Buffy the Vampire Slayer
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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 -
Buffy the Vampire Slayer Season 8 Library Edition Volume 1 Pdf, Epub, Ebook
BUFFY THE VAMPIRE SLAYER SEASON 8 LIBRARY EDITION VOLUME 1 PDF, EPUB, EBOOK Michelle Madsen,Paul Lee,Andy Owens,Cliff Richards,Dave Stewart,Georges Jeanty,Joss Whedon,Brian K. Vaughan,Scott Allie | 320 pages | 05 Jun 2012 | Dark Horse Comics,U.S. | 9781595828880 | English | Milwaukie, United States Buffy the Vampire Slayer Season 8 Library Edition Volume 1 PDF Book Buffy finds her powers weakened, because unbeknownst to her, Giles has been drugging her as part of a cruel Watchers' Council test of the Slayer's abilities. The final shot of Willow cradling Tara's corpse will go down in TV history. But that final scene is devastating, particularly the look on Willow's face and Spike, racked with sobs. Faith and Robin Wood enjoy a one-night stand. And yet, the break-up is rough : Remember how cute Willow and Oz were? Past that, "Triangle" breaks up the tension of a season building to a big finish. As in "Flooded," it's just a bummer to see Buffy struggling with making ends meet. Seriously, those demon bikers. Yes, it's another Riley-centric one, but at least here he has a reason to be freaking out. And Buffy and Spike cuddle. But it's really all about cheeky Spike and nutty Dru. Except at the end of the episode, she's killed by Adam, one of the worst villains the show ever gave us. Contner "Things fall apart," Tara says at the end of "Entropy. What better way for Willow and Anya to work out their issues than by joining forces against Anya's ex, a troll named Olaf? And Buffy's heart is broken. -
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. -
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. -
Joss Whedon Productions
Joss Whedon Productions Oct 26, 2020 Class Info 1 Syllabus 1 2 Schedule 3 3 S01E01 Welcome to the Hellmouth5 4 Story Arc - S01E02 to S01E107 5 S01E11 Out of Sight, Out of Mind 13 6 Story Arc - S01E12 to S2E05 15 7 S02E06 Halloween 19 8 Story Arc - S02E07 to S2E14 21 9 S02E07 - Lie to Me 23 10 S02E14 - Innocence 25 11 S03E09 - The Wish 27 12 S03E18 Earshot 29 13 S04E01 - The Freshman 31 14 S04E09 - Something Blue 33 15 S06E07 Once More, With Feeling 35 16 Serenity 39 17 Jaynestown 41 18 Out of Gas 43 19 Ghost 45 20 Paragraph Writing - Buffy Characters 47 i 21 Short Essay - Out of Sight 49 22 Short Essay - Assignment 3 51 23 If Wishes Came True - Assignment 4 53 24 First Years - Assignment 5 55 25 Assignment 6 57 26 Assignment 7 - Songs to Communicate 59 ii CHAPTER 1 Syllabus The course syllabus is available here: https://syllabi.readthedocs.io/en/latest/SC-101.html • Social Belonging and College Adaptation starts July 27th and closes August 21st. • The College Student Inventory starts Aug 10th and closes Sept 4th. 1 Joss Whedon Productions 2 Chapter 1. Syllabus CHAPTER 2 Schedule Table 1: Schedule Date Day Class Activity No 8/24/2020 Monday 1 Go over syllabus, talk about class, introduce Paragraph Writing - Buffy Char- acters assignment. 8/25/2020 Tuesday 2 Watch Buffy S01E01 S01E01 Welcome to the Hellmouth. 8/28/2020 Friday 3 Go over S01E01 Welcome to the Hellmouth discussion questions. 8/31/2020 Monday 4 Story Arc - S01E02 to S01E10 Discuss episodes S01E02-S01E05. -
Greed and Fetishism from Sauron to Spike
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 4 Whedon 2020 Why Do Villains Insist on a Ring? Greed and Fetishism from Sauron to Spike Valerie Estelle Frankel Mission College, San Jose City College, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Recommended Citation Frankel, Valerie Estelle (2020) "Why Do Villains Insist on a Ring? Greed and Fetishism from Sauron to Spike," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 4. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/4 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]. Frankel: Why Do Villains Insist on a Ring? The twist of Harry Potter’s Mirror of Erised is that the only person worthy enough to claim the Philosopher’s Stone hidden within is one who doesn’t desire to use it but is driven to protect it from the villain’s dreams of eternal life and soaring power. This is also the key to Tolkien’s epic: ringbearers Bilbo, Frodo, Sam and even Gollum are (somewhat) protected from the ring because they don’t seek world domination. This theme is also heavily present in Buffy the Vampire Slayer. These fantasy creators, it seems, differentiate their heroes from villains through the defining trait of greed: resisting temptation or gleefully succumbing to it. -
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. -
Slayage, Number 2: Moss
