Chair: Peter Krämer |
Chair: Neil Ewen |
A History of the Vampire Genre Chair: Lorcan McGrane |
J. W. Briggs: Unaired Pilot or Bad Quarto: Textual Problems in Buffy and Shakespeare in an Internet Age J. Gray: Resurrecting The Author: Joss Whedon’s Place In Buffy’s Textual Universe D. Lavery: A Religion in Narrative: Joss Whedon and Television Creativity |
S. MacKenzie: "We few, we happy few…we band of buggered": The Importance of Being English in BtVS A. Davies: Passing for American: British and Vampire Identities in Buffy A. Seidl-Arpaci: Imaginary Para-Sites of the Soul: Representations of 'Race' and 'Culture' in Angel |
M. Introvigne: Brainwashing the Working Class: Vampire Comics and Criticism from Dr. Occult to Buffy R. Roberts: From Metropolis to Melrose Place: Morphic Resonance in BtVS J. G. Melton: Playing with Dracula: Joss Whedon’s Creative Adaptation of the Vampire Genre |
Language I: Tropes of Translation Chair: C. Thomson |
Flesh / Food: Vampire Ecologies Chair: Roz Kaveney |
Chair: Amaia Gabantxo |
G. Gatti / F. Ribero: The Buffyspeak C. O’Sullivan: ‘Deprimere ille babula linter?: crossing over, reading through and puzzling out in the Buffyverse’ A. Pomeroy: “Don’t Speak Latin in Front of the Books” |
D. Collinson: What’s Up With Vampires Anyway? (The science of the undead in the Buffyverse) J. Rose: “It’ll go straight to your thighs”: food and drink issues in BtVS’ and ‘Angel’ |
L. E. Jones: Slaying: The Stakes of the Warrior N. Morley: History as Nightmare K. Lambert: The Fool (for Love): Spike as Trickster |
Blood, Spirit, Bodies, Technology Chair: Matt Weyland |
Chair: Sarah Salih |
Chair: Scott MacKenzie |
Blood, Spirit, Bodies, and Technology in BtVS J. Bussolini, A. Mukherjea, C. Willse (CUNY) |
S. Simkin: "You hold your gun like a sissy girl": Firearms and Anxious Masculinity in BtVS T. Cook: White Trash(ing): Spike as Site of Resistance S. Zacharek: Modern and Mythical Sexuality in BtVS |
A. Bradney: Choosing Laws, Choosing Families: Images of Law, Love and Authority in BtVS K. Moen: "Can’t Even Shout, Can’t Even Cry, The Gentlemen are Coming By": The Articulation of Change in BtVS |
Chair: Daniel Kane |
Chair: Ann Davies |
Chair: Geraint Evans |
J. Halfyard: Singing Their Hearts Out: Performance, Sincerity and Musical Diegesis in BtVS and Angel V. Knights: Sound, Silence, Score and Song in BtVS |
T. Krzywinska: Playing Buffy: Form, Tension And Interactivity In The Video-Game Version Of Btvs |
M. Paule / L.Davison: School Harder – Using Buffy The Vampire Slayer To Stretch Young Minds |
Chair: Doug Cowie |
Chair: Stephanie Millar |
Chair: Catherine Fuller |
Pathologizing Marginality: Sickness, Limnality, and Otherness in Buffy the Vampire Slayer and Angel -- University of California, Riverside: J.Pinson, C. Firtha, B. Ptalis, M. Mariano |
A. Aberdein: Balderdash and Chicanery: Science and beyond in BtVS C. Wardell: Taking the Initiative: Science and Agency in Buffy the Vampire Slayer S. Beeler: Overloading the Operator: Computers, Sex and Magic |
B. Jacob: Los Angelus: The City of Angel C. Thomson: She Who Hangs Out in Graveyards (and Libraries): A Heterotopology of Sunnydale |
Death Duties: Theology & Destiny Chair: tbc |
Language II: Speech Acts (How to Do Things with (S)words) Chair: Claire Thomson |
Chair: Corin Depper |
L. C. Patton: Horror, Hope and Heroes: Practical Theology in BtVS |
J. Hodson: "You made a wish to someone you’ve never seen before?": the dangerous power of speech acts in BtVS L. Hills: Blood sausage, bangers, and mash: British English and Britishness in ‘BtVS’ A. Jenkins / S.Stuart: Extending Your Mind: The Role Of Non-Standard Perlocutionary Acts In Buffy |
M. Barker: Slashing the Slayer: Thematic Analysis of Homo-erotic Buffy Fan Fiction S. Barlaam: Tuning Bodies In Tv Series: the Straight and the Gay Male Body in ‘Angel ’ and ‘Queer as Folk’ D. Amy-Chinn: Queering the Bitch: Spike, Transgression and Erotic Empowerment |
Chair: Rhonda Wilcox |
Chair: Ben Moderate |
Chair: Roz Kaveney |
E. Rambo: Yeats’s Entropic Gyre and Season Six of BtVS S. Abbott: Walking a fine line between Angel and Angelus M. Money: Pylea: A Fairytale for the Buffyverse |
L. Jowett: Drusilla: Disruptive Monster, Dark Goddess, Daddy’s Girl C. Walmsley: Good Girls Go To Hell – The ‘Other’ Willow P. Aloi: Leaves of Dark Willow: Beyond the Metaphor of Magical Addiction |
D. Heinecken: Fan Readings of Sex and Violence on BtVS E. Saxey: Why is BtVS so Slashable? B. Chin: Battle Of The ‘Ships’ |
Chair: Hannah Sanders |
Chair: Carol O'Sullivan |
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C. Wiley: "I Believe the Subtext Here is Rapidly Becoming Text": Music, Gender and Fantasy in BtVS M. Mills: Meaning and Myth: Leitmotivic Procedures in the Musical Underscore to Angel, Season One |
G. Bloustien: Buffy Night at the Seven Stars J. Fitzpatrick / J. Fischer / A. McCourt: Parasocialism and BtVS |
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Closing plenary: Roz Kaveney & panel: ‘Where do we go from here? Critical Responses To Buffy In The Aftermath Of Season Six And Angel In The Aftermath Of Season Three. Chair: Scott MacKenzie |
Proposal for Blood, Texts, and Fears: Reading Around Buffy the Vampire Slayer Joss Whedon: Television Auteur David Lavery, Middle Tennessee State University
"[B]ecause of the technological complexity of the medium and as a result of the application to most commercial television production of the principles of modern industrial organization . . . ," Robert C. Allen writes, "it is very difficult to locate the ‘author’ of a television program—if by that we mean the single individual who provides the unifying vision behind the program."
Buffy the Vampire Slayer, however, would seem to present no such problem. In addition to being, for the first five seasons, BtVS’ obsessive, hands-on creator and executive producer, Joss Whedon has written/co-written 21 episodes and directed 19 of them. Though (by his own admission) he knew very little about directing and virtually nothing about creating a television show prior to helming BtVS, Whedon has turned out some of the series’—and contemporary television’s—most memorable, and most innovative, episodes, including "Innocence," "Becoming" (I and II), "Hush," "Restless," "The Body," and "Once More, with Feeling."
Through careful examination of writing, themes, narrative style, and "televisuality," my talk at Blood, Texts, and Fears will offer a new-auteurist reading of Joss Whedon’s work on Buffy.
