Buffy the Vampire Slayer Mentors feature prominently in the Gothic genre. From Dr Van Helsing in Bram Stoker's Dracula, who leads the young heroes into their quest to annihilate the Count, to Rupert Giles, the Watcher in Buffy the Vampire Slayer, older and more experienced adults have provided essential guidance for the younger protagonists of the genre. The differences in media of expression and the subsequent adaptations from novel to television series has not affected the presence of this
and vampire genres, and that Buffy the Vampire Slayer is seen as having reworked the conventions of these genres, it is worth considering how the narrative of lesbianism is dealt with in this series to contemplate if and how this desire has been resignified. This paper is concerned with critically analysing the overt representations of lesbian desire and identity as they are manifested through the Willow (played by Alyson Hannigan) and Tara (Amber Benson) characters in Buffy the Vampire Slayer, and
Buffy The Vampire Slayer and Fanfiction Buffy The Vampire Slayer has broken many barriers in its seven-year stint, creating new genres and enabling innovation in a previously barren area of television. The largest leap the show has taken though, has been in the way it has embraced its fandom, creating a symbiotic relationship between Buffy the show and Buffy the fanfiction. Not only does Buffy fanfiction seize upon unexplored areas and inconsistencies inherent in the text, these forays are often
Buffy the Vampire Slayer as Horror Genre The horror genre has very set conventions and rules and horror films have stuck to these but in Buffy the vampire slayer a new set of rules are written. Joss Whedon has given the audience another dimension to horror by subverting the genre, in doing this the effectiveness of the program is increased. In the first episode Buffy arrives in Sunnydale
Intertextuality in Buffy The Vampire Slayer A vivid and 'realistic' subjective experience of TV dramatic fiction is almost axiomatic of viewer enjoyment. To feel a personal engagement with the depicted events, to experience a sense of the fictional space as subjectively real and to become drawn into that space are arguably defining features of enjoyable television viewing, as they are of film and of literature. In this paper, I will argue that certain forms of intertextuality play a key role
"Have you ever thought about it? What would happen if...you could ever turn me? You can't, by the way, you couldnt' so..no bad ideas. I'm positive the universe makes Slayer-blood like...demon-infection-resistant-y or something. What ? That sounds like it should be a thing. But did you ever, you know, think about it?" Buffy didn't even know what made her ask. No matter how he answered she was pretty sure it'd make her want to hit him. But the thought had occurred to her a few nights ago, so now they
cultural sensations that does just this is Buffy the Vampire Slayer, and the main title character of the series, Buffy Summers herself. Yet is Buffy really as admirable as she seems to be on the surface? The fact is that for all the good that Buffy appears to do for her fans, there have been some very crucial issues in Women Studies that she has failed to lend her empowering nature to. This paper will discuss the powerful influence that Buffy the Vampire Slayer has over its viewers, and some of the problems
The Feminist Perspective of Buffy the Vampire Slayer In her feminist critique of Buffy the Vampire Slayer Anne Millard Daughtey described Buffy as a show which "obviously promotes female strength and power" (159). Buffy herself is a "symbol of female empowerment" (149); as feminists we can all take comfort in the fact that Buffy "kicks butt and so can we all" (164). Sherryl Vint agrees that Buffy is a "positive role model for young women, one which feminism should celebrate" (para. 3). I find
A Feminist Reading of Buffy the Vampire Slayer In numerous interviews, creator Joss Whedon has explained that the inspiration for Buffy the Vampire Slayer struck while he was watching horror films and TV shows in which pretty women run away from or get killed by monsters in alleyways. Whedon claims he wanted to give this paradigmatic girl-victim a new role: that of the monster-killing hero. Whedon's explanation of his own artistic inspiration reveals at least two things about him as a
Buffy the Vampire Slayer: Colonial Imaginary & “Pangs” The cult show, Buffy the Vampire Slayer has been often heralded as groundbreaking and feminist; however, the show is not without its faults. Throughout the show’s seven-year run, the cast was predominantly white, with little cultural diversity represented. Various episodes depict the colonial imaginary, from a hypersexual Incan princess who comes back to life to seduce men , to the primitive and aggressive African Slayer . Perhaps the episode