Gabrielle Moss From the Valley to the Hellmouth: “Buffy”’s Transition from Film to Television (1) The Buffy who fights demons in Sunnydale today is a far cry from the air-headed Buffy who fought vampires on the big screen in the early nineties. In the transition from film to television, Buffy has mutated from a bubbly Valley girl into a feminist heroine more in accordance with Joss Whedon's original vision. In this essay, I would like to examine the cultural currents which allowed for the emergence of a stronger, more complex Buffy, the differences in medium that facilitated this change, and the consequences of this transition on the depiction of young women in the media. I would like to examine the Girl Power wave of the mid- nineties, its impact on the character of Buffy as part of a larger media impact, and, in turn, Buffy's impact on the portrayal of young women on television and beyond. (2) The film Buffy the Vampire Slayer was released in 1992 as a campy send-up of the era’s reigning teen film genres, supernatural horror as exemplified by the Nightmare on Elm Street series and The Lost Boys (a film Paul Reubens’ glam vampire henchman is clearly meant to lampoon) and teen comedy such as Fast Times at Ridgemont High and Valley Girl. “Buffy” the film existed as paper-thin parody, with many of the laughs at the expense of its Valley Girl caricature heroine. Buffy’s vapidity and stereotypical femininity repeatedly place her in danger, and her lack of ownership of her own sexuality, displayed when she is reduced to a trance state during her pseudo-seduction at the hands of vampire Lothos, results in the death of her Watcher. -
Strong Female Characters and Femininity
Strong female characters and femininity Exploring feminine language in Buffy the vampire slayer Sanni Ryderberg Department of English Bachelor Degree Project English Linguistics Autumn 2016 Supervisor: Heli Tissari Strong female characters and femininity Exploring feminine language in Buffy the vampire slayer Sanni Ryderberg Abstract It is widely accepted that gender is actively performed and a part of identity rather than biology, and that this is where gender differences in language stem from. Researchers have attempted to define what constitutes men and women’s language, and this paper uses some of these definitions to analyse the speech of the main character in the first season of the television show Buffy the vampire slayer. This research project investigates Buffy’s use of feminine language as well as whether her language changes when her performance is otherwise more masculine in the role of the slayer. This is done by comparing conversations between Buffy and her friends with conversations between Buffy and her enemies. The results show that Buffy uses some feminine linguistic features but that her speech is not distinctly feminine in general. Her language also does not change significantly when performing the role of the slayer. Keywords Feminine language, women’s language, Buffy the vampire slayer, conversation analysis, gender. Contents 1. Introduction .................................................................................................................. 2 1.1 Background ................................................................................................................................. -
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. -
Geeks, Metafiction and Feminism in Buffy the Vampire Slayer Rebecca Ann Downey Dickinson College
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-18-2003 "Because it's Superman's Book, You Moron!": Geeks, Metafiction and Feminism in Buffy the Vampire Slayer Rebecca Ann Downey Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the English Language and Literature Commons Recommended Citation Downey, Rebecca Ann, ""Because it's Superman's Book, You Moron!": Geeks, Metafiction and Feminism in Buffy the Vampire Slayer" (2003). Dickinson College Honors Theses. Paper 182. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. "Because it's Superman's Book, You Moron!": Geeks, Metafiction and Feminism in Buffy the Vampire Slayer Rebecca Ann Downey April 21, 2003 English 404 Professor Ness 1 "Who painted the leon, tel me who? By God, if women hadden written stories, As clerkes han within hir oratories, They wolde han written of men more wikkednesse Than al the merk of Adam may redresse." --Chaucer, "The Wife of Bath's Prologue" "Life's a show and we all play our parts ... " --Buffy in "Once More with Feeling" (6007) 2 Joss Whedon, creator of the television series Buffy the Vampire Slayer, has often stated that the series (like his 1992 film of the same name) is based upon a feminist premise. Through the character of Buffy, Whedon hoped to subvert the usual role allotted to women in horror genre films by inserting a capable hero where such films usually present a victim (Whedon, "Commentary").