Sacrificial Shadows: Tragic Greek Heroines Reinvented for Television in Buffy the Vampire Slayer and Game of Thrones

Author(s):  
Tania Evans ◽  
Amanda Potter
Projections ◽  
2020 ◽  
Vol 14 (1) ◽  
pp. 58-74
Author(s):  
Héctor J. Pérez

AbstractThis article explores the use of the plot twist in screen fictions. This is a largely unexplored area, as interest in this phenomenon has largely focused on the so-called “plot twist movie,” which is an older narrative tradition. In order to explain this aesthetic phenomenon, it draws on the model of surprise originally proposed by the cognitive psychologists Wulf Meyer, Rainer Reisenzein, and Achim Schützwohl. Plot twists are characterized by three distinct but intimately intertwined temporal segments and their corresponding functions, which are explained by this model. The objective of this article is to explore how cognitive-emotional interactions shape the aesthetic viewing experience and to identify how that experience relates to shows’ artistic qualities. Game of Thrones (S01 and S03), Homeland (S01), and Westworld (S01) will be used as test cases. In each of the three plot segments, there are specific processes that distinguish the experience of surprise as an aesthetic phenomenon.


Public Voices ◽  
2016 ◽  
Vol 12 (1) ◽  
pp. 67 ◽  
Author(s):  
Sharon Mastracci

In this paper, the author examines public service as depicted in the television series Buffy the Vampire Slayer (BtVS). First, she shows how slaying meets the economist’s definition of a public good, using the BtVS episode “Flooded” (6.04). Second, she discusses public service motivation (PSM) to determine whether or not Buffy, a public servant, operates from a public service ethic. Relying on established measures and evidence from shooting scripts and episode transcripts, the author concludes Buffy is a public servant motivated by a public service ethic. In this way, BtVS informs scholarship on public service by broadening the concept of PSM beyond the public sector; prompting one to wonder whether it is located in a sector, an occupation, or in the individual. These conclusions allow the author to situate Buffy alongside other idealized public servants in American popular culture.


2015 ◽  
Author(s):  
Lothar Mikos

Die Rezeption von Filmen und Fernsehsendungen ist sowohl vom Wissen und den Emotionen der Zuschauer als auch von sozialen Kontexten abhängig. Es reicht daher nicht aus, die „Sprache“ von Film und Fernsehen zu analysieren, sondern es müssen auch die Form, die Gestaltung, die Dramaturgie und der Inhalt auf die Kontexte der Rezeption bezogen werden. Dieses Standardwerk von Lothar Mikos ist eine erprobte Anleitung zur Durchführung von Film- und Fernsehanalysen, inklusive aktueller Entwicklungen wie Transmedia Storytelling oder 3D-Film. Mit aufschlussreichen Beispielanalysen zu „Herr der Ringe“, „Terminator“, „Game of Thrones“, „Germany‘s Next Topmodel“ sowie Filmen des „Marvel Cinematic Universe“. Prof. Dr. Lothar Mikos lehrt Medien- und Kommunikationswissenschaft an der Filmuniversität Babelsberg. Konrad Wolf in Potsdam.


2021 ◽  
Vol 249 (3324) ◽  
pp. 32
Author(s):  
Anne Marie Conlon
Keyword(s):  

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