Bibliography Allen, Robert C. "Introduction to the Second Edition: More Talk about TV." Channels of Discourse, Reassembled. Ed. Robert C. Allen. Chapel Hill, NC: University of North Carolina Press, 1992. 1-30. Caldwell, John Thornton. Televisuality: Style, Crisis, and Authority in American Television. New Brunswick: Rutgers University Press, 1995. Lavery, David "The Genius of Joss Whedon." Afterword to Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Ed. Rhonda V. Wilcox and David Lavery. Boulder, CO: Rowman and Littlefield, 2002: 251-56. Longworth, James. "Joss Whedon: Feminist." TV Creators: Conversations with America’s Top Producers of Television Drama. Vol. 2. The Television Series. Syracuse: Syracuse UP, 2002: 197-220. Whedon, Joss. Commentary. "Welcome to the Hellmouth" and "The Harvest. Buffy the Vampire Slayer: The Complete First Season. DVD 2002. ___. Interview with BBC Online http://www.bbc.co.uk/buffy/reallife/jossinterview.shtml ___. Interview with David Bianculli. Fresh Air 9 May 2000. Available online at http://whyy.org/cgi-bin/FAshowretrieve.cgi?2876 ___. Interview with ET Online http://www.theslayershow.com/chat8.html ___. Interview with Fanforum http://www.fanforum.com/buffy/news/786.shtml ___. Interview with Fraxis. http://websites.cable.ntl.com/~fraxis/the_ww/features/whedon.html ___. Interview with The Watcher’s Web. http://websites.cable.ntl.com/~fraxis/the_ww/features/epk/joss.html ___. Interview. Angel + The Puppet Show. Videocassette. Twentieth Century Fox, 1998. ___. Interview. Buffy the Vampire Slayer. "Welcome to the Hellmouth/The Harvest." Videocassette ___. Interview. Welcome to the Hellmouth. Videocassette, 1998. ___. "joss says: (Thu May 27 08:26:10 1999)." Online posting. 27 May 1999. The Bronze VIP Posting Board Archives. 25 July 2000. <http://www-pub.cise.ufl.edu/cgiwrap/hsiao/buffy/get-archive?date=1990527>. ___. "Joss Whedon" (interview with Tasha Robinson). The Onion AV Club http://www.theonionavclub.com/avclub3731/avfeature_3731.html |
Imaginary Para-Sites of the Soul: Representations of ‘Race’ and ‘Culture’ in Angel
What does it mean when a vampire was ‘cursed’ with a soul (by ‘gypsies’)? What about those vampires who are ‘staked’, ‘dusted’? What is this soul of Angel, who are the ‘good ones’ or the ‘evil ones’ and why, what do we make of ‘the powers’ and ‘Wolfram and Hart’? What are the human desires and fears behind the vampire myth, and what is the place of Angel, the ‘vampire with a soul’, who is constantly slipping in and out of the images that came to represent human ‘others’ in these dead and demonic forms?
My paper explores the ambivalent and contradictory constructions of ‘race’ and ‘culture’ in Angel, and seeks to read those images in relation to questions of ‘difference’, ‘otherness’ and assimilation. I will discuss the role(s) of Angel as well as (and in contrast to) other vampires within the series in connection with the history of images of ‘the vampire’, which echo(ed) at different times the racist stereotypes and propaganda about ‘the Jews’ and ‘the foreigners’ within several societies. In Angel these (ambivalent) images are also interesting in relation to archives, ‘demons’ and the representation of histories of ‘the other’ in the series. I will be drawing for instance on Nina Auerbach’ s reading of vampires as mirroring ‘ourselves’ and the political discourses and circumstances at a particular historical moment, on Sander Gilman’s work on constructions of ‘the Jew’s body’ and other works from the field of ‘Jewish Cultural Studies’. |
Brainwashing the Working Class: Vampire Comics and Criticism from Dr. Occult to Buffy Dr Massimo Introvigne CESNUR Via Confienza 19 10121 Torino, Italy
Abstract: When popular culture studies, newly born as an independent academic field, devoted their attention to comics, they were initially influenced by the critical analysis of psychiatrist Fredric Wertham (1895-1981), a staunch critic of horror comics. Wertham's ideas about the detrimental effects of horror comics on education were translated by popular culture scholars into a theory making horror comics a capitalist tool for brainwashing the working class. This debate caused in the 1950s both legislative developments (in the U.K.) and self-regulation through the Comics Code (in the U.S.), and halted for a while the development of vampire comics. Vampires, in fact, had emerged as the second most featured characters in comics after superheroes. Keeping vampires buried is, however, always difficult, and they re-emerged in the 1980s with even greater success. In the meantime, Umberto Eco had criticized in its influential essays on comics the "apocalyptic" approach to horror comics as capitalist brainwashing. In the late 1990s Buffy comics emerged among the most successful vampire comics ever and introduced a new revolution in the field. The paper examines the development of vampire comics within the framework of scholarly and political controversies on the social role of comics in general and horror comics in particular, and the role of Buffy comics.
If an overhead projector is available, the paper will be illustrated by transparencies.
CV: Dr Massimo Introvigne, a member of the "Religions" group of AIS (the Italian Association of Sociology), is managing director of the Center for Studies on New Religions (CESNUR), and the author or editor of more than thirty books (including one on Dracula and vampires), and more than a hundred articles in referred journals and collective books in the field of sociology of religion and popular culture. See bibliography at http://www.cesnur.org/testi/introvigne_biblio.htm |
Playing with Dracula: Joss Whedon's Creative Adaptation of the Vampire Genre
At the beginning of the nineteenth century, Western European writers adopted the accounts of vampires from Eastern Europe by transforming the vampire into a character useful for novels, poems and stage productions. This development culminated in Bram Stoker's Dracula, which appropriated Transylvanian folklore to build a picture of vampire. Throughout the twentieth century, the chapter 17 of Dracula (with supporting comments elsewhere in the novel) became for all intents and purpose the "orthodox" description of the nature of vampirism.
Through the twentieth century, various authors played with orthodox text, some quite successfully as with Hamilton Dean's placing Dracula in evening attire and the movie's establishment of the Sun as the vampire's deadly enemy. Other authors explored a more natural, rather than supernatural, vampire (Matheson), a more human vampire (Dark Shadows, Anne Rice), or a vampire hero (Vampirella, Chelsea Quinn Yarbro). Deviation from the canon of the Dracula text has become necessary as vampire fiction became more popular (more than half of all vampire novels having been written in the 1990s).
In Buffy the Vampire Slayer (and its spin-off Angel), Joss Whedon has recreated the vampire with a comprehensive reworking of the image of the vampire that builds upon the work especially of the prominent "new breed" vampire novels of the 1970s (Saberhagen, Yarbro, Rice). He has offered a new mythical framework to explain the existence of vampires and accepted/rejected particular elements of the "orthodox" literary vampire in such a way as to justify the Slayer, allow a vampire community to exist, and perpetuate ongoing warfare in the face of an oblivious public. This highly creative recasting of the literary vampire has been one key to the continued success of Buffy, as opposed to more limited adaptations that are exhausted in one story.
