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When writer and director Joss Whedon created the character Buffy
the Vampire Slayer, he could hardly have expected the resulting
academic interest in his work. Yet almost six years after the end
of Buffy on television, Buffy studies and academic work on Whedon's
expanding oeuvre continue to grow. Now with three hugely popular
television shows, Buffy the Vampire Slayer, Angel, and Firefly, and
the film Serenity all available on DVD, scholars are evaluating
countless aspects of the Whedon universe (or "Whedonverse"). Buffy,
Ballads, and Bad Guys Who Sing: Music in the Worlds of Joss Whedon
studies the significant role that music plays in these works, from
Buffy the Vampire Slayer to the internet musical Dr. Horrible's
Sing-Along Blog. Kendra Preston Leonard has collected a varying
selection of essays that explore music and sound in Joss Whedon's
works. The essays investigate both diegetic and non-diegetic music,
considering music from various sources, including the shows'
original scores, music performed by the characters themselves, and
music contributed by such artists as Michelle Branch, The Sex
Pistols, and Sarah McLachlan, as well as classical composers like
Camille Saint-Saens and Johannes Brahms. The approaches incorporate
historical and theoretical musicology, feminist and queer
musicology, media studies, cultural history, and interdisciplinary
readings. The book also explores the compositions written by Whedon
himself: the theme music for Firefly, and two fully integrated
musicals, the Buffy episode "Once More, With Feeling" and Dr.
Horrible's Sing-Along Blog. With several musical examples, a table
with a full breakdown of the Danse Macabre scene from the acclaimed
Buffy episode "Hush," and an index, this volume will be fascinating
to students and scholars of science-fiction, television, film, and
popular culture.
Writing National Cinema traces the twenty-year history of the
Peruvian film journal Hablemos de cine alongside that of Peruvian
filmmaking and film culture. Similar to the influential French
journal Cahiers du cinema, Hablemos de cine began with a group of
young critics interested in claiming the director's use of
mise-en-scene as the exclusive method of film analysis rather than
thematic or star-oriented topics -- hence, the title of the
publication, derived from their battle cry at post-screening
discussions: "Let's talk about film." Their critical authority grew
with the rise of local filmmaking and the nationalist fervor of the
late 1960s and early 1970s. When government sponsorship spurred
feature filmmaking in the mid-1970s, their perspective eschewed the
politically militant readings that characterized most writing and
film from the rest of Latin America at the time. By the 1980s, the
critics at Hablemos de cine had helped to engender a commercial,
Hollywood-influenced cinematic vision--best exemplified by Peruvian
auteur Francisco Lombardi--and stimulated a unique, if isolating,
national identity through film. The first book-length study of
Peruvian film culture to appear in English, Middents's work offers
thoughtful consideration of the impact of criticism on the visual
stylings of a national cinema.
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