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This study examines the major works of contemporary American television and film screenwriter Joss Whedon. The authors argue that these works are part of an existentialist tradition that stretches back from the French atheistic existentialist Jean-Paul Sartre, through the Danish Christian existentialist Soren Kierkegaard, to the Russian novelist and existentialist Fyodor Dostoevsky. Whedon and Dostoevsky, for example, seem preoccupied with the problem of evil and human freedom. Both argue that in each and every one of us "a demon lies hidden." Whedon personifies these demons and has them wandering about and causing havoc. Dostoevsky treats the subject only slightly more seriously. Chapters cover such topics as Russian existentialism and vampire slayage; moral choices; ethics; Faith and bad faith; constructing reality through existential choice; some limitations of science and technology; love and self-sacrifice; love, witchcraft, and vengeance; soul mates and moral responsibility; love and moral choice; forms of freedom; and Whedon as moral philosopher.
Every generation produces a counterculture icon. Joss Whedon, creator of the long-running television series Buffy the Vampire Slayer, is famed for his subversive wit, rich characters, and extraordinary plotlines. His renown has only grown with subsequent creations, including Angel, Firefly, Dollhouse, and the innovative online series Dr. Horrible's Sing-Along Blog. Through premises as unusual as a supernatural detective agency run by a vampire and a Western set in outer space, Whedon weaves stories about characters forced to make commonplace moral decisions under the most bizarre of circumstances. The Philosophy of Joss Whedon examines Whedon's plots and characterizations to reveal their philosophical takes on the limits of personal freedom, sexual morality, radical evil, and Daoism.
In this book, Dean Kowalski argues that filmmakers can “do” philosophy when creating a fictional narrative film, and utilizes a careful and extensive analysis of Joss Whedon’s fictive creations—Buffy the Vampire Slayer, Angel, Firefly, Dollhouse, and The Cabin in the Woods (among others)—to establish this thesis. This book appeals to many different readers. For the many admirers of Whedon’s fictive creations, it offers one of the most comprehensive analyses of his corpus. It reprises many examples and dialogue passages from the far corners of the so-called “Whedonverse.” You’ll get a chance to re-experience your favorite dramatic moments, and think about them in novel ways. For popular culture scholars, it offers illustrations of various philosophical theories, explains how those theories pertain to relevant data points in Whedon’s oeuvre, and assesses whether, or to what extent, they have real-world application. For philosophers of film, it explicates crucial issues germane to the film-as-philosophy debate, but also expands them to television—all in the attempt to demonstrate why it is that Whedon ought to be included among those rare filmmakers who engage the philosophical process via their artistry.
In an age when geek chic has come to define mainstream pop culture, few writers and producers inspire more admiration and response than Joss Whedon. From Buffy the Vampire Slayer to Much Ado About Nothing, from Dr. Horrible’s Sing–Along Blog to The Avengers, the works of Whedon have been the focus of increasing academic attention. This collection of articles represents some of the best work covering a wide array of topics that clarify Whedon’s importance, including considerations of narrative and visual techniques, myth construction, symbolism, gender, heroism, and the business side of television. The editors argue that Whedon’s work is of both social and aesthetic significance; that he creates “canonical television.” He is a master of his artistic medium and has managed this success on broadcast networks rather than on cable. From the focus on a single episode to the exploration of an entire season, from the discussion of a particular narrative technique to a recounting of the history of Whedon studies, this collection will both entertain and educate those exploring Whedon scholarship for the first time and those planning to teach a course on his works.
Director, producer and screenwriter Joss Whedon is a creative force in film, television, comic books and a host of other media. This book provides an authoritative survey of all of Whedon's work, ranging from his earliest scriptwriting on Roseanne, through his many movie and TV undertakings--Toy Story, Buffy the Vampire Slayer, Angel, Firefly/Serenity, Dr. Horrible, The Cabin in the Woods, and Agents of S.H.I.E.L.D.--to his forays into the Marvel Cinematic Universe. The book covers both the original texts of the Whedonverse and the many secondary works focusing on Whedon's projects, including about 2000 books, essays, articles, documentaries and dissertations.
