boy" ("Diary" 94). Like many of her early writings, this Barnes story ultimately problematizes the unrelenting sexuality and corresponding apathy of the child vampire Olga and the "traditional" view that women have only two mutually exclusive lots in life: that of the domestic and that of the worldly. What differentiates this female vampire from other literary examples of her type is her age and the issues pursuant to it. Although disciplined in the end by her mother, Olga is but a child herself yet
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
Fans can have strong responses to both narrative and production events effecting their favorite television shows. A wall used to mourn Ianto Jones after he is killed off Tortchwood:Children of the Earth. 50,000 pounds of peanuts mailed to CBS's New York office to show support of Jericho when it was canceled (Elber 2007). Hate and threats directed to writers, producers, actors, and their families protesting the importance of Castiel in Supernatural. These reactions are tied to fans' emotional investment
the cinema, Night of the Living Dead was revolutionary in its production, its subtext as understood in historical reference, and its lasting effects on the horror genre. The British Film Institute’s Benjamin Hervey provides an analysis of the film as understood by critical audiences of the day. Although it may been seen partly as a historical accident forced by budgetary constraints, part of the mystique of the film is in how different it was to the horror audience of the day. Romero and the Image