Journal articles: 'Buffy the Vampire Slayer'

1

Bosseaux, Charlotte. "Buffy the Vampire Slayer." Translator 14, no. 2 (November 2008): 343–72. http://dx.doi.org/10.1080/13556509.2008.10799262.

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Stratton, Jon. "Buffy the Vampire Slayer." Television & New Media 6, no. 2 (May 2005): 176–99. http://dx.doi.org/10.1177/1527476403255828.

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Mastracci, Sharon. "Public Service Motivation in Buffy the Vampire Slayer." Public Voices 12, no. 1 (November 23, 2016): 67. http://dx.doi.org/10.22140/pv.71.

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In this paper, the author examines public service as depicted in the television series Buffy the Vampire Slayer (BtVS). First, she shows how slaying meets the economist’s definition of a public good, using the BtVS episode “Flooded” (6.04). Second, she discusses public service motivation (PSM) to determine whether or not Buffy, a public servant, operates from a public service ethic. Relying on established measures and evidence from shooting scripts and episode transcripts, the author concludes Buffy is a public servant motivated by a public service ethic. In this way, BtVS informs scholarship on public service by broadening the concept of PSM beyond the public sector; prompting one to wonder whether it is located in a sector, an occupation, or in the individual. These conclusions allow the author to situate Buffy alongside other idealized public servants in American popular culture.

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Tarnasi, Susan. "Book Review: Slayer Slang: A Buffy the Vampire Slayer Lexicon." Journal of English Linguistics 33, no. 1 (March 2005): 91–94. http://dx.doi.org/10.1177/007542420503300106.

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BAILEY, R. W. "NEOLOGIZE MUCH?: Slayer Slang: A "Buffy the Vampire Slayer" Lexicon." American Speech 79, no. 1 (March 1, 2004): 92–97. http://dx.doi.org/10.1215/00031283-79-1-92.

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McKee, Alan. "Review: Why Buffy Matters: The Art of Buffy the Vampire Slayer." Media International Australia 121, no. 1 (November 2006): 222–23. http://dx.doi.org/10.1177/1329878x0612100140.

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Cascajosa-Virino, Concepción Carmen. "Studying at the hellmouth: the school experiencein «Buffy, the vampire slayer»." Comunicar 14, no. 27 (October 1, 2006): 193–98. http://dx.doi.org/10.3916/c27-2006-29.

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In this paper we will analyze the representation of the school experience particularly higheschool and college in the American televisión program «Buffy, the vampire slayer». The series tells a story about maturation and responsibility showing values with which young people can easily identify themselves, but it is also an intelligent and honest representation of the school life using the resource of fantasy to symbolize the fears which teens face during their educational life. En este artículo se analiza la representación de la experiencia escolar concretamente el instituto y la universidad en el programa de televisión norteamericano «Buffy, cazavampiros». La serie es un relato sobre la maduración y la responsabilidad con valores con los que los jóvenes pueden fácilmente identificarse, pero también una inteligente y honesta representación de la vida escolar que utiliza el recurso de la fantasía para simbolizar los temores a los que se enfrentan los adolescentes durante su etapa de formación.

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van Rysbergen, Felicity. "Review: Undead TV: Essays on Buffy the Vampire Slayer." Media International Australia 129, no. 1 (November 2008): 157. http://dx.doi.org/10.1177/1329878x0812900121.

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Cardow, Andrew, and Robert Smith. "Using Innovative Pedagogies in the Classroom." Industry and Higher Education 29, no. 5 (October 2015): 361–74. http://dx.doi.org/10.5367/ihe.2015.0268.

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It can be difficult to interest students in academic topics if they have no prior exposure to or experience of the subject. The authors introduce and discuss a pedagogic innovation designed to trigger interest in entrepreneurship and ‘enterprise culture’. They use fiction in the form of Gothic context and the vampire motif to move the student through Bloom's cognitive levels of learning. The vampire is a mythic creature spawned from the deepest recesses of folkloric imagination. The entrepreneur might be seen in a similar light. The authors therefore explore these ‘Byronic heroes’ and vampirism as heuristic devices to help re-story and better understand entrepreneurial processes and narratives. They demonstrate that there are elements of enterprise discourse in contemporary narratives and images of vampires. The analysis is based on observations of the late 1990s early 2000s teenage television serial ‘Buffy the Vampire Slayer’, which retains its popular and academic cult status. Through the identification of the familiar (vampires and Buffy) as examples of the entrepreneurial construct, the unfamiliar (the construct of entrepreneurship) is made more accessible because both students and faculty approach it from a shared understanding rather than from a position of inequality. Themes of morphology and transformation emerge, but the paper's main contribution lies in its account of a novel way of teaching entrepreneurship to a new generation of students. It offers insights into making entrepreneurship more interesting for students and so into developing an entrepreneurial mindset. At the same time, the process allows for discussion of how the student has become aware of the concepts of entrepreneurship, thus facilitating knowledge in a non-threatening way.