Buffy the Vampire Slayer and the Horror Genre Typically the Horror or more specifically Vampire genre will have the theme good vs. evil where the hero represents good and the villain represents evil. This is consistent in Buffy the Vampire Slayer as Buffy is the hero and the evil vampires she slays (in this episode Glory/Ben) represent evil. There is also a cliché within this genre where good is always triumphant over evil. Buffy in this episode conforms to this cliché but with a twist;
television and film. With the valley girl known for often being the quintessential popularity queen, it may not seem so obvious to include the Buffy we know today as part of the valley girl hall of fame. But one only has to go back to the 1992 film, Buffy the Vampire Slayer to observe the full extent of Buffy’s bleach blonde valley girl roots. To place Buffy within the larger category of the valley girl, first one must have an understanding of what exactly this means. Undoubtedly, the valley girl
between Buffy the Vampire Slayer and the latest vampire infatuation. Many television shows and films have been compared to the iconic vampire slayer. Although, it is The Vampire Dairies that is constantly scrutinized among admirers. Buffy the Vampire Slayer and The Vampire Diaries have several similarities, but the way each show is written and executed set them apart. First, one factor within the dispute is, which idea emerged first. Creator Joss Whedon developed the idea of Buffy the Vampire Slayer
Buffy the vampire slayer is a television show that aired in the 1990s. it summers the life of a teenage girl with super power that withstands the hardships of society. Although women are overly sexualized in modern television, Buffy the vampire slayer stands up for feminism as Hill says in her article: “Feminism is central to the television show Buffy the Vampire Slayer (1997–2003)” (Hill, 2012). This series portrays Buffy as the super strong heroin who is and charge and saves the day. Her character
The episode "hush" from the highly recognized television series "Buffy The Vampire Slayer" is one of the most if not the most intriguing episodes of the series’ seven-year run. In a way, it became a story of its own, containing a beginning, middle, and an end. Everything seemed new, new problems, monsters , and most importantly secrets. Secrets which the characters hope to keep to themselves or just blatantly do not know how or who to tell. In the episode "Hush" the idea that communication is key
In Buffy the Vampire Slayer episode 410 “Hush” A group of demon like creatures known as the Gentlemen take over Sunnydale by stealing everyone in the towns voice, and then stealing seven random people’s heart. Leading up to that part Buffy and Willow have started college and Buffy has met a boy name Riley who is a teacher aid in their class. During class Buffy has a dream of a little girl holding a wooden box who is singing a cryptic rhyme about the Gentlemen that says things like “Can’t even shout”
Buffy the Vampire Slayer is a show where there is much to expect. From monsters to high school problems and witchcraft, Buffy is a well known and well written show that hit #3 in TV Guide’s list of the “25 Top Cult Shows Ever!”. Buffy is well known for its problems that the group faces throughout the series as it also relates to the real world. There are many problems with students trying to speak what they want to say. Episode “Hush” symbolically represents the problems teens and adults go through
Comparing Sexuality and Power in Dracula and Buffy the Vampire Slayer At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop-culture references of "Buffy" clearly mark the series as a product
returning to life, usually to trouble the living in some way. These traditional myths have progressed from ancient superstitions, to campfire ghost stories, to television shows such as Joss Whedon's Buffy the Vampire Slayer. In the series, vampires are created from the dead victims of other vampires (as long as a certain rite is performed during the victim's death). After a time they rise from their graves and immediately seek to kill and drink the blood of the living. Creatures such as these
series Buffy the Vampire Slayer which shows communism as something positive rather than threatening. The episode that exemplifies this most is “Normal Again.” In this episode, Kuzui uses the two realities Buffy finds herself in to contrast communism with capitalism, showing not only a preference to communism, but also that it has a place in a new generation. Each form of the two economic systems are established in their respective realities through camera angles. In the reality where Buffy is a vampire