J. Gordon Melton, Ph.D. Director Institute for the Study of American Religion Santa Barbara, California |
The Buffyspeak: the journey of cultural references, play on words and neologisms from the English original to other European languages, and Italian in particular, via the constraints imposed by dubbing and subtitling.
The translation of Buffy The Vampire Slayer presents the translator with very peculiar problems, not only because of the cultural references that need to be rendered in a different cultural context but also because what has grown to be known by the fans of the series as the "Buffyspeak" is unique in its own way. In addition to the challenges posed by the translation in itself, the requirements of subtitling and dubbing add to the limits a translator is faced with.
Cultural references: Here are some of the various categories of cultural references that can be found in Buffy The Vampire Slayer: · References which are specific to the culture and the society of the source language · References understandable by the Buffy audience on an international level · References which are linked not only to the culture but also the generation of the target audience
Neologisms, play on words and characterization The translator needs to render made up words and creative play on words bearing in mind that very often these expressions become peculiar to a character and will be carried on during the series. Hence the need to find means to recreate the peculiarity of every character’s way of speaking in the target language and keep the consistency of the style throughout the series.
The constraints of dubbing and subtitling The translator needs to be loyal to all the pecularities of the Buffyspeak bearing in mind the constraints of: · dubbing (lip synchronization and time limits) and · subtitling (readability, space and time limits)
Hence, the task of the translator is to recreate the spirit, the humour and the irony of the original text, bearing in mind all the above references and limits, but without being to rigidly loyal to the source language because what is crucial is to obtain the same overall effect in the target language. |
"Don't Speak Latin in Front of the Books"
The uses of the classical languages in Buffy in particular display the possibilities of using the ancient world either as a force of conservatism or as a validator for progressive social behaviour. The ancient world appears frequently as a backdrop in Buffy. In the main, this is Mesopotamian or Egyptian mythology in association with magic spells (for instance, the Isis-Osiris connection crossed with the Mummy for the resurrection of the heroine at the beginning of Series 6). Classical myth appears at second hand in the battle between Spike and the ghora demon in the presence of Dawn, recalling Jason and Medea battling the Hydra in Harryhausen's Jason and the Argonauts (1963). Latin appears for incantations, both for good and evil, in part because of its use in the rites of the Catholic church (GILES: "What ever happened to Latin? At least when that made no sense, the church approved.") This use of Latin as a half-familiar language, understood only by over-educated (but ineffectual) academics is a standard topos of the horror movie genre (e.g. Martin Balsam in Michael Winner's The Sentinel [1977]), but in "The Yoko Factor" approval is a main theme. Greek is much less common. Although the oracle in Angel has Greek-looking divinities serving it and a modern Greek inscription (The Gate of Lost Souls), as perhaps befits Angelus, the most interesting use is in Buffy. In "Restless" (the coda to Series 4), Willow is portrayed as writing Sappho 1 on Tara's back. The choice of the poetry of the original Lesbian in an episode featuring the first slayer to represent female desire (and the need for reassurance) cannot be accidental. Here there is a sexuality which is not named, which is linked to the kitty (a potential animalism which can be tamed), represented in a positive fashion (contrast the portrayal of lesbians in The Sentinel).
Prof Arthur J. Pomeroy, Classics (Te Tari Ahuatanga Onamata), SACR, Victoria University of Wellington, P.O.Box 600, Wellington, New Zealand |
What’s Up With Vampires Anyway (The science of the undead in the Buffyverse)
In this paper it is postulated that while there are a number of features of the Buffyverse vampire that do not occur among the creatures of our world, these features can be explained by the science of our world. While the existence of magic in the Buffyverse is acknowledged, consideration is restricted to common vampires, not special "magical vampires" like Dracula. Where appropriate, reference is made to specific episodes of "Buffy the Vampire Slayer". The features considered are (1) the process in which a human corpse is reanimated as a vampire. The extent to which this can be compared to procreation as we know it is considered. (2) The state of the reanimated body in terms of tissue preservation (including a healing process), and activity in the absence of what is regarded as vital function is addressed. (3) The manner in which the bodily functions are maintained by the consumption of blood. (4) The vulnerability of the vampire to destruction by certain causes, and what this tells us about the vampires morphology (e.g. why the stake has to be wood). (5) The rapid anatomical changes of the vampire (e.g. game face and fangs). (6) The manner in which the deceased vampire disincorporates (dusting). (7) The non-reflection of vampires in mirrors. Finally an overview of the nature of the vampire is considered from the viewpoint that that the physics of our Universe cannot be violated by non-magical processes, The chemistry that we know must apply to the substances we are familiar with, and the biology of creatures which stand apart from ordinary evolution must still conform to general principles. Particular consideration will be given to the role of blood. |
Department of Classics & Ancient History University fo Bristol 11 Woodland Road Bristol BS8 1TB.History as Nightmare
‘The tradition of all the dead generations weighs like a nightmare on the brains of the living.’ Karl Marx, The Eighteenth Brumaire of Louis Bonaparte ‘Let the dead bury their dead, so that we ourselves may not come under the influence of the smell of the corpses.’ Friedrich Nietzsche, We Philologists
Buffy the Vampire Slayer explores and articulates a particular set of attitudes towards the past, characterised above all by fear and anxiety and drawing on a distinctive ‘grand narrative’ of history. Demons, monsters and magic are reminders of the continuing power and threat of the ‘dark ages’ of antiquity; dangerous in themselves, but also striving to return the world to its original ‘hellish’ state. In part this reflects a characteristic American attitude to the corrupting influence of the Old World (numerous episodes portray the threat to our heroine as specifically European in origin), but it also has affiliations with more general discussions of the birth, development and future of modernity and its relationship with the past. Both Marx and Nietzsche present the past as something that can drain human potential, that must be overcome through struggle.
At the same time, of course, both writers offer a far-reaching critique of modernity itself, often drawing upon the past for their rhetorical weapons. Buffy, too, is all too conscious of the dangers posed by unrestrained modernity, especially but not only when technological sophistication is allied with the attitudes and values of the barbaric past. Finally, the programme is not afraid to undercut the American myth of the 1950s as a lost golden age of innocence. The power of the series derives in no small part from its willingness to explore ambiguities and expose unsettling contradictions, not least, as this paper will argue, in our attitudes towards past and present, antiquity and modernity. |
Working
title: "The fool (for love)": Spike as Trickster Rationale: That the character of Spike can be read as fulfilling many of the requirements of the trickster in folklore. That an understanding of the structural role of Trickster can help us to understand and interpret the character of Spike and his role in BtVS.
Draft outline: First to establish the character of Trickster and (nearly invariably) his role in a number of myth cycles. To outline what makes him unique and distinct from other mythic heroes. To explore the role of the fool in literature and how this role is connected to that of Trickster.
Next, to examine how Spike fits the role (for example: swings between good and evil; morally ambiguous; occupies the literal and figurative space between opposing groups; behaviour externally controlled; reluctant force for good; clever, cunning and often verbally dextrous; both wins and looses in unexpected ways; can be both bringer of change and comic relief …).
Conclude by examining the structural role of Trickster and how this can be applied to a reading of Spike’s role within the text.
