Results 101 to 110 of about 2,110 (115)
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Critical Studies in Television: The International Journal of Television Studies, 2021
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Rethinking Intersemiotic Translation through Cross-Media Adaptation in the Works of Joss Whedon
2013This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of ...
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“So Here's Us, On the Raggedy Edge”: Exoticism and Identification in Joss Whedon'sFirefly
Popular Music and Society, 2011In his short-lived television show Firefly, Joss Whedon created a future clearly rooted in the present through melded Asian and American influences. Since one of Whedon's overriding concerns in his art is identification of and with his characters, Firefly offers a rich tapestry to explore the ways music, particularly non-Western music, is used in ...
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2019
For his exemplar storyworlds, not only as transmediated texts but also as sociocultural commentary, Joss Whedon is one of the most studied auteurs of our time. To better understand why Whedon and the Whedonverse(s) matter, this collection looks to the many ways in which his texts are built, disseminated, and consumed. The chapters within it explore how
Kitchens, Juliette, Hawk, Julie L
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For his exemplar storyworlds, not only as transmediated texts but also as sociocultural commentary, Joss Whedon is one of the most studied auteurs of our time. To better understand why Whedon and the Whedonverse(s) matter, this collection looks to the many ways in which his texts are built, disseminated, and consumed. The chapters within it explore how
Kitchens, Juliette, Hawk, Julie L
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‘I’m a Monster. What I Do Is Evil’: Monsters and Evil in Joss Whedon’s Firefly and Serenity
2014I will argue that although there are many human ‘monsters’ in Whedon’s Firefly, not all are evil – nor are all of the evil characters ‘monstrous.’ By separating the monstrous from evil, I will be able to more closely define the limits of each, and consider whether the evil characters are the post-human Reavers, or the human villains.
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2019
This chapter positions Joss Whedon via the concept of the “Minor Writer,” as developed by poststructuralist philosophers Gilles Deleuze and Felix Guattari. In these terms, “minor” is not simply defined as a literature written from the perspective of an oppressed group, nor a secondary or neglected writing; instead, minor writing takes the language of ...
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This chapter positions Joss Whedon via the concept of the “Minor Writer,” as developed by poststructuralist philosophers Gilles Deleuze and Felix Guattari. In these terms, “minor” is not simply defined as a literature written from the perspective of an oppressed group, nor a secondary or neglected writing; instead, minor writing takes the language of ...
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Critical Studies in Television: The International Journal of Television Studies, 2016
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Buffy, Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon
American Music, 2013openaire +1 more source