Undead TV: Essays on Buffy the Vampire Slayer

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9780822340430: Undead TV: Essays on Buffy the Vampire Slayer
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"Keenly attentive to gender, age, race, and institutional politics, the essays in this collection reverberate with the clarity, cogency, and force of high-quality television studies scholarship. Undead TV is indispensable reading not only for those interested in one of the most important American television series but also for anyone who wants to be informed about the current practices, investments, and prospects of television and other associated media."--Diane Negra, coeditor of Interrogating Postfeminism: Gender and the Politics of Popular Culture "Aiming its Mr. Pointy at preconceived ideas about the show, this collection tackles Buffy from cultural, economic, and aesthetic angles. Cancellation has clearly done nothing to blunt the show's cutting edge. Read it along with Joss Whedon's new eighth-season comic book and you'll agree: Buffy is dead--long live Buffy!"--Heather Hendershot, author of Saturday Morning Censors: Television Regulation before the V-Chip "This is a useful ... addition to the body of work on Buffy and other shows."--Times Literary Supplement, 21 September 2007

From the Publisher:

When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on as a commercial success through syndication, global distribution, DVD release, and merchandising. Buffy offered sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. In the process, it helped shape trends in television production and reception. The flagship show for the WB network from 1997 until it moved to UPN in 2001, Buffy represents an important shift in network television, the moment when the "netlets" - Fox, UPN, and the WB - began to focus on markets that had been largely overlooked by the three major broadcast networks: teenagers, African Americans, and Latinos. In Undead Television, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. One contributor considers Buffy lead Sarah Michelle Gellar's successful career as representative of a new, more fluid form of stardom capable of traversing television, film, and the Internet. Another explores the show's feminist (or postfeminist) agenda in relation to its depiction of Buffy as a New Woman balancing a powerful position with her femininity. Others explore the WB's marketing of Buffy to viewers of different ages; the reception of Buffy and its spin-off, Angel, in the United Kingdom; and the representation of alternative masculinities and queer desire in Buffy and Angel.

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Elana Levine
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Descripción Duke University Press, United States, 2007. Paperback. Estado de conservación: New. 234 x 155 mm. Language: English . Brand New Book. When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. netlets -the WB and UPN-Buffy helped usher in the post-network era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement. In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar s celebrity image, science-fiction fanzines, international and youth audiences, Buffy tie-in books, and Angel s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change. Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks. Nº de ref. de la librería AAC9780822340430

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Descripción Duke University Press, United States, 2007. Paperback. Estado de conservación: New. 234 x 155 mm. Language: English . Brand New Book. When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on through syndication, global distribution, DVD release, and merchandising, as well as in the memories of its devoted viewers. Buffy stands out from much entertainment television by offering sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. Yet it has also been central to changing trends in television production and reception. As a flagship show for two U.S. netlets -the WB and UPN-Buffy helped usher in the post-network era, and as the inspiration for an active fan base, it helped drive the proliferation of Web-based fan engagement. In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. Contributors engage with critical issues such as stardom, gender identity, spectatorship, fandom, and intertextuality. Collectively, they reveal how a vampire television series set in a sunny California suburb managed to provide some of the most biting social commentaries on the air while exposing the darker side of American life. By offering detailed engagements with Sarah Michelle Gellar s celebrity image, science-fiction fanzines, international and youth audiences, Buffy tie-in books, and Angel s body, Undead TV shows how this prime-time drama became a prominent marker of industrial, social, and cultural change. Contributors. Ian Calcutt, Cynthia Fuchs, Amelie Hastie, Annette Hill, Mary Celeste Kearney, Elana Levine, Allison McCracken, Jason Middleton, Susan Murray, Lisa Parks. Nº de ref. de la librería AAC9780822340430

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Descripción Paperback. Estado de conservación: New. 157mm x 14mm x 233mm. Paperback. When the final episode of "Buffy the Vampire Slayer" aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on through syndication, global dis.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 209 pages. 0.327. Nº de ref. de la librería 9780822340430

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Descripción Duke University Press. Paperback. Estado de conservación: new. BRAND NEW, Undead TV: Essays on "Buffy the Vampire Slayer", Elana Levine, Lisa Parks, When the final episode of Buffy the Vampire Slayer aired in 2003, fans mourned the death of the hit television series. Yet the show has lived on as a commercial success through syndication, global distribution, DVD release, and merchandising. Buffy offered sharp, provocative commentaries on gender, sexuality, race, ethnicity, and youth. In the process, it helped shape trends in television production and reception. The flagship show for the WB network from 1997 until it moved to UPN in 2001, Buffy represents an important shift in network television, the moment when the "netlets" - Fox, UPN, and the WB - began to focus on markets that had been largely overlooked by the three major broadcast networks: teenagers, African Americans, and Latinos. In Undead Television, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism. One contributor considers Buffy lead Sarah Michelle Gellar's successful career as representative of a new, more fluid form of stardom capable of traversing television, film, and the Internet. Another explores the show's feminist (or postfeminist) agenda in relation to its depiction of Buffy as a New Woman balancing a powerful position with her femininity. Others explore the WB's marketing of Buffy to viewers of different ages; the reception of Buffy and its spin-off, Angel, in the United Kingdom; and the representation of alternative masculinities and queer desire in Buffy and Angel. Nº de ref. de la librería B9780822340430

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