{"title":"Buffy the Vampire Slayer","authors":"Rhonda V. Wilcox","doi":"10.5040/9781849661409.ch-007","DOIUrl":null,"url":null,"abstract":"Buffy the Vampire Slayer is an American television series (1997–2003). Its first incarnation was as a movie (1992) that received mediocre reviews. The film’s writer, Joss Whedon, had the unexpected opportunity to transfer the work to television as part of the fledgling WB network. (Its last two seasons were on UPN.) The series soon garnered high critical praise and devoted viewers, though their numbers were only large in the context of a start-up network, where it was, however, allowed greater creative freedom. The show became culturally significant beyond its immediate fanbase. Buffy became famous for its gender politics: the main character reverses the usual horror trope of the young beauty killed by a monster. Buffy, whose slight stature belies her strength, derives from a long line of female Slayers, only one of whom exists in any generation. However, Buffy’s attractiveness comes in part from her flaws: she is constantly torn between her duties and her desire for a normal life. The California small-town setting suggests the darkness underlying suburbia: Sunnydale sits on a Hellmouth, where monsters converge. Each monstrous encounter is not only an adventure and a test of strength and ethics, but also symbolizes problems faced in reality, the “high school is hell” metaphor central to the show. Buffy is aided by a geeky but loyal boy, Xander; a shy computer whiz (and later witch), Willow; a book-smart mentor, Giles; a vampire seeking redemption, Angel (soon Buffy’s forbidden love); this group later expands to include others. A main theme is the idea of chosen family or working in community rather than fighting alone. Immediately admired for its witty dialogue (known as Buffyspeak or Slayer Slang), the show gradually explored more and more complex problems through building continuity of narrative, which reflects the classic hero’s journey but also involves many other storylines. Buffy is noteworthy for having the first long-running romance between two lesbian characters on network television; one of the two lovers is murdered, setting off a supernatural rampage by the survivor, Willow (and fan indignation). In the final episode Buffy shares her power around the world with Willow’s help. Buffy has a television spin-off, Angel (1999–2004) and continues in comic book form with Season Eight and more; some do not consider the comics canonical. Buffy spawned numerous online discussion forums. With its aesthetic and cultural value, Buffy has accrued more scholarly writing than any other television series.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"7 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Italian Cinema and Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5040/9781849661409.ch-007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
Buffy the Vampire Slayer is an American television series (1997–2003). Its first incarnation was as a movie (1992) that received mediocre reviews. The film’s writer, Joss Whedon, had the unexpected opportunity to transfer the work to television as part of the fledgling WB network. (Its last two seasons were on UPN.) The series soon garnered high critical praise and devoted viewers, though their numbers were only large in the context of a start-up network, where it was, however, allowed greater creative freedom. The show became culturally significant beyond its immediate fanbase. Buffy became famous for its gender politics: the main character reverses the usual horror trope of the young beauty killed by a monster. Buffy, whose slight stature belies her strength, derives from a long line of female Slayers, only one of whom exists in any generation. However, Buffy’s attractiveness comes in part from her flaws: she is constantly torn between her duties and her desire for a normal life. The California small-town setting suggests the darkness underlying suburbia: Sunnydale sits on a Hellmouth, where monsters converge. Each monstrous encounter is not only an adventure and a test of strength and ethics, but also symbolizes problems faced in reality, the “high school is hell” metaphor central to the show. Buffy is aided by a geeky but loyal boy, Xander; a shy computer whiz (and later witch), Willow; a book-smart mentor, Giles; a vampire seeking redemption, Angel (soon Buffy’s forbidden love); this group later expands to include others. A main theme is the idea of chosen family or working in community rather than fighting alone. Immediately admired for its witty dialogue (known as Buffyspeak or Slayer Slang), the show gradually explored more and more complex problems through building continuity of narrative, which reflects the classic hero’s journey but also involves many other storylines. Buffy is noteworthy for having the first long-running romance between two lesbian characters on network television; one of the two lovers is murdered, setting off a supernatural rampage by the survivor, Willow (and fan indignation). In the final episode Buffy shares her power around the world with Willow’s help. Buffy has a television spin-off, Angel (1999–2004) and continues in comic book form with Season Eight and more; some do not consider the comics canonical. Buffy spawned numerous online discussion forums. With its aesthetic and cultural value, Buffy has accrued more scholarly writing than any other television series.
期刊介绍:
Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.