Areas for research: The trickster in myth, legend and authored texts (e.g., Monkey, Anansi, Loki, Brere Rabbit); structural, cultural and psychoanalytic explanations of the trickster role; series 2 through 6 of BtVS. |
Senior Lecturer in Drama School of CPA King Alfred’s College of HE Winchester SO22 4NR
"You hold your gun like a sissy girl" – Firearms and anxious masculinity in Buffy the Vampire Slayer
Drawing on aspects of psychoanalytical, performance and gender theory, this paper will uncover some of the subtle negotiations, conflicts and exchanges of gender and power in four key scenes.
Buffy’s regular use of mediaeval weaponry in nod-and-wink fashion to hint at female subversion of the male is familiar to fans and critics – the obvious phallic/penetrative "dusting" of vampires, as well as other more varied instances - when Snyder expels Buffy from Sunnydale High, Buffy draws a sword from a bag, holds it out, erect and threatening, and metaphorically emasculates him: "You never got a single date in high school, did you?" (Innocence, 2.21). Spike’s reply to Buffy when she asks, "Do we really need weapons for this?" - "I just like them. They make me feel all manly" (School Hard, 2.03) – is another representative exchange.
The finale of season 6 features the most significant use of contemporary weaponry. There are many reasons (ranging from audience demographics to Buffy cosmology) why firearms do not appear more often in the series. However, this paper will focus on four episodes from seasons 2 and 4 where firearms do feature prominently. The examples are:
a. Buffy shooting Angelus whilst channelling the ghost of Grace Newman in 2.19 (I Only Have Eyes for You); b. Buffy and the rigged gun supplied by Professor Walsh in 4.13 (The "I" in Team); c. pistols used in a number of scenarios in attempts to establish control in 4.20 (The Yoko Factor); d. the acquisition and deployment of the rocket-launcher in 2.14 (Innocence).
The paper will examine and compare these contrasting examples which feature cross-gender performance and exchanges of male/female power [(a)]; female jealousy and conflict over the male [(b)]; male v. male assertion of physical/sexual dominance [(c), (d)]; and male jealousy and conflict over the female [(a), (c)]. |
Senior Writer, Salon.com Modern and Mythical Sexuality in "Buffy the Vampire Slayer"
No television show has ever been as forthright in addressing the subtleties of sexual desire as "Buffy the Vampire Slayer" has been. What's most shocking about the show is not that it is particularly sexually explicit, but that it deals with issues of erotic intimacy in such an unvarnished and deeply emotional way. In "Buffy," immortal vampires fall in love and couple with humans, a re-embroidering of the ancient theme of gods' (or monsters') mating with mortals. But instead of stressing the differences between humans and "monsters," more often than not the show seeks out the spot where the animal desires of humans and vampires intersect. For example, the teenage Buffy wants nothing more than to have a safe, warm, blissfully cocooned romantic relationship with Angel. And Angel, an unusual cross between a traditionally masculine brooding hero and an enlightened contemporary male, wants exactly the same thing. The tragic obstacle to his happiness is an old gypsy curse that turns him into a monster at precisely the moment Buffy has given him the greatest pleasure of his life (and crossed over into womanhood herself). But even as a teenager, Buffy isn't a naif, and as she gets older, she discovers more about herself and the wildness and unpredictability of her own desires. Buffy and Spike fall into bed together out of frustration and desperation. Buffy learns just how much like Spike she really is; in fact, her sexual aggressiveness outstrips his. Their lovemaking is sometimes rough, but -she- is generally the instigator. When they fight, she's the one you put your money on. In "Sexual Personae," Camille Paglia wrote that with "The Faerie Queene," Edmund Spenser was the first to "sense the identity of sex and power, the permeation of eroticism by aggression." She also wrote a line that, unwittingly and perfectly, presaged the tete-a-tete between Buffy and Spike: "The masculine hurls itself at the feminine in an eternal circle of pursuit and flight."
"Buffy the Vampire Slayer" has always been redolent of a lush, overtly sexual romanticism that isn't always pretty; Joss Whedon and his team of writers have never been afraid to confront the messiness, and sometimes the danger, of sex. Even so, the show also revels in a deep appreciation of sensual beauty that's unabashedly pagan. (Think of the scene in the musical episode of "Buffy," "Once More, With Feeling," in which Willow and Tara turn levitation into a metaphor for oral sex.) We may think we live in a modern, enlightened age when it comes to sexuality. But by exploring sexual issues that are as old as humankind itself, "Buffy the Vampire Slayer" reminds us that we can't tame or corral sexual desire as easily as we might think. Each human heart (and libido) has to find its own direction, and that goes for vampires, too.
http://www.salon.com/ent/tv/feature/2002/05/22/buffy/index.html http://www.salon.com/sex/feature/2001/11/28/buffy/index.html http://www.salon.com/ent/tv/feature/2001/11/07/buffy_musical/index.html |
University of East Anglia "Can’t Even Shout, Can’t Even Cry, The Gentlemen are Coming By": The Articulation of Change in Buffy the Vampire Slayer
From Buffy’s birthday to peculiar Hallowe’ens, from horror hommages to musical episodes, Buffy the Vampire Slayer communicates the changes in its characters’ lives through a wide range of social and narrative structures. The show typically depicts realms of narrative and social stability in order to draw on their powers and question their limits. Sometimes playful, sometimes deadly serious, Buffy often twists these structures of meaning to provide multifaceted expressions of desire, change and rupture. Rites of passage in the show vividly externalize changes in a character’s sexual or violent impulses, whereas specific genre episodes typically explore the ways in which characters articulate these changes. Moreover, rather than relying exclusively upon dialogue, performance and narrative to suggest meaning, Buffy draws on what might be termed "excessive" signifying practices, particularly through its Manichean (good and evil, eros and thanatos) and genre (melodrama, horror, musical) elements. While this suggests the breadth of issues in Buffy that I will consider, I will discuss one specific instance of the ways in which genre and rites of passage function: the Nosferatu (Murnau, 1922) hommage, "Hush". This well-known episode draws explicitly on the horror genre, and depicts rites of passage through its thematization of sexual relationships, the crossing of boundaries and the thwarting of rationality. Most importantly, "Hush" self-consciously uses elements of melodrama (such as the tableau) and the fairy tale (such as the threat to speech) to explore its own mode of expression. In order to investigate the narrative and social implications of this episode’s relation to the series, I will rely on Mikhail Bakhtin’s discussions of the functions of genre, intertextuality and parody. I will also draw on more recent discussions of modes and genres – particularly melodrama – in the writings of Peter Brooks, Christine Gledhill and Linda Williams. Their work effectively considers the relation between externality and the representation of social change which informs much of Buffy’s discourse. The consideration of genre, modes and rites of will illustrate some of the complex issues regarding expression and representation with which Buffy engages. |
Birmingham Conservatoire, University of Central England "Singing their hearts out: performance, sincerity and musical diegesis in Buffy the Vampire Slayer and Angel."
Season 2 of Angel introduced an apparently new element into the Buffyverse, namely Caritas, the demon-friendly kareoke bar, the presence of which led to almost all the principal characters singing there at least once. The most obvious thing this revealed was who among them could and could not sing but it also revealed a very clear pattern of which characters were allowed (by the external forces of the writers and producers) to be able to sing. This leads to the question of what the act of singing itself signifies, such that ability or inability to do it is given such a clear narrative position.
