Buffy the Vampire Slayer

IF 0.2 0 FILM, RADIO, TELEVISION
Rhonda V. Wilcox
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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.
吸血鬼猎人巴菲
《吸血鬼猎人巴菲》是一部美国电视剧(1997-2003)。它的第一个化身是1992年的一部电影,但反响平平。这部电影的编剧乔斯·韦登(Joss Whedon)得到了一个意想不到的机会,将这部作品作为新兴的华纳兄弟网络的一部分转移到电视上。(该剧前两季在UPN播出。)这部剧很快就获得了评论界的高度赞扬和忠实的观众,尽管他们的数量只有在一个初创网络的背景下才会很大,然而,在这个网络中,它有更大的创作自由。这部剧的文化意义超越了它的直接粉丝群。《巴菲》因其性别政治而出名:主角颠覆了通常被怪物杀死的年轻美女的恐怖形象。矮小的身材掩盖了她的力量,巴菲是一长串女性杀手的后代,每一代只有一个。然而,巴菲的魅力部分来自于她的缺点:她经常在自己的职责和对正常生活的渴望之间挣扎。加州小镇的背景暗示了郊区的黑暗:森尼代尔坐落在地狱之口,怪物聚集在那里。每一次可怕的遭遇不仅是一次冒险,也是对力量和道德的考验,也象征着现实中面临的问题,“高中是地狱”的隐喻是该剧的核心。巴菲是由一个极客,但忠诚的男孩,赞德协助;害羞的电脑高手(后来成为女巫)威洛;博学的导师贾尔斯;寻求救赎的吸血鬼安吉尔(很快成为巴菲的禁忌之爱);这个群体后来扩大到包括其他人。一个主要的主题是选择家庭或社区工作而不是独自战斗的想法。该剧因其诙谐的对白(被称为Buffyspeak或Slayer俚语)而备受赞誉,通过建立叙事的连续性,该剧逐渐探索了越来越复杂的问题,这反映了经典英雄的旅程,但也涉及到许多其他故事情节。《巴菲》值得注意的是,它是网络电视上第一个两个女同性恋角色之间的长期恋情;两个恋人中的一个被谋杀了,引发了幸存者Willow的超自然暴行(以及粉丝的愤怒)。在最后一集中,巴菲在威洛的帮助下在世界各地分享她的力量。巴菲有一部电视衍生剧《天使》(Angel, 1999-2004),并将以漫画的形式延续第八季及更多内容;有些人不认为这些漫画是经典的。巴菲催生了无数在线论坛。凭借其美学和文化价值,《巴菲》比其他任何电视剧都积累了更多的学术写作。
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来源期刊
CiteScore
0.40
自引率
50.00%
发文量
53
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.
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