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Burr, Vivien. "Ambiguity and Sexuality in Buffy the Vampire Slayer: A Sartrean Analysis." Sexualities 6, no. 3-4 (November 2003): 343–60. http://dx.doi.org/10.1177/136346070363005.

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Ramet, Sabrina P. "Fighting the Forces: What's at Stake in Buffy the Vampire Slayer." Journal of Popular Culture 39, no. 2 (April 2006): 338–40. http://dx.doi.org/10.1111/j.1540-5931.2006.00248.x.

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Kirby-Diaz, Mary. "Blood Relations: Chosen Families in Buffy the Vampire Slayer and Angel." Journal of Popular Culture 39, no. 5 (October 2006): 907–8. http://dx.doi.org/10.1111/j.1540-5931.2006.00317.x.

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Burr, Vivien. "III. Sex and Censorship: The Case of Buffy the Vampire Slayer." Feminism & Psychology 19, no. 1 (February 2009): 123–27. http://dx.doi.org/10.1177/0959353508098625.

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Early, Francis H. "Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior." Journal of Popular Culture 35, no. 3 (December 2001): 11–27. http://dx.doi.org/10.1111/j.0022-3840.2001.3503_11.x.

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Housel, Rebecca. "Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale." Journal of Popular Culture 37, no. 4 (April 7, 2004): 727–29. http://dx.doi.org/10.1111/j.0022-3840.2004.096_5.x.

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Spaise, Terry L. "Necrophilia and SM: The Deviant Side of Buffy the Vampire Slayer." Journal of Popular Culture 38, no. 4 (May 2005): 744–62. http://dx.doi.org/10.1111/j.0022-3840.2005.00139.x.

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Bercuci, Loredana. "Pop Feminism: Televised Superheroines from the 1990s to the 2010s." Gender Studies 15, no. 1 (December 1, 2016): 252–69. http://dx.doi.org/10.1515/genst-2017-0017.

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Abstract This paper analyses the construction of two superheroines, one from the 1990s (Buffy the Vampire Slayer) and one from the 2010s (Jessica Jones). I contend that popular feminism has changed between the 1990s and the present and that this is evident in the representation of televised superheroines. While in the 1990s superheroines were more conformist, today they are more transparent in their feminist intentions. I suggest that this is due to contemporary cultural trends in the United States.

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Alessio, Dominic. ""Things are Different Now"?: A Postcolonial Analysis of Buffy the Vampire Slayer." European Legacy 6, no. 6 (December 2001): 731–40. http://dx.doi.org/10.1080/03075070120099485.

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Richards, Chris. "What are we? adolescence, sex and intimacy in Buffy the Vampire Slayer." Continuum 18, no. 1 (March 2004): 121–37. http://dx.doi.org/10.1080/1030431032000181030.

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Thorburn, Sandy. "Music, Sound, and Silence in "Buffy the Vampire Slayer." (review)." Notes 67, no. 4 (2011): 771–74. http://dx.doi.org/10.1353/not.2011.0041.

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Kelly, Gillian. "Book Review: I’m Buffy and You’re History: Buffy the Vampire Slayer and Contemporary Feminism by Patricia Pender." Journalism & Mass Communication Quarterly 95, no. 2 (March 26, 2018): 542–44. http://dx.doi.org/10.1177/1077699018764308.

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Bradney, Anthony. "For and Against the Law:‘Buffy the Vampire Slayer’, ‘Angel’ and the Academy." Entertainment and Sports Law Journal 9, no. 1 (June 1, 2011): 1. http://dx.doi.org/10.16997/eslj.26.

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Gerrits, Jeroen. "When Horror Becomes Human: Living Conditions in Buffy the Vampire Slayer." MLN 127, no. 5 (2012): 1059–70. http://dx.doi.org/10.1353/mln.2012.0132.

