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Creating a cultural phenomenon
Matthew Pateman

This chapter will look at the first three seasons of Buffy , and the ways in which Whedon was able to make the show, the character and himself a ‘cultural phenomenon’. This was an explicit desire for Whedon in relation to his first show, ‘I wanted her to be a cultural phenomenon. I wanted there to be dolls, Barbie with kung-fu grip’ (Lavery and Burkhead, 2011 : 28). The

in Joss Whedon
Translating Spike
Charlotte Bosseaux

Buffy the Vampire Slayer has become a cult series. The show has been broadcast worldwide and vampire Spike has been travelling around the world; or rather his translated version has, reaching many destinations. In France there are two translated versions of Buffy, the Vampire Slayer, one dubbed and the other subtitled. This article examines the significance of Spikes Britishness against the American background where he lives. The analysis considers his performance in the original and in the translation to show how British Spike ‘sounds’ in French. The article ultimately reflects on Spikes vampiric otherness and how translation might be used to efface or reduce otherness.

Gothic Studies
Abstract only
Author: Matthew Pateman

Joss Whedon explores the televisual texts that have been worked on by Whedon, from his earliest days as a writer on Roseanne to this involvement with S.H.I.E.L.D. In doing so it engages in and challenges a range of important questions about these works, but also about the broader recent history of television in the USA and the UK, and the studies of it. The Part I looks at three periods of Whedon’s career (up to the end of season 3 of his iconic Buffy the Vampire Slayer; the years covering the full run of Angel; and the time between the ending of Angel and the present day). Looking at changing modes of production, distribution and viewing, this section offers Whedon in the context of the recent history of television, as well as locating his contribution to other media such as comic books, internet series and films. It also looks at his involvement in liberal politics and assesses the politics of his shows.

Part II provides readings of each of his most important television shows through the lens of his narrative choices. These range from the importance of the exposition scene in Buffy to questions about the very possibility of serial narrative in Firefly; the significance of narrative complexity in Angel and the empty slate narrative of Dollhouse.

Throughout, it uses textual analysis, historical assessment, scholarly sources, as well as my own unique correspondence with Whedon collaborator Jane Espenson, and the exceptional store of draft scripts for the episodes that she wrote. A transcript of the correspondence is included as an appendix.

Transformations, vampires and language in Buffy the Vampire Slayer
Malgorzata Drewniok

The TV Series Buffy the Vampire Slayer was created by Joss Whedon and aired from 1997 till 2003, spanning over seven seasons. The series’s protagonist, a young girl, Buffy Summers, is the chosen one, the Slayer, the only one strong enough to fight and defeat vampires. 1 Buffy is still hugely popular and often rerun. Although the focus of the show is Buffy and her

in Open Graves, Open Minds
The exposition scene in Buffy
Matthew Pateman

Joss Whedon has commented before that the title of Buffy the Vampire Slayer carries within it a clear suggestion of generic hybridity. The three main terms indicate comedy, horror and action, respectively, and taken together what the title offers is an artistic mission statement. This case study will look at one of the standard features of Buffy 's format – the exposition scene

in Joss Whedon
Producing worlds, changing worlds
Matthew Pateman

With the airing of Angel on 5 October 1999, Whedon was now the executive producer of two hours’ worth of television every Tuesday night. The five seasons that Angel ran for (1999–2004) coincide with the final four seasons of Buffy (1999–2003) and the only season of Firefly (2002). This chapter will look at the development of each of the shows, and their respective

in Joss Whedon
An anti-conclusion
Catherine Spooner

refashioning through Gothic fictions shows no sign of diminishing. The most effective way of illustrating the perennial power Gothic bodies possess to fashion themselves anew, replaying the preoccupation with surface and depth, is through a final example. The television series Buffy the Vampire Slayer unites a number of the themes discussed in the previous chapter. Suturing the kind of American high

in Fashioning Gothic bodies
Mary Shelley’s motivic novel as adjacent adaptation
Kyle William Bishop

which I call an ‘adjacent adaptation’, since the adapted elements are rarely present for more than an episode and are always overshadowed by the story and character arcs of the series. In adjacent adaptation, the essential elements of a familiar antecedent text are condensed to a ‘featured encounter’ or stand-alone story. A number of series have featured ‘Monster of the Week’ episodes that reference, recreate, or pay homage to Shelley’s Frankenstein , including ‘Some Assembly Required’ (1997) from Buffy the Vampire Slayer (1997–2003) and

in Adapting Frankenstein
Multimedia polymath and mainstream cult
Matthew Pateman

. In the seven years from Buffy 's beginning to Angel 's cancellation Whedon had over 150 more episodes produced than in the following thirteen years. However, this decade has seen Whedon emerge as one of the most significant figures in the US cultural landscape both in terms of his contributions to a range of media, and in his direct interventions in political debates. The main areas of his

in Joss Whedon
Angel – cross-overs, complexity and conclusions
Matthew Pateman

Angel ran for five seasons in the USA, first airing on 5 October 1999 and having its finale on 19 May 2004. It remained on The WB network for all five seasons, initially being aired directly following an episode of Buffy . This was not possible, of course, after Buffy moved to the UPN for its final two seasons. This means that for seasons 1 and 2 of Angel there was the opportunity

in Joss Whedon