[1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its... more [1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its considerable appeal not only on its teenaged core segment, but also on more mature fans of post-modern self-reflexivity. On both sides of the Atlantic, it has become something ...
[1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to
bounce over the Atlantic and work its... more [1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its considerable appeal not only on its teenaged core segment, but also on more mature fans of post-modern self-reflexivity. On both sides of the Atlantic, it has become something of an icon of postmodern and post-feminist savvy. Tina Ogle in the Guardian, for example, described Buffy as 'the coolest fighter of evil this side of heaven' [Guardian Review, Sunday, 24/10/99]. It has generally been received not only as a thoroughly enjoyable spectacle offering the unlikely joys of a petite, wisecracking, Valley-babe righteously kicking 'date-rapist' (aka vampire) butt, but as a 'subversive' or 'transgressive' text. Buffy has also been associated with extra-textual subcultural activity. Although Buffy makes obvious reference to extra-textual mileux such as 'goths' in particular, I will be concentrating primarily on the articulations of the BTVS fanbase itself (which does not, on the whole, actually include 'goths')
[1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its... more [1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its considerable appeal not only on its teenaged core segment, but also on more mature fans of post-modern self-reflexivity. On both sides of the Atlantic, it has become something ...
[1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to
bounce over the Atlantic and work its... more [1] BUFFY THE VAMPIRE SLAYER is the most recent cult hit to bounce over the Atlantic and work its considerable appeal not only on its teenaged core segment, but also on more mature fans of post-modern self-reflexivity. On both sides of the Atlantic, it has become something of an icon of postmodern and post-feminist savvy. Tina Ogle in the Guardian, for example, described Buffy as 'the coolest fighter of evil this side of heaven' [Guardian Review, Sunday, 24/10/99]. It has generally been received not only as a thoroughly enjoyable spectacle offering the unlikely joys of a petite, wisecracking, Valley-babe righteously kicking 'date-rapist' (aka vampire) butt, but as a 'subversive' or 'transgressive' text. Buffy has also been associated with extra-textual subcultural activity. Although Buffy makes obvious reference to extra-textual mileux such as 'goths' in particular, I will be concentrating primarily on the articulations of the BTVS fanbase itself (which does not, on the whole, actually include 'goths')
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bounce over the Atlantic and work its considerable appeal not only
on its teenaged core segment, but also on more mature fans of
post-modern self-reflexivity. On both sides of the Atlantic, it has
become something of an icon of postmodern and post-feminist
savvy. Tina Ogle in the Guardian, for example, described Buffy as
'the coolest fighter of evil this side of heaven' [Guardian Review,
Sunday, 24/10/99]. It has generally been received not only as a
thoroughly enjoyable spectacle offering the unlikely joys of a
petite, wisecracking, Valley-babe righteously kicking 'date-rapist'
(aka vampire) butt, but as a 'subversive' or 'transgressive' text.
Buffy has also been associated with extra-textual subcultural
activity. Although Buffy makes obvious reference to extra-textual
mileux such as 'goths' in particular, I will be concentrating
primarily on the articulations of the BTVS fanbase itself (which
does not, on the whole, actually include 'goths')
bounce over the Atlantic and work its considerable appeal not only
on its teenaged core segment, but also on more mature fans of
post-modern self-reflexivity. On both sides of the Atlantic, it has
become something of an icon of postmodern and post-feminist
savvy. Tina Ogle in the Guardian, for example, described Buffy as
'the coolest fighter of evil this side of heaven' [Guardian Review,
Sunday, 24/10/99]. It has generally been received not only as a
thoroughly enjoyable spectacle offering the unlikely joys of a
petite, wisecracking, Valley-babe righteously kicking 'date-rapist'
(aka vampire) butt, but as a 'subversive' or 'transgressive' text.
Buffy has also been associated with extra-textual subcultural
activity. Although Buffy makes obvious reference to extra-textual
mileux such as 'goths' in particular, I will be concentrating
primarily on the articulations of the BTVS fanbase itself (which
does not, on the whole, actually include 'goths')