On the TV screen as elsewhere, there is often more than meets the eye. For decades, television has offered not just entertainment, but observations--subtle and otherwise--on society. This book examines the cultural commentary contained in Buffy, the Vampire Slayer, a show that ran for seven seasons (1997-2003) and 144 episodes. On the surface, Buffy is the marriage of a high school drama to gothic horror. This somewhat unusual vehicle is used to present, via the character of Buffy, fairly typical views of late 20th century culture-teenage problems; issues regarding a broken home; and the search for meaning and validation. In addition, subtler themes, such as cultural views of knowledge, ethnicity and history, are woven into the show's critique of popular culture. Organized into two sections, this volume offers an in-depth examination of the show: first, through the lens of Buffy's confrontation with culture, and second, from the complex perspectives of the individual characters. Issues such as values, ethical choices and the implications of one's actions are discussed--without ever losing sight of the limitations of a medium that will always be dominated by financial concerns. The final chapter summarizes what Buffy has to say about today's society. An appendix lists Buffy episodes in chronological order.

The intense and continuing popularity of the long-running television show Buffy the Vampire Slayer (1997-2003) has long been matched by the range and depth of the academic critical response. This volume, the first devoted to the show's imaginative and widely varied use of music, sound, and silence, helps to develop an increasingly important and inadequately covered area of research - the many roles of music in contemporary television. In addressing this significant gap, this book provides an exemplary overview of the functions of music and sound in the interpretation of a television show. This is done through analyses that focus on scoring and source music, the title theme, the music production process, the critically acclaimed musical episode (voted number 13 in Channel Four's One Hundred Greatest Musicals), the symbolic and dramatic use of silence, and the popular reception of the show by its international fan base. In keeping with contemporary trends in the study of popular musics, a variety of critical approaches are taken from musicology, cultural studies, and media and communication studies, specifically employing critique, musical analysis, industry studies, and hermeneutics.

Twenty-three essays by young professional philosophers examine crucial ethical and metaphysical aspects of the Buffyverse (the world of Buffy). Though the show already attracted much scholarly attention, this is the first book to fully disinter the intellectual issues. Designed by Whedon as a multilevel story with most of its meanings deeply buried in heaps of heavy irony, Buffy the Vampire Slayer has replaced The X-Files as the show that explains to Americans the nature of the powerful forces of evil continually threatening to surge into our world of everyday decency and overwhelm it. In the tradition of the classic horror films Buffy the Vampire Slayer addresses ethical issues that have long fascinated audiences. This book draws out the ethical and metaphysical lessons from a pop-culture phenomenon.

This bibliographic guide covers the “Buffyverse”—the fictional worlds of the acclaimed television series Buffy the Vampire Slayer (1997–2003) and its spinoff Angel (1999–2004), as well as the original Buffy feature film of 1992. It is the largest and most inclusive work of its kind. The author organizes and describes both the original texts of the Buffyverse (episodes, DVDs, novels, comic books, games, and more) and the secondary materials created about the shows, including books, essays, articles, documentaries, dissertations, fan production and websites. This vast and diverse collection of information about these two seminal shows and their feature-film forebear provides an accessible, authoritative and comprehensive survey of the subject.

Director, producer and screenwriter Joss Whedon is a creative force in film, television, comic books and a host of other media. This book provides an authoritative survey of all of Whedon's work, ranging from his earliest scriptwriting on Roseanne, through his many movie and TV undertakings--Toy Story, Buffy the Vampire Slayer, Angel, Firefly/Serenity, Dr. Horrible, The Cabin in the Woods, and Agents of S.H.I.E.L.D.--to his forays into the Marvel Cinematic Universe. The book covers both the original texts of the Whedonverse and the many secondary works focusing on Whedon's projects, including about 2000 books, essays, articles, documentaries and dissertations.

In its seven years on television, Buffy the Vampire Slayer has earned critical acclaim and a massive cult following among teen viewers. One of the most distinguishing features of the program is the innovative way the show's writers play with language: fabricating new words, morphing existing ones, and throwing usage on its head. The result has been a strikingly resonant lexicon that reflects the power of both youth culture and television in the evolution of American slang. Using the show to illustrate how new slang is formed, transformed, and transmitted, Slayer Slang is one of those rare books that combines a serious explanation of a pop culture phenomena with an engrossing read for fans of the show, word geeks, and language professionals. Michael Adams begins his book with a synopsis of the program's history and a defense of ephemeral language. He then moves to the main body of the work: a detailed glossary of slayer slang, annotated with actual dialogue and recorded the style accepted by the American Dialect Society. The book concludes with a bibliography and a lengthy index, a guide to sources (novels based on the show, magazine articles about the show, and language culled from the official posting board) and an appendix of slang-making suffixes. Introduced by Jane Espenson, one of the show's most inventive writers (and herself a linguist), Slayer Slang offers a quintessential example of contemporary youth culture serving as a vehicle for slang. In the tradition of The Physics of Star Trek, Slayer Slang is one of those rare books that offers a serious examination a TV cult phenomenon appealing to fans and thinkers alike. A few examples from the Slayer Slang glossary: bitca n [AHD4 bitch n in sense 2.a + a] Bitch 1997 Sep 15 Whedon When She Was Bad "[Willow:] 'I mean, why else would she be acting like such a b-i-t-c-h?' [Giles:] 'Willow, I think we're all a little old to be spelling things out.' [Xander:] 'A bitca?'" break and enterish adj [AHD4 sv breaking and entering n + -ish suff in sense 2.a] Suitable for crime 1999 Mar 16 Petrie Enemies "I'll go home and stock up on weapons, slip into something a little more break and enterish." [B] carbon-dated adj [fr. AHD4 carbondating + -ed] Very out of date 1997 Mar 10 Whedon Welcome to the Hellmouth "[Buffy:] 'Deal with that outfit for a moment.' [Giles:] 'It's dated?' [Buffy:] 'It's carbon-dated.'" cuddle-monkey n [AHD4 cuddle v + monkey n in sense 2, by analogy fr. RHHDAS (also DAS3 and NTC) sv cuddle bunny 'an affectionate, passionate, or sexually attractive young woman'] Male lover 1998 Feb 10 Noxon Bewitched, Bothered, and Bewildered "Every woman in Sunnydale wants to make me her cuddle-monkey." [X]

Hugely enjoyable, long awaited book by top world authority on "Buffy the Vampire Slayer". Buffy is still on screens and on DVD in home television libraries of a wide array of TV watchers and fans. This is also the student text for TV and cultural studies at colleges and universities where Buffy is widely taught. Rhonda Wilcox is a world authority on "Buffy the Vampire Slayer", who has been writing and lecturing about the show since its arrival on our screens. This book is the distillation of this remarkable body of work and thought, a celebration of the series that she proposes is an aesthetic test case for television. Buffy is enduring as art, she argues, by exploring its own possibilities for long-term construction as well as producing individual episodes that are powerful in their own right. She examines therefore the larger patterns that extend through many episodes: the hero myth, the imagery of light, naming symbolism, Spike, sex and redemption, Buffy Summers compared and contrasted with Harry Potter. She then moves in to focus on individual episodes, such as the "Buffy musical Once More, with Feeling", the largely silent Hush and the dream episode "Restless" (T.S. Eliot comes to television). She also examines Buffy's ways of making meaning - from literary narrative and symbolism to visual imagery and sound. Combining great intelligence and wit, written for the wide Buffy readership, this is the worthy companion to the show that has claimed and kept the minds and hearts of watchers worldwide.