Performances in the context of Caritas in turn mirror other instances of singing and performance by principal characters in both BtVS (from season 1 onwards) and Angel. This paper explores how the very nature of the singing voice and how it reveals us and renders us vulnerable to scrutiny is exploited in both series to demonstrate the extent to which we can trust the singing characters, with an apparent direct inverse correlation between performative competence and sincerity. In addition, it can be shown that the positioning of singing and the games that are played with musical diegesis serve to reinforce the credibility of Buffy’s diegetic universe.
This paper examines the nature of performance in the Buffyverse and reflects on issues of sincerity that these performances reveal, drawing on ideas from Jonathan Rée and Simon Frith. The paper also examines why Giles is the main exception to this rule; and how similar themes are brought to bear in Once More with Feeling, the Season Six musical episode, exploring the way the rules of musical diegesis are suspended and distorted in both this episode and in the dream sequences of the BtVS Season Four finale.
Bibliography: Frith, Simon 1998 Performing Rites: evaluating popular music (Oxford: OUP) Rée, Jonathan 1999 I see a voice: language, deafness and the senses (London: HarperCollins) |
Department of Spanish, Portuguese and Latin American Studies University of Newcastle Newcastle upon Tyne NE1 7RU United Kingdom Sound, Silence, Score and Song in Buffy the Vampire Slayer
Surprisingly, given the amount of space devoted to it in interviews and features on the show in the SF/fantasy/cult TV specialist press, little attention has been paid in academic writing to the use of music in the show with the exception of Janet K Halfyard’s analysis of gender and identity in the theme tunes of Buffy and its spin-off show Angel (Slayage 2001) and S. Renee Dechert’s ‘My Boyfriend’s in the Band!: Buffy and the Rhetoric of Music’ (Wilcox & Lavery, 2002). Like the fansites devoted to music such as ‘The Buffy and Angel Music Pages’ (http://www.buffymusic.net/), Dechert focuses primarily on the songs featured on the show. For Dechert popular music confirms the indie aesthetics and credibility of the show and its location on the fringe of the mainstream whilst contributing to the identification between fans and the programme. It also provides a thematic backdrop and contributes to characterisation. Apart from the brief essay by Halfyard, which uses Philip Tagg’s model to analyse gender-associative responses to specific musical parameters (1989), scant attention has been paid to the music itself. This should perhaps come as no surprise as, in contrast to the volume of writing on music in film there is relatively little available on the role of music in TV.
I propose to adapt Anahid Kassabian’s framework from Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (2001) to analyse the function of source music, source scoring and dramatic scoring primarily (although not exclusively) in three key innovative episodes written and directed by the show’s creator Joss Whedon. I will examine: · music, dialogue and narrative/commentary · music, silence, mood and affective association · music and characterisation · music and affiliating/assimilating identification processes in: · ‘Hush’ (Season 4): featuring Danse macabre by Camille Saint Saëns and twenty five minutes without dialogue, score by Christophe Beck · ‘The Body’ (Season 5): featuring the Christmas carol ‘The First Noel’ but notably lacking in dramatic scoring · ‘Once More with Feeling’ (Season 6): musical episode, overture by Christophe Beck, songs by Joss Whedon, orchestration by Christophe Beck and Jesse Tobias This analysis will demonstrate the pivotal role of music in the construction and interpretation of Whedon’s Buffyverse. |
Sociology Department Goldsmiths College University of London New Cross London SE14 6NW
Taking the Initiative: Science and Agency in Buffy the Vampire Slayer
This paper considers the extent to which the television show Buffy the Vampire Slayer can be seen as a cultural manifestation of contemporary Western society’s disillusionment with science, as some commentators have argued. The dominant themes of magic, religion, and the supernatural constitute the epistemological foundation of the Buffy world, and the absence of technologies in problem resolution is conspicuous in the wider context of cult television. Indeed, the Buffy epistemology is so robust that there seems to be no need for science; science is not merely superseded by the magical and physical powers of the characters but is, for the most part, entirely absent from the show.
The fourth season of Buffy, however, represents a departure from this general rule. This season sees the introduction of a government-run scientific and military programme to tackle Sunnydale’s demon problems, and also sees the construction of oppositional relationships not only between science and the supernatural, but between science and morality. It is a very particular version of science – an authoritarian, masculine, institutional and militarised science – which is so heavily critiqued in this season, and as such it sits relatively easily amidst other oppositions such as good vs evil, adolescent vs adult, male vs female, and self-empowerment vs social control that characterise the show. Critical sociology of science has emphasised the role of agency in society’s relationships with science, and suggested that the apparently increasing public rejection of science may be more appropriately understood as an anxiety about the various sources of agency associated with science. Such insights can provide a useful framework for conceptualising the representations of science and technology in Buffy the Vampire Slayer. |
Editor, Philosophy and Theology Dept. of Philosophy PO Box 1881 Milwaukee, WI 53201-1881
"'They show up, they scare us, I beat them up, and they leave:' the Dialectic of Self-Knowledge in Buffy the Vampire Slayer"
Slavoj Zizek has argued that one result of psychoanalytic treatment is the acquisition of the capacity to enjoy one's duty. In this paper, I look at the way that duty and enjoyment intertwine in the character of Buffy Summers, the eponymous heroine of Buffy the Vampire Slayer. Many early episodes of the series neatly delineate Buffy's constant conflict between what she wants (to be normal teenager) and what she must do (her duties as a vampire slayer). In the first part of my paper, I give several examples of this conflict. In the second part, I turn to an analysis of Buffy's two death's--the first at the hands of an ancient vampire known as "The Master" and the second a voluntary sacrifice of her life to close a passageway to multiple demon dimensions. I explore the very different contexts in which these deaths occur. The first, in which Buffy was only dead for a couple of minutes, ironically served the needs of The Master and was a path Buffy was led down by a prophecy. The few minutes in which Buffy confronts The Master, discovers that she was fated to aid the master in opening up the Mouth of Hell, and dies are extraordinarily painful to watch precisely because we can see her fear, revulsion and hopelessness. By contrast, her second death consists in her "gift," that is, it is voluntary and she greets it with open fearlessness. In the third part of the paper, I show how the second death demonstrates that Buffy has discovered a way to overcome what Zizek has called the deadlock between "the superego dialectic of Law and transgression." In other words, she has learned, or at least chosen, to distance herself from that to which she is most drawn, from that which is most precious to her--her life, or more precisely, the hope for a normal life. In her act of giving her life, she has learned to enjoy her duty. |
School of English University of Sheffield Shearwood Road Shearwood Mount S10 2TD
"You made a wish to someone you've never seen before?": the dangerous power of speech acts in Buffy the Vampire Slayer
Speech act theory, as formulated by Searle and Austin, treats an utterance as an act performed by a speaker in a context with respect to the addressee. Speech acts such as wishes, promises, invocations, confessions, and invitations abound in Buffy, with far-reaching and often deadly consequences. This obsessive concern with the power of utterances is of course a long-standing feature of Gothic fiction from its earliest inception. In this paper, I shall consider the role of speech acts in Buffy, comparing this role to that found in earlier Gothic texts.