Drawing on the works of Shakespeare and American screenwriter Joss Whedon, this study in narrative ethics contends that Whedon is the Shakespeare of our time. The Bard wrote before the influence of the modern moral philosophers, while Whedon is writing in the postmodern period. It is argued that Whedon's work is more in harmony with the early modern values of Shakespeare than with modern ethics, which trace their origin to 17th and 18th century moral philosophy. This study includes a detailed discussion of representative works of Shakespeare and Whedon, showing how they can and should be read as forms of narrative ethics.
Joss Whedon is known for exploring philosophical questions through socially progressive narratives in his films, television shows and comics. His work critiques racial stereotypes, sometimes repudiating them, sometimes reinvesting in them (sometimes both at once). This collection of new essays explores his representations of racial power dynamics between individuals and institutions and how the Whedonverse constructs race, ethnicity and nationality relationships.
This is a collection of new essays on the religious themes in, and the implications of, the works of Joss Whedon, creator of such shows as Buffy the Vampire Slayer, Angel, and Firefly, and more recently writer and director of the box-office hit Marvel's The Avengers. The book addresses such topics as ethics, racism, feminism, politics, witchcraft, spiritual transformation, identity, community, heroism, apocalypse, and other theologically significant themes of Whedon's creative enterprises. The disciplinary approaches vary as well; history, theology, philosophy of religion, phenomenology, cultural studies, and religious studies are all employed. The various essay authors differ in that some are clearly believers in God, some are clearly not, and others leave that matter aside.
First there was “Buffy the Vampire Slayer"; then its spin-off “Angel"; then the cult hit “Firefly"; and its follow-up film, “Serenity." They all had two things in common: their creator, Joss Whedon … and their surprising psychological depth. Revisit the worlds of Joss Whedon … with trained psychologists at your side. What are the psychological effects of constantly fighting for your life? Why is neuroscience the Whedonverse's most terrifying villain? How can watching Joss's shows help you take on your own psychological issues? It's all the best parts of Psych 101—without Professor Walsh. * Robert Kurzban explains how Mal's morals are a form of evolutionary pornography, and why we like to watch * Thomas Flamson explores free will in the Whedonverse—with prophecies, sacred duties and the long arm of the Alliance, does anyone actually have any? * Carole Poole demonstrates how Buffy and Spike's season six relationship could be considered metaphor for narcissistic personality disorder—and concludes that Buffy may have been better off continuing it * Bradley J. Daniels looks at River's Alliance-altered brain, and the real effects of “stripping" the amygdala * Mikhail Lyubansky shows why, psychologically, death really is Buffy's gift * And editor Joy Davidson takes on Angel's mommy issues—how the course of his whole extraordinary existence can be traced back to the woman who made him a vampire
Joss Whedon's works, across all media including television, film, musicals, and comic books, are known for their commitment to gender and sexual equality. They have always encouraged their audiences to love whomever, and however, they wish. This book is a history of the sexualities represented in the works of Joss Whedon and it covers all of Whedon's genres, including fantasy, horror, science fiction, westerns, superhero stories, and Shakespearean comedy. Unique for its consideration of the entire arc of Whedon's two-decade career, from the beginning of Buffy the Vampire Slayer's first season in 1997 through the conclusion of its twelfth (comic book) season in 2018, this book examines in detail both better-known queer sexualities of the LGBTQ+ spectrum, and lesser-known non-normative sexualities. The book includes chapters on Whedon's sexually dominant women and submissive men, sexual pluralism on Firefly, disabled sexualities in Whedon's superhero narratives, zoophilia in Buffy, queer and heteronormative sexualities in Dr. Horrible's Sing-Along Blog, the subversion of the sexual tropes of slasher films in The Cabin in Woods, and dominance and submission in Whedon's Much Ado About Nothing.