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This book explores the transmedial nature of the storyworlds created by and/or affiliated with television auteur, writer, and filmmaker, Joss Whedon. As such, the book addresses the ways in which Whedon's storyworlds, or 'verses, employ transmedia, both intrinsically as texts and extrinsically as these texts are consumed and, in some cases, reworked, by audiences. This collection walks readers through fan and scholar-fan engagement, intrinsic textual transmediality, and Whedon's lasting influence on televisual and transmedia texts. In closing, the editors argue for the need to continue research into how the Whedonverse(s) lend themselves to transmedial study, engage audiences in ways that take advantage of multiple media, and encourage textual internalization of these engagements within audiences.
Table des matières
Chapter 1: Exploring a Whedonverse, the Whedonverses, and the Whedonverse(s): The Shape of Transmedia Storytelling in Joss Whedon's World(s).- Chapter 2: Un-Warren-ted: Or, How I Learned to Stop Worrying and Love My Transgressive Fandom.- Chapter 3: History Has Its Eyes on the Greatest Hellmouth in the World: Transmedia, Hint Fiction, and Mashup Memes.- Chapter 4: Transmediating the Whedon Classroom.- Chapter 5: "This is the next me": The Evolution of AI in the Whedonverse.- Chapter 6: "You're not the source of me": Navigating and Mastering the Transmedial at the End of Buffy the Vampire Slayer's Fourth Season.- Chapter 7: "To Speak Against an Opponent Eloquently Makes You an Unusual Personage": Joss Whedon as Deleuzian 'Minor Writer'.- Chapter 8: The Transtextual Road Trip: Buffy the Vampire Slayer, Supernatural, and Televisual Forebears.- Chapter 9: A Brief Note on Looking Forward.- Index.
A propos de l'auteur
Juliette C. Kitchens is an Associate Professor of Writing and Communication at Nova Southeastern University.
Julie L. Hawk is a Lecturer in English and Research Development Coordinator at the University of West Georgia.
Résumé
This book explores the transmedial nature of the storyworlds created by and/or affiliated with television auteur, writer, and filmmaker, Joss Whedon. As such, the book addresses the ways in which Whedon’s storyworlds, or ‘verses, employ transmedia, both intrinsically as texts and extrinsically as these texts are consumed and, in some cases, reworked, by audiences. This collection walks readers through fan and scholar-fan engagement, intrinsic textual transmediality, and Whedon’s lasting influence on televisual and transmedia texts. In closing, the editors argue for the need to continue research into how the Whedonverse(s) lend themselves to transmedial study, engage audiences in ways that take advantage of multiple media, and encourage textual internalization of these engagements within audiences.