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Percival, Mark. "Book Reviews: Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer." Media, Culture & Society 26, no. 6 (November 2004): 902–3. http://dx.doi.org/10.1177/016344370402600611.

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Keegan, Cael M. "Emptying the future: Queer melodramatics and negative utopia in Buffy the Vampire Slayer." Queer Studies in Media & Popular Culture 1, no. 1 (January 1, 2016): 9–22. http://dx.doi.org/10.1386/qsmpc.1.1.9_1.

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O’Dette, Katarina. "Fantasy Worlds on the Small Screen." Extrapolation: Volume 62, Issue 1 62, no. 1 (March 1, 2021): 37–62. http://dx.doi.org/10.3828/extr.2021.3.

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This article draws on worldbuilding theory, US television industrial practices, and textual analysis of a variety of fantasy series to explore the medium-specific forces that shape how fantasy worlds are built on television. With particular focus on Buffy the Vampire Slayer (1997-2003), Once Upon a Time (2011-2018), and Dead Like Me (2003-2004), this article proposes the concepts of stationary movement and adaptive creation to analyze how televisual worldbuilding is shaped by industrial practices such as standing sets and actors’ contracts. Scrutinizing the medium-specific manifestation of fantasy worlds on television, this article aims to address the gap in the literature surrounding this televisual genre.

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Chambers, Samuel A., and Daniel Williford. "Anti-Imperialism in the Buffy-verse: Challenging the Mythos of Bush as Vampire Slayer." Poroi 3, no. 2 (December 1, 2004): 109–29. http://dx.doi.org/10.13008/2151-2957.1040.

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Jones, Caroline E. "Unpleasant Consequences: First Sex in Buffy the Vampire Slayer, Veronica Mars, and Gilmore Girls." Jeunesse: Young People, Texts, Cultures 5, no. 1 (2013): 65–83. http://dx.doi.org/10.1353/jeu.2013.0008.

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Pateman, Matthew. ""That Was Nifty": Willow Rosenberg Saves the World in Buffy the Vampire Slayer." Shofar: An Interdisciplinary Journal of Jewish Studies 25, no. 4 (2007): 64–77. http://dx.doi.org/10.1353/sho.2007.0119.

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Hendershot, Heather. "The Good, the Bad, and the Ugly: From Buffy the Vampire Slayer to Dr. 90210." Camera Obscura: Feminism, Culture, and Media Studies 21, no. 1 (2006): 47–51. http://dx.doi.org/10.1215/02705346-2005-005.

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Borowiecki, Artur. "Zmieniający się paradygmat opowiadania we współczesnych serialach grozy." Media - Kultura - Komunikacja Społeczna 2, no. 17 (January 5, 2021): 11–20. http://dx.doi.org/10.31648/mkks.6286.

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Od czasu emisji serialu Rodzina Soprano (The Sopranos, 1999–2007) można zaobserwować nowy etap w historii kinematografii, popularnie nazywany „złotym okresem telewizji”. Główną jego cechą są seriale złożone narracyjnie. Twórcy tych utworów korzystają z nowych środków stylistycznych, a także eksperymentują z ukonstytuowanymi od początku istnienia telewizji schematami narracyjnymi. W artykule podjęto tematykę serialowych horrorów, które zalicza się właśnie do produkcji złożonych narracyjnie. Na przykładzie wybranych sezonów popularnych amerykańskich seriali grozy: Buffy, postrach wampirów (Buffy the Vampire Slayer, 1997–2003), Żywe trupy (The Walking Dead, 2010–), American Horror Story (2011–) i Channel Zero (2016–2018) oraz serialu amerykańsko-angielskiego Dom grozy (Penny Dreadful, 2014–2016) omówiono kwestię zmian w strategiach narracyjnych tychże seriali. Szukano odpowiedzi na następujące pytania: czy współczesne seriale grozy przeszły podobną metamorfozę jak dramaty jakościowe i na czym ta zmiana polega? Czy występują postmodernistyczne kolaże, zakłócenia w warstwie temporalnej linii narracyjnych? Czy twórcy wplatają nowatorskie rozwiązania, podążając za myślą formalistów rosyjskich, w struktury narracyjne? I w końcu czy można mówić o nowym typie seriali horrorów, czy są to jedynie powielone wzorce, które wcześniej występowały w serialowym dyskursie grozy?