In a 1992 article Michael Meyer uses a Foucauldian framework to analyse the functioning of confessions and vows in Matthew Lewis's The Monk. He argues that the transferral of confessions and vows from the religious into the private sphere in The Monk reflects the increasing discursivization of sexuality during the eighteenth century, and that these discourses serve not only to control but also to elicit desire. I shall argue that in Buffy we see this process taken a stage further. The religious foundations from which these speech acts originally derived their power have virtually disappeared, with matters of morality and desire now policed within the private group. At the same time, the acts, in different ways, become more rather than less powerful. Wishing replaces prayer, and may be interpreted very literally by a passing vengeance demon. Confessions must now be offered to the entire group, and any failure to confess in a timely and adequate fashion can result in exclusion from the group and even death. Vows are felt to be more rather than less binding when uttered without reference to any recognisable moral framework. In conclusion, I shall suggest that Buffy reflects a deep-seated anxiety about words in a secularised world. When the original institutional framework of the speech act has disintegrated, the power of the speech act itself remains, but dangerously dislocated from the context that used to govern its function.
Reference Michael Meyer "Let's Talk About Sex: Confessions and Vows in The Monk", Arbeiten aus Anglistik und Amerikanistik 20:2, 1995, pp.307-316 |
University of East Anglia Film Studies (EAS) Abstract TUNING BODIES IN TV SERIES: the Straight and the Gay Male Body in ‘Angel ’ and ‘Queer as Folk’
This paper compares (tele)visual representations of the body in two recent TV shows: ‘Angel: the Series’ (US) and ‘Queer as Folk’ (UK).
The comparison between the bodies of the main male characters promises to be an interesting one: while Angel from the eponymous series is allegedly portrayed as a heterosexual man, Stuart from QAF is gay. This analysis will specifically consider the appeal of these male bodies’ portrayal; their relation to their target audience; the power of the gaze and its complex relation with the object looked-at; finally, the TV series Production’s reworking of social constructs to accommodate new entities.
It is said that 'opposites attract'. I will argue that the televisual media put a conscious effort into adjusting the representation, that is, ‘tuning’ these two male bodies in order to appeal to a wider audience. This construction seems to take into account the varied composition of the audience in more ways than one, and tries at the same time to appeal to all, by presenting ostensibly different messages through a perceptual coded, connoted and in fact very similar visual representation.
This paper is part of an ongoing research project about the sexual representation of mainstream TV series couples. Another section of this project (titled: "There’s Nowt as Queer as Folk: the British and American Televisual Approach to the Politics of Homosexuality") was presented at the 3rd Annual Southwest Postgraduate Conference "Flaming Intellects and Floating Acolytes" (3rd September 2001). |
Queering the Bitch: Spike, Transgression and Erotic Empowerment
Spike: ‘I may be love’s bitch, but at least I’m man enough to admit it’ Lover’s Walk
The vampire genre has traditionally been used as a vehicle for the representation of queer sexuality. In contrast Buffy the Vampire Slayer (BtVS) privileges normative heterosexuality, with a token acknowledgement of a non-transgressive lesbian relationship and a negative view of homosexuality.
The paper will address the way Spike operates as the embodiment of queer sexuality within BtVS, challenging boundaries not only between man/monster but also between masculine/feminine (both epistemologically and ontologically) active/passive and dominant/submissive. This will be done by
a. Examining his hostility towards effeminacy while manifesting a hyper-femininity – both behaviourally and corporally – using Nicole Loraux’s paradigm of Herakles as the embodiment of the supermale and hyper-feminine and Judith Butler’s theory of gender as performative to explore the way in which Spike calls into question the relationship between sex and gender and the way in which he ‘performs’ vampire. b. Looking at Spike’s performance of queer sexuality, not in the traditional vampire terms of orality and exchange of bodily fluids (in Buffy vampire sexuality operates through conventional penetrative sex), but in terms of his engagement in sex with machines (the Buffybot), public sex, bondage and sadomasochism. Gayle Rubin’s Thinking Sex will serve to locate Spike’s behaviour at the outer limits of the sexual charmed circle and the work of Pat Califia and others will be used as the basis for exploring queer behaviours. The paper takes the view that having created the most fascinating heterosexual queer character on television BtVS nevertheless continually reinforces the heteronormative framework, equating queer with non-human behaviour and undermining the validity of non-traditional sexuality. This has implications for Season 7 of BtVS in respect of whether Spike’s ensouling will impact on the gender and sexual fluidity that has undoubtedly contributed to his cult status. The Author: Dee Amy-Chinn is a member of the Dept of Media Arts at Royal Holloway College, University of London. She teaches representations of gender and sexuality on screen and is completing her PhD on controversial portrayals of gender and sexuality in UK advertising. Her article ‘Sex Offence: The Cultural Politics of Perfume’ was published in the Summer 2001 issue of Women: A Cultural Review |
English Department, Campbell University P.O. Box 507 Buies Creek, NC 27506
Yeats’s Entropic Gyre and Season Six of Buffy the Vampire Slayer
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the center cannot hold (W.B. Yeats, "The Second Coming" 1-3)
TARA: Things fall apart, they fall so hard... You can't ever put them back the way they were... ("Entropy," 6018)
One question was asked again and again in various forms during the sixth season of Buffy the Vampire Slayer: "What’s wrong?" Buffy was back from the dead, the theme for the season, according to series creator/producer Joss Whedon and executive producer Marti Noxon, was supposed to be "Oh, grow up," so why did everyone seem to be behaving so immaturely? The key was episode 18, "Entropy," and Tara’s allusion to Yeats’s famous poem, "The Second Coming."
The image of the "gyre"—the spiral or cone—became a central figure for Yeats’s poetry and thought. A complete rendering of this symbol consists of two interpenetrating cones or spirals within a sphere, representing "the world of appearance, a world in which, as he says, ‘Consciousness is conflict’. Wedded in antagonism, they symbolize any of the opposing elements that make up existence" (Ellmann 153).
The widening gyre, and indeed, several images in "The Second Coming," symbolize loss of innocence, irresistible change, and although most are associated with fear, destruction and chaos—in short, entropy—the end may be less than apocalyptic. In Season Six of Buffy the Vampire Slayer, the characters’ attempts to resist or evade change or growth cause much of the apparent lack of direction and self-destructive choices. While Buffy, the central character, begins the season in confusion, she gradually spirals down to a point of certainty and renewed mission. Her friends begin as a cohesive group and spiral outward, becoming separated from Buffy and from each other by internal and external forces. Certain aspects of the show reflect this apparent disorder as well. But despite the "anarchy," loss of control, even total fragmentation, Yeats’s widening gyre is precisely intended to take a system "beyond experience" to rebirth (Vendler 101). In many ways, the entire sixth season seemed like what I like to call "the anti-Buffy," but in Yeats’s mysterious world of opposing spirals, that is the only way to fully come back from the grave, the only way to win one’s soul, the only way to get past vengeance to forgiveness.
