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Would You Understand What I Meant If I Said I Was Only Human?”
”Would you understand what I meant if I said I was only human?” The Image of the Vampire in Stephenie Meyer’s Twilight and Charlaine Harris’s Dead Until Dark Jessica Dimming Fakulteten för humaniora och samhällsvetenskap English IV 15hp Supervisor Magnus Ullén Examiner Adrian Velicu HT 2012 Abstract In this essay I have decided to look at two very popular vampire novels today, Dead Until Dark by Charlaine Harris and Twilight by Stephenie Meyer. The focus of this essay is to look at the similarities and differences between these two novels and compare them to each other but also to the original legend of the vampire; this by using Dracula and other famous vampire stories to get an image of the vampire of pop-culture. I look at the features of the vampires, their abilities and different skills, and also sex and sexuality and how it is represented in these different stories. Even though the novels attract a wide audience they are written for a younger one and have a love story as its center. In this essay I give my opinion and view of the vampires and what I believe to be interesting with the morals and looks of the vampires as one of the different aspects. 2 Content Introduction 3 The Gothic novel 6 The legend of the vampire 7 Setting 10 Narrator 38 Features of the vampires in Twilight 43 Features of the vampires in Dead Until Dark 53 Vampires as sexual objects 67 Love and sexuality in Twilight 75 Love and sexuality in Dead Until Dark 86 Conclusion 95 Works cited 30 3 Introduction Dead Until Dark and Twilight by top selling authors Charlaine Harris and Stephenie Meyer are both novels written for young adults, somewhere between the ages of 14-24, with one major theme in common, vampires. -
A Portrait of Fandom Women in The
DAUGHTERS OF THE DIGITAL: A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ____________________________________ A Thesis Presented to The Honors TutoriAl College Ohio University _______________________________________ In PArtiAl Fulfillment of the Requirements for Graduation from the Honors TutoriAl College with the degree of Bachelor of Science in Journalism ______________________________________ by DelAney P. Murray April 2020 Murray 1 This thesis has been approved by The Honors TutoriAl College and the Department of Journalism __________________________ Dr. Eve Ng, AssociAte Professor, MediA Arts & Studies and Women’s, Gender, and Sexuality Studies Thesis Adviser ___________________________ Dr. Bernhard Debatin Director of Studies, Journalism ___________________________ Dr. Donal Skinner DeAn, Honors TutoriAl College ___________________________ Murray 2 Abstract MediA fandom — defined here by the curation of fiction, art, “zines” (independently printed mAgazines) and other forms of mediA creAted by fans of various pop culture franchises — is a rich subculture mAinly led by women and other mArginalized groups that has attracted mAinstreAm mediA attention in the past decAde. However, journalistic coverage of mediA fandom cAn be misinformed and include condescending framing. In order to remedy negatively biAsed framing seen in journalistic reporting on fandom, I wrote my own long form feAture showing the modern stAte of FAndom based on the generation of lAte millenniAl women who engaged in fandom between the eArly age of the Internet and today. This piece is mAinly focused on the modern experiences of women in fandom spaces and how they balAnce a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of mediA fan culture in the Internet age, beginning in the 1990’s And to the present day. -
Fragile Bodies in Stephenie Meyer's Twilight Series
Cultivating Perspectives: Fragile Bodies in Stephenie Meyer’s Twilight Series by Heather Simeney MacLeod A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies University of Alberta © Heather Simeney MacLeod, 2014 ABSTRACT This dissertation project exposes the troubling engagement with classifications of materiality within text and bodies in Stephenie Meyer’s contemporary American vampire narrative, the Twilight Series (2005-2008). It does so by disclosing the troubling readings inherent in genre; revealing problematic representations in the gendered body of the protagonist, Bella Swan; exposing current cultural constructions of the adolescent female; demonstrating the nuclear structure of the family as inextricably connected to an iconic image of the trinity— man, woman, and child; and uncovering a chronicle of the body of the racialized “other.” That is to say, this project analyzes five persistent perspectives of the body—gendered, adolescent, transforming, reproducing, and embodying a “contact zone”—while relying on the methodologies of new feminist materialisms, posthumanism, postfeminism and vampire literary criticism. These conditions are characteristic of the “genre shift” in contemporary American vampire narrative in general, meaning that current vampire fiction tends to shift outside of the boundaries of its own classification, as in the case of Meyer’s material, which is read by a diverse readership outside of its Young Adult categorization. As such, this project closely examines the vampire exposed in Meyer’s remarkably popular text, as well as key texts published in the late twentieth and early twenty-first centuries, such as Joss Whedon’s television series Buffy the Vampire Slayer (1997-2003), Alan Ball’s HBO series True Blood (2009-2014), Kathryn Bigelow’s Near Dark (1987) and Joel Schumacher’s The Lost Boys (1987). -