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32

Mandala, Susan. "Solidarity and the Scoobies: an analysis of the -y suffix in the television series Buffy the Vampire Slayer." Language and Literature: International Journal of Stylistics 16, no. 1 (February 2007): 53–73. http://dx.doi.org/10.1177/0963947007072845.

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This article offers a sociolinguistic analysis of selected dialogue from 66 episodes of the television series Buffy the Vampire Slayer ( BTVS). While the research record reveals an interest in the use of language on the show, it is argued here that the issue of language in relation to friendship bonds has thus far received insufficient treatment. In response, this study asks if Buffy and her friends (the Scoobies, as they call themselves after the ghost-busting teens in the cartoon Scooby-Doo) are represented as using vernacular variants to demonstrate in-group identity. Marked - y suffix adjectives (e.g. Heart-of-Darkness-y) are adopted as the linguistic variable, and the data are interpreted with reference to Lesley Milroy’s social network theory and Mick Short’s concept of embedded levels of discourse in drama dialogue. The findings demonstrate that marked -y reveals shifting alliances within the Scooby gang, as it characterizes not the gang as a whole, but only certain members. The findings also suggest that knowledge of how language is used in the formation of friendship groups may be part of sociolinguistic competence (as theorized by Michael Canale and Merrill Swain). Further investigation into whether this is accomplished above or below the writer’s level of conscious awareness is offered as a suggestion for future research.

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Magee, Sara. "High School is Hell: The TV Legacy of Beverly Hills, 90210, and Buffy the Vampire Slayer." Journal of Popular Culture 47, no. 4 (August 2014): 877–94. http://dx.doi.org/10.1111/jpcu.12165.

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Howell, Amanda. "‘If we hear any inspirational power chords …’: Rock Music, Rock Culture on Buffy the Vampire Slayer." Continuum 18, no. 3 (September 2004): 406–22. http://dx.doi.org/10.1080/1030431042000256144.

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Cover, Rob. "‘Not to Be Toyed With’: Drug Addiction, Bullying and Self-empowerment in Buffy the Vampire Slayer." Continuum 19, no. 1 (March 2005): 85–101. http://dx.doi.org/10.1080/1030431052000336315.

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Reichelt, Susan, and Mercedes Durham. "Adjective Intensification as a Means of Characterization." Journal of English Linguistics 45, no. 1 (September 30, 2016): 60–87. http://dx.doi.org/10.1177/0075424216669747.

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This paper examines the use of intensifiers on the television show Buffy the Vampire Slayer in order to establish the ways in which they can be used for characterization. We found that the male and female characters used intensifiers differently (similarly to what is found in natural speech), but also that intensifier choice was related to changes in social networks for several of the female characters on the show ( so and totally). Furthermore, intensifiers were also used to distinguish the British characters on the show from the American ones ( extremely, terribly, and bloody). By comparing our results to findings for other television shows ( Friends) and for natural speech, we were able to establish the extent to which the show makes use of (then) innovative linguistic features for characterization. These findings underline the extent to which scriptwriters and/or actors were able to use linguistic features to index specific types of character.

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Kovačević, Ivan, and Marija Brujić. "“Love at first sight” - TV shows: Introduction into anthropological analysis." Issues in Ethnology and Anthropology 9, no. 2 (February 26, 2016): 395. http://dx.doi.org/10.21301/eap.v9i2.7.

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Television shows are a noted and important form of popular culture. They are subject to anthropological research as much as any other form of pop culture and this has been done in the new Serbian anthropology which had included them in its inventory of researchable phenomena. By researching television shows, an anthropologist researches contemporary society and the meanings and values contained in the shows, as well as through the reception of these contents. The anthropological study of TV shows in Serbia resulted in a number of papers which are mostly about shows produced in Serbia and only in one case abroad (Buffy the Vampire Slayer), studied from the aspect of reception. As it would be expected, most of the attention of anthropologists had been garnered by TV shoes with high ratings, such as "Srećni ljudi", "Porodično blago", "Kursadžije", "Mile protiv tranzicije" and "Moj rođak sa sela".

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38

Potts, Donna L. "Convents, Claddagh rings, and Even The Book of Kells: Representing the Irish in Buffy the Vampire Slayer." SIMILE: Studies In Media & Information Literacy Education 3, no. 2 (May 1, 2003): 1–9. http://dx.doi.org/10.3138/sim.3.2.002.