Works Cited Ellmann, Richard. The Identity of Yeats. New York: Oxford UP, 1964. "Entropy." Drew Z. Greenberg. Buffy the Vampire Slayer. UPN. 30 April 2002. Noxon, Marti. Interview. "Growing Up." Matt Springer. Official UK Buffy Magazine. May 2002. Vendler, Helen Hennessy. Yeats’s Vision and the Later Plays. Cambridge, Mass.: Harvard UP, 1963. |
Education Officer British Film Institute 21 Stephen Street London W1T 1LN
Walking a fine line between Angel and Angelus
It is not unprecedented for a television series to have a vampire protagonist as demonstrated by the success and cult status of the 1960s series Dark Shadows. Similar to Barnabus Collins, Angel is a reluctant vampire cursed with a soul and desperate to atone for his past sins. Initially presented on Buffy the Vampire Slayer as a carefully constructed split between the good Angel and his evil alter-ego Angelus, the character seemed to embody a clear cut opposition between the notions of good and evil. And yet the audiences of both Buffy and Angel are constantly reminded of his past and vampire nature. When Angelus briefly resurfaces in Eternity (Angel season 2, episode ) through the effects of a drug that induces a feeling of euphoria, ie. it simulates true happiness, and nearly murders his colleagues Wesley and Cordelia, this opposition is undermined to suggest that Angelus is always lurking beneath the surface. Wesley observes that Angel "walks a fine line," a position he does not envy.
This paper will explore the way in which the relocation of Angel from a peripheral love interest in Buffy the Vampire Slayer to the central protagonist of his own series, has shifted the emphasis of his character away from the opposition between good and evil to the fine line that exists between the two. This shift in narrative focus, along with the gradual unravelling of Angel’s broader arcing narrative, has opened up the series to a more complex exploration of the duality of good and evil in the modern world, no longer opposing forces but carefully intertwined. |
Gordon College B Humanities 419 College Drive Barnesville, Georgia 30204-1506 USA
Angel in Pylea: A Fairy Tale for the Buffyverse
Scholars of the Buffyverse have generally considered the spin-off series Angel a less worthy achievement than Buffy the Vampire Slayer, and the Pylea episodes the least worthy of the Angel story arcs. I disagree. First and most obviously, these light-on-the-surface episodes (telecast May 2001 at the end Angel=s second season) provide a balance for the directly preceding episodes of one of the darkest arcs of BtVS, ending with Buffy=s second death in AThe Gift.@ Conflicts, revelations, and choices by characters in the BtVS arc are echoed in a less disturbing, brighter key in the comic-opera Angel arc. Also, the seemingly simple fun and games and surprises of Pylea provide the same antidote for the dark and introspective Angel that Cordelia offers to Angel himself: Wolfram and Hart might destroy the world tomorrow, but we don=t need to take it all so seriously.
Yet Pylea provides more than comic relief for an audience living in the Buffyverse. In the words of Keith Topping in the 2002 unofficial guide Hollywood Vampire, the Pylea arc is Aa fairy tale with a moral center . . . in which the hero rediscovers his humanity in the face of overwhelming odds, the heroine sacrifices love and an easy life for what is right and Wesley learns hard lessons on leadership and emerges triumphant@ (252). Appropriately, under Pylea=s sun Angel can live in light, and it is here that he finally accepts his shadow/demon self; Ursula K. LeGuin would approve (see her 1975 essay AThe Child and the Shadow@) as would Jung himself. If more is needed, the arc is also the foundation for more the third season=s momentous developments in all the characters of Angel. Wesley misapplies his newfound strength to destroy the Afamily@; but Angel, Cordelia, Fred, and Gunn use their new strengths to survive. |
University of Louisville Fan Readings of Sex and Violence on Buffy the Vampire Slayer
Buffy the Vampire Slayer was created by Joss Whedon as an antidote to the defenseless sexualized female victim of countless horror films. However, it has a long history of situating its heroine in a world full of monstrous men and consistently linking sex to death and violence. Recently, the series gained critical attention and spurred fan debate in the U.S. for its sixth-season storyline focusing on Buffy’s often violent sexual relationship with her former nemesis, Spike. Interpretations of the storyline range from seeing it as representing domestic violence, replicating repressive messages of female passivity, or positively representing the strength of female desire.
This paper examines fans’ on-line discussions regarding the storyline to uncover the various interpretive strategies employed by "B/S shippers" – those fans who support the storyline - in their readings of the text. B/S shipper discourse reveals that shippers are not simply subscribing to sexist ideologies of passive female sexuality, but read the text in ways that are consistent with readings of other texts such as contemporary romances. Understanding Buffy as a romance helps explain viewers’ pleasure in dangerous men as a sign of female power. B/S shippers also show an understanding that the dangerous sexuality presented is a method of developing the female identity of the heroine. In addition, shipper readings demonstrate their desire to see a more complex representation of morality in the series and their pleasure in textual ambiguity. Finally, shippers read the Buffy/ Spike storyline as potentially representing a shift in the series’ epistemology and political message. |
University of Sussex Why is BtVS so Slashable?
The Buffy fanfiction community is one of the liveliest on the web. Slash fiction in particular offers a way for fans to discuss, interact with, and often to critique the series via same-sex erotic fiction. This paper considers why Buffy should be so slashable. The forms of narrative offered by Buffy - the long story arcs, with motifs of personal growth and the ongoing erotic interactions between key characters which extend beyond episodes and even beyond seasons - produce a state of tension and possibility from which new pairings and possibilities constantly arise. Slash often functions to "ground" these random erotic undercurrents in actual encounters, often described as conclusive and providing romantic closure. In general, this paper suggests ways in which sex in a series will always be different from traditional romantic closure as found in a one-shot genre such as the novel or film; how an ongoing series sets up a need for closure which slash can satisfy.
To discuss these narrative forms and their possible impact on the creative work of fans, this paper concentrates on Xander and asks - why is he always coming out in slash fiction? What makes his character so suitable for an identity-based story arc, when other characters (for example, Spike) can engage in same-sex sex without entering a similar personal quest? And why, in the established slash genre of hurt-comfort, do slash writers like to see Xander suffer so much before they let him have sex? The paper draws on idea of plot and narrative from _Reading for the Plot_, the idea of the romantic heteronarrative from Julie Abraham's _Are Girls Necessary_, Judith Roof and others, and on accounts of the motivations of slash from Joanne Russ onwards. |
Battle of the ‘ships’: Buffy/Angel vs. Cordelia/Angel ‘shippers’ – hierarchy in the Buffy, The Vampire Slayer and Angel fandoms.
‘Shippers’ (short for relationshippers), within cult TV fandom are fans who adamantly support the relationship of their favourite couple. They form most of the major categorization of fans if fans were to divide themselves (and they usually do) into sub-groups. They are outspoken in defending their couple of preference, writing and distributing fan fiction and artworks, among other fan activities centring on the relationships of characters like Mulder and Scully from The X-Files; Buffy and Angel on Buffy; to Cordelia and Angel on Angel.
Despite the diverging storylines and recent network separation in the US, Buffy and Angel remains intricately linked to each other due to the (unresolved) relationships between the major characters of both shows. The fans’ relationship too, becomes connected, especially through the character of Angel as fans struggle to provide the accepted reading of his character, as well as his relationship with Buffy and Cordelia. This constant struggle inevitably creates a notion of hierarchy among the fans, most clearly exhibited by the antagonistic (non)-relationship between two of the bigger ‘shipper’ groups centring on Angel – the Buffy/Angel and Cordelia/Angel ‘shippers’.