Buffy Conquers the Academy
Buffy Conquers the Academy Buffy Conquers the Academy: Conference Papers from the 2009/2010 Popular Culture/American Culture Associations Edited by U. Melissa Anyiwo and Karoline Szatek-Tudor Buffy Conquers the Academy: Conference Papers from the 2009/2010 Popular Culture/American Culture Associations, Edited by U. Melissa Anyiwo and Karoline Szatek-Tudor This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by U. Melissa Anyiwo and Karoline Szatek-Tudor and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4831-X, ISBN (13): 978-1-4438-4831-2 CONTENTS Acknowledgements ................................................................................. viii Foreword ................................................................................................... ix Why Does Buffy Matter? Amanda Hobson Introduction ................................................................................................ 1 U. Melissa Anyiwo Part I: “The part that gets me, though, is where Buffy is the Vampire Slayer. She’s so little.” The Power of Perception Chapter One ............................................................................................... -
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. -
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. -
From Buffy to Bella: Feminism, Gender Roles, and Role Models In
FROM BUFFY TO BELLA: FEMINISM, GENDER ROLES, AND ROLE MODELS IN POPULAR CULTURE by SARA ELIZABETH RAY (Under the Direction of Jennifer Smith) ABSTRACT Even the earliest feminist critics expressed concern about the tendency of popular entertainment to reinforce negative gender stereotypes on impressionable young women. This paper examines the role of media in the construction of gender in today’s society through a comparative textual analysis of two similar yet different series targeted to young girls—Buffy the Vampire Slayer and The Twilight Saga. Using feminist theory as a critical framework, this paper identifies a series of shared feminist themes that are prevalent within both narratives, and then analyzes the representation of gender roles inherent within these themes. These representations are further considered within the historical context of the feminist movement to determine whether feminism is currently experiencing a regression or progression in popular culture. This paper is informed by canon feminist literature, as well as recent academic discussion of Buffy and Twilight. INDEX WORDS: Feminism, Postfeminism, Media, Pop Culture, Buffy the Vampire Slayer, The Twilight Saga, Patriarchy, Gender, Sexuality FROM BUFFY TO BELLA: FEMINISM, GENDER ROLES, AND ROLE MODELS IN POPULAR CULTURE by SARA ELIZABETH RAY B.S., Emmanuel College, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2012 © 2012 Sara Elizabeth Ray All Rights Reserved FROM BUFFY TO BELLA: FEMINISM, GENDER ROLES, AND ROLE MODELS IN POPULAR CULTURE by SARA RAY Major Professor: Jennifer Smith Committee: Carolina Acosta-Alzuru Horace Newcomb Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 iv ACKNOWLEDGEMENTS This paper would not have been possible without the help and encouragement of many people along the way. -
Buffy, Dark Romance and Female Horror Fans Lorna Jowett
Buffy, Dark Romance and Female Horror Fans Lorna Jowett When asked, in a 2002 SFX magazine reader’s poll, ‘What’s the thing you’re proudest of in this world?’ Joss Whedon, creator of TV show Buffy the Vampire Slayer, answered: ‘Art and feminism; my little show that changed things’. In February 2012 The Guardian newspaper ran an article titled ‘Buffy drives home an important issue for women,’ in which Naomi Alderman suggests that the Buffy season 9 comic series continues to debate significant questions for women (in this case abortion). Whedon always insisted that the series’s premise was an exercise in gender role reversal, and it is now easy to see Buffy as a ‘little show that changed things’ where TV’s representation of female, and male, characters is concerned. Characters like Ripley (debuting in the 1979 film Alien) or Sarah Connor (from The Terminator) may have introduced the female action hero in cinema; Buffy the Vampire Slayer, argues Robert Moore, changed the face of television and Emily Nussbaum observed in the New York Times that ‘The show’s influence can be felt everywhere.’ Specifically Buffy can be positioned as a key influence on the contemporary Dark Romance (sometimes called paranormal romance) publishing and media boom. Just as Buffy draws on previous female action heroes from comic books, movies, fiction, and TV, Dark Romances from Twilight movies to HBO television show True Blood offer variations on Buffy’s complex representation of romance, sexuality and gender. Now that VILF (Vampire I’d Like to Fuck) has entered the lexicon, the Dark Romance (in which a female protagonist falls in love with a dark hero, usually a vampire or werewolf, though sometimes another supernatural male) has truly arrived. -
