Thesis (MA--Art and Design) -- Auckland University of Technology, 2003. / Also held in print (83 leaves, col. ill., 30 cm.) in Wellesley Theses Collection. (T 791.4572 GOI)

Excerpt:Buffy the Vampire Slayer. Haven’t we heard enough about this show? After all, it was cancelled over 10 years ago. Plus, it is the most studied series in the history of television.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 179-181). Also available in electronic format on the Internet.

I den här uppsatsen undersöks hur vampyrer dör i TV-serierna True Blood (2008-2014), Vampire Diaries (2009-2017) och Buffy the Vampire Slayer (1997-2003). Genom närläsning och jämförelser mellan dessa olika sätt att skildra vampyrers död diskuteras vad detta innebär för den roll vampyren får i respektive serie, och vad det betyder för skildringen av kropp och kroppslighet. Jag använder mig av teorier kring skildringen av (mänsklig) död på film, samt för en diskussion i relation till bland annat Judith Butlers begrepp ”sörjbara kroppar” och Giorgio Agambens ”bare life”. Utifrån detta ställs frågor om hur vampyrer, deras död och skildringen av denna relaterar till de diskurser om mänsklighet som genomsyrar serierna och deras kontext.

This project is an interrogation of three examples from recent popular culture of girlculture, specifically texts that target young female consumers: the Spice Girls, Scream and Buffy the Vampire Slayer. These examples are fundamentally different than texts from earlier female targeted generic models because they not only reflect the influence of the feminist movement, they work on feminism's behalf. The project's methodology grows out of feminist film theories and cultural studies theories. One chapter is dedicated to each text, and each reading works to reappropriate girlculture texts for a counter-hegemonic agenda by highlighting the moments when each text manages to subvert its mass mediated conservative biases.

Dante's Inferno defined hell in Western literature for centuries; it was a physical place for sinners, they were subjected to physical torments, and it was in the afterlife. Dante’s depiction was firmly rooted in Christian theology. However, as fears and morals change, ideas of hell evolve as well. With the popularity of the zombie and other apocalypse narratives, these ideas return to the notion of physical torment and earthly places. In poetry, novels, theater, television, and film, writers examine different interpretations of hell, punishment, and redemption as metaphors for modern sins. In Sartre’s Huis clos, hell is a windowless room, and the tortures are inflicted psychologically by other people. In Romero’s Living Dead films, hell comes to earth, and the torments are both physical and psychological. Joss Whedon’s Buffy the Vampire Slayer shows how hellish the common experiences of high school and growing up can be. Cormac McCarthy’s The Road examines hell as a lack of place, a relentless journey without end. In these and other works, the concept of hell is reinvented and replaced by new ideas, but the influence of the past iterations shapes the new landscapes.

Excerpt: Besides the lead character herself, the leather-clad vampire Spike -- introduced as the "Big Bad" in Buffy the Vampire Slayer (BtVS) Season 2 -- the most analyzed character in the Buffyverse.

Not available / text

Thesis (M.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Linda Karell. Includes bibliographical references (leaves 90-94).

No description available.