fraser University Michael Steppat, Universität Bayreuth Leona Toker, The Hebrew University of Jerusalem John Whalen-Bridge, National University of Singapore Joseph Wiesenfarth, University of Wisconsin-Madison Connotations is a peer-reviewed journal that encourages scholarly communication in the field of English Literature (from the Middle English period to the present), as well as American and other Literatures in English. It focuses on the semantic and stylistic energy of the language of literature in a historical perspective and aims to represent different approaches. Connotations publishes articles and responses to articles, as well as to recent books. -
2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
2009 Global Press Release
TV fans to raise $150,000 for Charity at the 4th Annual "Can't Stop The Serenity" Worldwide Movie Screenings Between May and September 2009, fans of popular cult television and film writer/ director Joss Whedon, will gather worldwide to raise money for "Equality Now," a charity dedicated to promoting the human rights of beleaguered women and girls. Worldwide (CSTS) May 7th, 2009 - For the fourth year in a row, thousands of people around the world will participate in “Can’t Stop the Serenity” fund-raising events to benefit "Equality Now," a charity organization working to protect the basic human rights of women and girls across the planet. Since 2006, more than a quarter of a million dollars has been raised and they plan to add another $150,000 in 2009. Who is behind this phenomenon? It’s not the product of any formal action network like Equality Now, a relief group or even a foundation. These humanitarians aren't even a group of rich philanthropists or celebrities. They are simply the fans of a prematurely canceled sci-fi television series called "Firefly" and its climactic movie, "Serenity". The volunteers who organize these charitable events, without prompting from the show’s creators or Equality Now, have created a worldwide event that spans three continents. This annual celebration of equality and Joss Whedon’s birthday is known as "Can't Stop the Serenity," and the men and women behind it are simply known as "Browncoats" after the heroes of the show. Says Amanda Sullivan, director of Equality Now: “Amazing as it is, we are heading into our fourth season of CSTS global screenings! It is a difficult time for us and a difficult time for everyone right now. -
The Use of the Works of Joss Whedon
Compendium2 4.1 (2011): 35-42 Using Joss Whedon in the Composition Classroom ERIN WAGGONER “How did your brain even learn human speech? I’m just so curious.” -Wash, “Objects in Space” Introduction In her conclusion to Faith and Choice in the Works of Joss Whedon, K. Dale Koontz asks the question, “will college come to Buffy?” (187). Several schools offer classes on Buffy the Vampire Slayer as well as Joss Whedon’s works as a whole—one of my own independent study classes included. When I first started teaching English composition, I wasn’t entirely sure how to incorporate Buffy, or any television shows for that matter, into the classroom. I knew, however, that I wanted to use the shows as supplemental in-course “readings.” After some trial and error, I came up with a method for utilizing television shows as texts. When I assigned students texts and essays to read, most seemed uninterested, and that showed in their writing assignments. However, when I used television or other media-related tools, the students’ writing demonstrated increased interest through better responses—because the rhetorical imagery appealed more to students than constant reading. This prompted me to find a way to utilize television as my main text for teaching. With my love of Buffy and all things Whedon, it was only natural that once I figured out how to use television, I would focus my lessons on episodes from Whedon’s shows. What surprised me was the overall positive response my teaching methods received, both from students and colleagues. Using Whedon’s work as a supplemental text in the composition classroom has proven a successful teaching tool. -
Romance in Dollhouse Lorna Jowett
‘I love him... Is that real?’ Interrogating Romance in Dollhouse Lorna Jowett A Dollhouse Confession (not mine!), website Because of Joss Whedon’s commitment to what he regularly calls feminism in interviews and commentaries, the Whedon creations have consistently interrogated the myth of heterosexual romance. Long-running TV shows like Buffy and Angel offered wide scope for examining romance alongside other aspects of gender and sexuality. The mix of conventions in these earlier shows also lend themselves to negotiating romance from different angles, whether this is about characters growing up and changing their own ideas about romantic and sexual relationships, or what you can ‘get away with’ in a fantasy show about vampires. Firefly featured both a happily married couple and a sex-worker, neither common-place in network TV drama, allowing that shorter-lived series to move away from obvious conventions of romance. And then there’s Dollhouse, where almost all of the characters are either prostitutes or pimps. Melissa Milavec and Sharon Kaye suggest that Buffy ‘owes much of its popularity to making erotic love a dominant theme’ (2003: 174): Dollhouse may owe its lack of popularity to the way it treats much the same theme in a more disturbing fashion. ‘Like every good fairy tale, the story grows more intricate, and more divisive, every decade,’ says a reporter of Dollhouse rumours in ‘The Man on the Street’ (Dollhouse 1.6). His words are equally applicable to the myth of heterosexual romance as tackled by the Whedonverses on TV. The Whedon shows offer a sustained interrogation of gender, but are complicated by the demands of mainstream entertainment. -
Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2012 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected] Published version. "Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work," in Joss Whedon: The Complete Companion: The TV Series, The Movies, The Comic Books and More. Ed. PopMatters Media. London: Titan Books, 2012: 285-297. Publisher Link. © 2012 Titan Books. Used with permission. FIREFLY 3.10 3.10 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan For all the standard horror movie monsters Joss Whedon took up in Buffy and Angel-vampires, of course, but also ghosts, demons, werewolves, witches, Frankenstein's monster, the Devil, mummies, haunted puppets, the Creature from the Black Lagoon, the "bad boyfriend," and so on-you'd think there would have been more zombies. In twelve years of television across both series zombies appear in only a handful of episodes. They attack almost as an afterthought at Buffy's drama-laden homecoming party early in Buffy Season 3 ("Dead Man's Party" 3.2); they completely ruin Xander's evening in "The Zeppo" (3.13) later that same season; they patrol Angel's Los Angeles neighborhood in "The Thin Dead Line" (2.14) in Angel Season 2; they stalk the halls of Wolfram & Hart in "Habeas Corpses" (4.8) in Angel Season 4. A single zombie comes back from the dead to work things out with the girlfriend who poisoned him in a subplot in "Provider" (3.12) in Angel Season 3; Adam uses science to reanimate dead bodies to make his lab assistants near the end of Buffy Season 4 ("Primeval" 4.21); zombies guard a fail-safe device in the basement of Wolfram & Hart in "You're Welcome" (3.12) in Angel Season 5. -
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Book Review : Joss Whedon Vs. the Horror Tradition : the Production of Genre in Buffy and Beyond Gaynor, SM
Book review : Joss Whedon vs. the Horror tradition : the production of genre in Buffy and beyond Gaynor, SM http://dx.doi.org/10.1177/1749602019888322b Title Book review : Joss Whedon vs. the Horror tradition : the production of genre in Buffy and beyond Authors Gaynor, SM Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/56739/ Published Date 2020 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Kristopher Karl Woofter and Lorna Jowett (eds), Joss Whedon vs. The Horror Tradition: The Production of Genre in Buffy and Beyond, London: I.B Tauris (Bloomsbury), 2018; 344 pp.: ISBN 9781788311021, £72 (hbk), ISBN 9781786735416, £62.21 (ebk). Reviewed by: Stella Gaynor, University of Salford, UK The television and film work of Joss Whedon is extensive, and is explored in many areas of scholarship, ranging from examinations of particular series like Firefly (2002-2003 ) or Buffy the Vampire Slayer (1997-2000) (Jowett, 2005;; Davidson & Wilson, 2007; Abbott, 2009), to studies that consider the 'Whedonverse' as a whole (Slayage: The Journal of Whedon Studies). This collection, edited by Kristopher Karl Woofter and Lorna Jowett, covers genre, gender, monsters and the psychology of Whedon's characters, via a wide range of scholarly approaches which reflects the variation, scale and span of the 'Whedonverse' itself. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure. -
“The Trumpet in the Bottom” Öyvind Fahlström and the Uncanny
EDDA FAGFELLEVURDERT ÅRGANG 117, NR. 2-2017, S. 176–198 ISSN ONLINE: 1500-1989 TEMA: GOTHIC AND UNCANNY EXPLORATIONS DOI: 10.18261/ISSN.1500-1989-2017-02-07 “The Trumpet in the Bottom” Öyvind Fahlström and the Uncanny “Trumpeten i stjärten”. Öyvind Fahlström och det kusliga 0000-0002-2400-4124 Per Bäckström Professor of Comparative Literature, Karlstad University, Sweden [email protected] Chaired the membership commission of the European Network for Avant-Garde and Modernism Stu- dies (EAM) 2007–2011. Major publications: Aska, Tomhet & Eld. Outsiderproblematiken hos Bruno K. Öijer (Ellerström 2003), Le Grotesque dans l’œuvre d’Henri Michaux. Qui cache son fou, meurt sans voix (l’Harmattan 2007), Vårt brokigas ochellericke! Om experimentell poesi (Ellerström 2010), and Decentring the Avant-Garde (ed., Rodopi 2014). At present, Per Bäckström is working on the cross-aesthetic art of Öyvind Fahlström. ABSTRACT Öyvind Fahlström (1928–76) began as a surrealist at the end of the 1940s, and among oth- ers wrote the unpublished poetry collection “The Trumpet in the Bottom”. In 1953, he wrote the world’s first manifesto for concrete poetry, inspired by Pierre Schaeffer’s musique concrète, and soon became a driving force in the Swedish and international neo-avant- garde. In the mid-1950s he turned to the visual arts, and later he also wrote radio plays, directed movies and arranged performances and happenings. He showed an extraordinary sensibility for the uncanny in his selection of “life material” for his art, thus uncovering the return of the repressed in everyday life and popular culture, in the form of scatology, por- nography, the monstrous, the body, the materiality of the artwork and media, and so on. -
Liminal Identity in Contemporary American Television Science Fiction
Liminal Identity in Contemporary American Television Science Fiction Rhys Owain Thomas Submitted for the degree of Doctor of Philosophy School of Film, Television and Media Studies University of East Anglia August 2014 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Rhys Owain Thomas Student Number 4566211 Film (Research) R1W62012 Abstract This thesis examines the foregrounding of a particular type of liminal human protagonist in contemporary American television Science Fiction. These protagonists, which I have termed the ‘unliving,’ exist in-between the realms of life and death, simultaneously both alive and dead whilst occupying an indistinct middle- ground. I examine how the liminal nature of these protagonists has been used as a means of exploring various aspects of personal identity during the early years of the twenty-first century. Developing anthropologist Victor Witter Turner’s work, in which he argued for the universal occurrence of liminality in cultural, political, economic and social contexts, I argue that the use of liminal protagonists in American television Science Fiction constitutes a demonstrable trend. Although they are to be found in ever-increasing numbers in (and outside) the genre, their growing presence and significance have yet to be properly discerned, studied and appreciated. I analyse the use of these unliving protagonists in four key texts: Terminator: The Sarah Connor Chronicles (The Halcyon Company/Warner Bros.