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39

Stenger, Josh. "The Clothes Make the Fan: Fashion and Online Fandom when Buffy the Vampire Slayer Goes to eBay." Cinema Journal 45, no. 4 (2006): 26–44. http://dx.doi.org/10.1353/cj.2006.0048.

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40

Wilcox, Rhonda V., Stacey Abbott, and Douglas L. Howard. "A tribute to David Lavery: Television canon, television creativity." Critical Studies in Television: The International Journal of Television Studies 13, no. 4 (December 2018): 455–69. http://dx.doi.org/10.1177/1749602018799246.

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This article pays tribute to the career of Professor David Lavery and his landmark contribution to television studies. It reflects upon how his edited collections on TV series such as Twin Peaks, The X-Files, Buffy the Vampire Slayer and The Sopranos demonstrated the value of research and, in particular, close textual analysis of individual television series. It considers the impact that the many conferences he co-organised and journals he co-founded had in the creation of collaborative research networks and a sphere of influence known as the ‘Lavery Effect’. It reflects upon his contribution to legitimising blogging and popular media as acceptable platforms for academic research, thus taking scholarship beyond academic audiences and readers. Finally, the essay offers a review of his personal production, addressing his individual contribution to television studies, particularly addressing how his work led the way in considerations of creativity and television authorship and the development of a TV canon.

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Zborowski, James. "Book Review: Joss Whedon, A Creative Portrait: From Buffy the Vampire Slayer to Marvel’s The Avengers, Reading Joss Whedon." Critical Studies in Television: The International Journal of Television Studies 11, no. 1 (February 26, 2016): 110–12. http://dx.doi.org/10.1177/1749602015615508.

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42

Beard, David. "Book Review of "Reading the Vampire Slayer: An Unofficial Critical Companion to Buffy and Angel," edited by Roz Kaveney." Popular Communication 1, no. 3 (August 2003): 189–91. http://dx.doi.org/10.1207/s15405710pc0103_5.

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Heinecken, Dawn. "Book Review of "Fighting the Forces: What's at Stake in Buffy the Vampire Slayer," edited by Rhonda V. Wilcox and David Lavery." Popular Communication 1, no. 3 (August 2003): 185–87. http://dx.doi.org/10.1207/s15405710pc0103_4.

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Burns, Angie. "Review: Rhonda Wilcox: Why Buffy Matters: The Art of Buffy the Vampire Slayer. London and New York: I.B. Tauris, 2005, 246 + ix pp. £12.99, ISBN 1—84511—029—3 (pbk)." Feminism & Psychology 17, no. 3 (August 2007): 419–21. http://dx.doi.org/10.1177/09593535070170031107.

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Davies, Matt. "“You Can’t Charge Innocent People for Saving Their Lives!” Work in Buffy the Vampire Slayer1." International Political Sociology 4, no. 2 (June 7, 2010): 178–95. http://dx.doi.org/10.1111/j.1749-5687.2010.00099.x.

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Wilks, John. "What Would Buffy Do? The Vampire Slayer as Spiritual Guide by Jane Riess, San Francisco: Jossey-Bass/Wiley, 2005. xviii + 183 pp. £9.99. ISBN 0787969222." Evangelical Quarterly 78, no. 2 (April 21, 2006): 190–91. http://dx.doi.org/10.1163/27725472-07802018.

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Lindelof, Anja Mølle. "Music, Sound and Silence in Buffy the Vampire Slayer. Edited by Paul Attinello, Janet K. Halfyard and Vanessa Knights. Farnham: Ashgate, 2010. 278 pp. ISBN 978-0-7546-6041-2." Popular Music 31, no. 3 (October 2012): 502–4. http://dx.doi.org/10.1017/s026114301200044x.

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Wilk, Stephen R. "Ultraviolet, the Vampire Slayer." Optics and Photonics News 30, no. 10 (October 1, 2019): 44. http://dx.doi.org/10.1364/opn.30.10.000044.

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Owen, A. Susan. "Vampires, Postmodernity, and Postfeminism:Buffy the Vampire Slayer." Journal of Popular Film and Television 27, no. 2 (January 1999): 24–31. http://dx.doi.org/10.1080/01956059909602801.

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Hause, Jeffrey, and Krysta Larson. "The Slayer and the Slayerettes: Buffy and the Cluster Theory of Vocation." Journal of Popular Culture 53, no. 5 (October 2020): 1023–45. http://dx.doi.org/10.1111/jpcu.12955.

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Journal articles on the topic 'Buffy the Vampire Slayer'

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