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Zusatztext This book will fascinate horror scholars and television scholars alike. The analyses are text-specific yet thoughtfully grounded in the context of the horror tradition. The writers are original and insightful. Informationen zum Autor Kristopher Karl Woofter is a faculty member of the English Department at Dawson College in Montreal, Quebec, Canada, where he teaches courses on the American Gothic, the Weird tradition, and horror in literature, cinema and television. Lorna Jowett is Reader in Television Studies at the University of Northampton, UK. Zusammenfassung Although ostensibly presented as “light entertainment,” the work of writer-director-producer Joss Whedon takes much dark inspiration from the horror genre to create a unique aesthetic and perform a cultural critique. Featuring monsters, the undead, as well as drawing upon folklore and fairy tales, his many productions both celebrate and masterfully repurpose the traditions of horror for their own means. Woofter and Jowett’s collection looks at how Whedon revisits existing feminist tropes in the ‘70s and ‘80s “slasher” craze via Buffy the Vampire Slayer to create a feminist saga; the innovative use of silent cinema tropes to produce a new fear-laden, film-television intertext; postmodernist reflexivity in Cabin in the Woods ; as well as exploring new concepts on “cosmic dread” and the sublime for a richer understanding of programmes Dollhouse and Firefly . Chapters provide the historical context of horror as well as the particular production backgrounds that by turns support, constrain or transform this mode of filmmaking. Informed by a wide range of theory from within philosophy, film studies, queer studies, psychoanalysis, feminism and other fields, the expert contributions to this volume prove the enduring relevance of Whedon’s genre-based universe to the study of film, television, popular culture and beyond. Inhaltsverzeichnis List of Illustrations xAcknowledgments xii Introduction Whedon Studies and the Ghost of Horror 1Kristopher Karl Woofter and Lorna Jowett Part I (Under)Groundwork: Horror Concepts and Conventions in the Whedonverse1 The Slasher Template: Buffy the Vampire Slayer vs. John Carpenter’s Halloween 17Clayton Dillard2 The Sonic Horror of “Hush” 34Selma A. Purac3 “The Body” That Will Not Sit Up: Shock, Stasis, and the Negative Space of the Horror Genre 53Mario DeGiglio-Bellemare4 The Melancholy Musical: Horror and Avant-Garde Strategies in “Once More, with Feeling” 73Anne Golden5 Angel’s Dreams, Our Nightmares: Oneiric Horror in Angel and Buffy the Vampire Slayer 92Cynthia Burkhead6 Dollhouse’s Terrible Places: Hauntings, Abjection, and the Repressed 105Bronwen Calvert7 Inscription and Subversion: The Cabin in the Woods and the Postmodern Horror Tradition 123Stephanie Graves Part II Mutant Enemies: TV Horror, Industry, and Influence8 “For All I Know, It Could Be Hilarious or It Could Suck”: Situating the Film Buffy the Vampire Slayer (1992) in Period Vampire Comedy 143Jerry D. Metz Jr.9 Monstrous Puppet Masters: Negotiating Violence and Horror in the Whedon Tele-verse 163Stacey Abbott10 Forever Knight, Angel, and Supernatural: A Genealogy of Television Horror/Crime Hybrids 181Erin Giannini Part III “It’s About Power”: Revisiting Whedon’s “Revisionist” Horror11 Whedon, Feminism, and the Possibility of Feminist Horror on Television 201Lorna Jowett12 Weird Whedon: Cosmic Dread and Sublime Alterity in the Whedonverse 219Kristopher Karl Woofter13 “All the Better to Know You”: Investigating the Hybrid Monster and Allegories of Self/Other inBuffy the Vampire Slayer 243K. Brenna Wardell14 Horror and the Last Frontier: Monstrous Borders and Bodies in Firefly and Westworld 261Karen Herland15 The Half-Lives of Horror: The Differential Embodiments of Dollhouse 281Alanna Thain Appendix I The Work of Joss Whedon and the Horror Tradi...