Influential works on fandom, such as those by Henry Jenkins (1992) and Camille Bacon-Smith (1992) have not explicitly discussed fans’ hierarchical relationship within their respective fan communities. Even if this hierarchical relationship is acknowledged, it is often explored within the context of fan communities in the same fandom, such as Andrea MacDonald’s 1998 paper [1] on the online fans of Quantum Leap.
This paper will explore fans’ perception and exposition of hierarchy through the often-hostile relationship between the Buffy/Angel and Cordelia/Angel ‘shippers’, especially in both public and private online discussion forums; and how despite their constant insistence that the two shows remain separate, their relationships are often bounded and influenced by their interpretations of the characters’ relationships.
[1] "Uncertain Utopia: Science Fiction Media Fandom & Computer Mediated Communication" in Harris, C. & Alexander, A. (eds.) (1998) Theorizing Fandom: Fans, Subculture and Identity. Hampton Press: New Jersey, USA. |
Buffy Night at the Seven Stars : experiencing the global phenomenon of Buffy at the ‘glocal’ level. Gerry Bloustien
This paper focuses upon the activities of a local fan group for Buffy the Vampire Slayer in Adelaide South Australia. It explores the phenomenon of this experiential community, mapping the relationship between fandom and such ‘subcultural’ groupings, highlighting the importance to both of local space and place. Some years ago, the Adelaide-based fans of the popular American NBO television programme, demanded and got a local publican to host Buffy nights on a regular basis. Monday night have become Buffy nights at the Seven Stars, when the whole lounge bar ignores the pokie machines and idle chatter and becomes dedicated instead to shared intensive viewing; any non-fan client on those evening (the ‘non believers’) are quietly shown to an alternative room. While the fans also share their enjoyment of the programme in more private spaces, in their homes and on line, the shared activity in the pub both legitimates and constitutes their sense of (sub)cultural identity, belonging and authenticity.
Drawing on my own fandom, participant observation and unstructured interviews, this study probes the nature of a local fan group. It looks closely at the ways in which the Buffy group constitutes and maintains itself, re-examining the strategic tool of play in the hard work of shared cultural ‘self-making’ (Battaglia 1995). The analysis of ‘play’ (Handelman 1990; Schechner 1993) underpinned by Bourdieu’s insights on symbolic space (Bourdieu 1998) reveal the ways in which complexity, fluidity, heterogeneity and difference necessarily characterise many ‘subcultural’ groupings, including this one, which are often perceived as static and bounded.
References: Battaglia, D. (1995). The Rhetorics of Self-Making. Berkley, L.A., University of California Press. Bourdieu, P. (1998). Practical Reason. Cambridge, Polity Press. Handelman, D. (1990). Models and Mirrors: Towards an Anthology of Public Events. Cambridge, Cambridge University Press. Schechner, R. (1993). The Future of Ritual. London, Routledge. Turner, V. (1982). From Ritual to Theatre: The Human Seriousness of Play. New York City, Performing Arts Journal Publications. |
J. Fitzpatrick J. Fischer Ani McCourt
Parasocialism represents viewers' connections to media characters (Rubin & McHugh, 1987). This is reflected in speaking to players during a sports game, reading about favorite programs, and experiencing an emotional response to program events. Past research has focused on TV personalities (e.g., newscasters) or daytime soap operas, but less is known about relationships to primetime fictional TV characters. Our recent quantitative study showed that parasocialism with fictional characters exists alongside other actual relationships (e.g., friendship, romance), defying a negative stereotype that it is limited to solitary individuals (e.g., McCourt & Fitzpatrick, 2002; McCourt, Fitzpatrick, & Fischer, 2002). Qualitative research has indicated that parasocialism is a multilayered phenomenon. Across two studies, Sood and colleagues (Papa et al., 2000; Sood & Rogers, 2000) identified five parasocial relationship dimensions: (a) affective interaction; (b) cognitive interaction; (c) behavioral interaction; (d) referential involvement; (e) critical involvement. The present study will extend the research by applying this typology to fan reactions toward characters from "Buffy, the Vampire Slayer" and "Angel". These characters might be unique sources of parasocialism because they have a context (vampirism) which distinguishes them from other programming.
The internet allows "Buffy" and "Angel" fans (and critics) a forum to express unsolicited public commentary revelatory of parasocial processes. The present qualitative study will be a content analysis of viewer comments posted on two public internet sources (salon.com and alt.tv.buffy-v-slayer). Through sampling comments, we will identify aspects of parasocialism in accordance with Sood and colleagues' dimensions. This approach will reveal ways in which the programs affect such viewers and make a unique contribution to understanding the social impact of "Buffy the Vampire Slayer".
References McCourt, A., & Fitzpatrick, J. (2002, July). The role of social support and interpersonal competence in parasocial (television) relationships. Poster presented at the Fourth Annual INPR/ISSPR Joint Conference, Halifax, Nova Scotia, Canada. McCourt, A., Fitzpatrick, J., & Fischer, J. (2002, June). The Inventory of Parasocial Investments (IPI): Development of a measure of individuals' behavioral connections to favorite television characters. Paper presented at the First Hawaii International Conference on Social Sciences, Honolulu, Hawaii. Papa, M.J., Singhal, A., Law, S., Pant, S., Sood, S., Rogers, E.M., & Shefner-Rogers, C.L. (2000). Entertainment-education and social change: An analysis of parasocial interaction, social learning, collective efficacy, and paradoxical communication. Journal of Communication, 50(4), 31-55. Rubin, R. & McHugh, M. (1987). Development of parasocial interaction relationships. Journal of Broadcasting and Electronic Media, 31(3), 279-292. Sood, S. & Rogers, E.M. (2000). Dimensions of parasocial interaction by letter-writers to a popular entertainment-education soap opera in India. Journal of Broadcast and Electronic Media, 44(3), 386-414. |
WHERE DO WE GO FROM HERE? CRITICAL RESPONSES TO BUFFY IN THE AFTERMATH OF SEASON SIX AND ANGEL IN THE AFTERMATH OF SEASON THREE.
Roz Kaveney
There has been a tendency in Buffy studies to look at particular episodes or seasons - as the show moves into what will probably be its last season, it is perhaps time to work out some overall responses and look for overall patterns. For example: 1. The original premise - adolescent angst modelled through supernatural horror tropes - has been opened out to deal with the problems of adulthood. 2. The shows' complicated dialogue with, and reference to, religious and metaphysical themes has become significantly more intense (Xander the carpenter undergoes ritual wounding and saves the world from evil Willow, the fallen 'best of us', through unconditional love). 3. The patterns of shadowing/doubling have become more complicated with Cordelia as heroine mirroring both Buffy and Darla, with Spike actually *choosing* to become Angel's mirror. 4. The use of gender roles has become steadily more complex with empowered women not always being good -Willow's decision to destroy the world to save it from suffering interestingly echoes a particular sort of female multiple murderer - and males adopting complex gender roles when acting as saviours -e.g. Giles' acting as bearer of a coven's magic and deliberately fighting to lose.
The panel will discuss the future of Buffy macro-studies and speculate on the likely logical development of themes in Season Seven/Four |
Language I: Tropes of Translation Chair: C. Thomson |
Flesh / Food: Vampire Ecologies Chair: Roz Kaveney |
Mythologies and Modernity Chair: Amaia Gabantxo |