Just Like I Don't Belong’: Uncanny Noir in the Twilight Zone
Nova Southeastern University NSUWorks CAHSS Faculty Presentations, Proceedings, Lectures, and Symposia Faculty Scholarship 11-3-2017 'Just like I don't belong’: Uncanny Noir in The Twilight Zone Marlisa Santos Nova Southeastern University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/cahss_facpres Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons NSUWorks Citation Santos, Marlisa, "'Just like I don't belong’: Uncanny Noir in The Twilight Zone" (2017). CAHSS Faculty Presentations, Proceedings, Lectures, and Symposia. 2460. https://nsuworks.nova.edu/cahss_facpres/2460 This Conference Presentation is brought to you for free and open access by the Faculty Scholarship at NSUWorks. It has been accepted for inclusion in CAHSS Faculty Presentations, Proceedings, Lectures, and Symposia by an authorized administrator of NSUWorks. For more information, please contact [email protected]. 1 Undergraduate Research Forum Draft Schedule 9.22.17 (01) Friday 10:00AM-11:30AM 01-07 GENDER AND RACE: BEYOND ART, ENTERTAINMENT, AND FASHION Ansley 7 Chair: Kendra Parker, Hope College ([email protected]) Respondent: v Nia Stringfellow, Hope College ([email protected]) The Man Who Wore Red: A Contextual Analysis of Chicago-Based Artwork v Nina Kay, Hope College ([email protected]) Contemporary Children’s Media: (Re) Shaping the Way Future Generations Understand Gender v Curissa Sutherland-Smith, Hope College ([email protected]) From Church Hats to Head Wraps: Black Women’s -
Producer Fans: How Twilight Fans Are Using Facebook to Blur the Lines Between Media Producers and Consumers
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2014 Producer Fans: How Twilight Fans are Using Facebook to Blur the Lines Between Media Producers and Consumers Nichole Roslyn Kazimirovicz University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Mass Communication Commons Repository Citation Kazimirovicz, Nichole Roslyn, "Producer Fans: How Twilight Fans are Using Facebook to Blur the Lines Between Media Producers and Consumers" (2014). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2104. http://dx.doi.org/10.34917/5836123 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. PRODUCER FANS: HOW TWILIGHT FANS ARE USING FACEBOOK TO BLUR THE LINES BETWEEN MEDIA PRODUCERS AND CONSUMERS By Nichole R. Kazimirovicz Bachelor of Liberal Arts in English University of Nevada, Las Vegas 2010 A thesis submitted in partial fulfillment of the requirement for the Master of Arts -- Journalism and Media Studies Hank Greenspun School of Journalism and Media Studies Greenspun College of Urban Affairs The Graduate College University of Nevada, Las Vegas May 2014 Copyrighted by Nichole R. -
“The Source of Our Power”: Female Heroes and Restorative
“The Source of Our Power”: Female Heroes and Restorative Collaboration in Contemporary Television by Sarah Pepe In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in The Department of English State University of New York New Paltz, New York 12561 May 2017 “THE SOURCE OF OUR POWER”: FEMALE HEROES AND RESTORATIVE COLLABORATION IN CONTEMPORARY TELEVISION Sarah Pepe State University of New York at New Paltz We, the thesis committee for the above candidate for the Master of Arts degree, hereby recommend acceptance of this thesis. ________________________________________ Annie Swafford, Thesis Advisor Department of English, SUNY New Paltz ________________________________________ Heather Hewett, Thesis Committee Member Department of English, SUNY New Paltz Approved on: _______________ Submitted in partial fulfillment of the requirements for the Master of Arts degree in English at the State University of New York at New Paltz Pepe 1 Sarah Pepe MA Thesis 19 May, 2017 “The Source of Our Power”: Female Heroes and Restorative Collaboration in Contemporary Television I. Introduction In 1941, Wonder Woman debuted as the first ever female superhero with staying power.1 When she did, her Amazonian presence and lasso of truth snared the hearts of comic-lovers around the nation--especially young girls and women, who had previously only had male heroes to look up to. Well-known feminist writer Gloria Steinem was a child when Wonder Woman appeared on the comics scene, and she recalls being “rescued” from the “plight” of all-male comics at the age of seven or eight (204). Even today, Steinem looks back on those initial comics and is “amazed by the strength of their feminist message” (204).