Screenwriter, director, producer and comic book author Joss Whedon is best known for his television series and films featuring villainous vampires, angry gods and even bloggers who wish to rule the world. Within these works is a prevalent yet commonly overlooked theme--the corporate antagonist. This book examines the effects of this corporate culture on the protagonists of Whedon's most famous works (including Buffy, Roseanne, the Avengers, Agents of S.H.I.E.L.D. and Dollhouse) to reveal explicit sociopolitical commentaries on corporate control in the real world.
Screenwriter, director, producer and comic book author Joss Whedon is best known for his television series and films featuring villainous vampires, angry gods and even bloggers who wish to rule the world. Within these works is a prevalent yet commonly overlooked theme--the corporate antagonist. This book examines the effects of this corporate culture on the protagonists of Whedon's most famous works (including Buffy, Roseanne, the Avengers, Agents of S.H.I.E.L.D. and Dollhouse) to reveal explicit sociopolitical commentaries on corporate control in the real world.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Erin Giannini served as an editor and contributor at PopMatters, and has written numerous articles about topics from corporate culture in genre television to production-level shifts and their effects on television texts. She lives in Albuquerque, New Mexico.
Inhaltsangabe
Table of Contents Preface Introduction. The Scariest Monsters of All: Corporate Culture in the Works of Joss Whedon Part I. Antagonists, Complicity and Insidious Movements: An Overview of Corporate Culture in the Works of Joss Whedon One. "Evil white folks really do have a mecca": The Corporate Antagonist in Angel and Firefly Two. A Stranger Comes to a (Small) Town: Buffy, Roseanne and the Long Reach of Corporate Culture Three. Who Owns the Show? The Avengers, Agents of S.H.I.E.L.D. and Marvel vs. Mutant Enemy Four. In the Belly of the Beast: Dollhouse, The Cabin in the Woods and Dr. Horrible's Sing-Along Blog Part II. Subverting Tropes, Corporations and Media: A Dollhouse Case Study Five. "That is their business, but that is not their purpose": Dollhouse as a Subversive Text Six. Curiosity or Arrogance? Dollhouse and the Troubled Relationship with Corporate-Sponsored Technology Seven. "We're pimps and killers, but in a philanthropic way": Interrogating Corporate and Governmental Politics Eight. "Call us what you want, just not family": Undermining Whedon Tropes in the Dollhouse Conclusion. Whedon as Corporate Critique, or Can TV Change the World? Chapter Notes Bibliography Television and Filmography Index
Table of Contents Preface Introduction. The Scariest Monsters of All: Corporate Culture in the Works of Joss Whedon Part I. Antagonists, Complicity and Insidious Movements: An Overview of Corporate Culture in the Works of Joss Whedon One. "Evil white folks really do have a mecca": The Corporate Antagonist in Angel and Firefly Two. A Stranger Comes to a (Small) Town: Buffy, Roseanne and the Long Reach of Corporate Culture Three. Who Owns the Show? The Avengers, Agents of S.H.I.E.L.D. and Marvel vs. Mutant Enemy Four. In the Belly of the Beast: Dollhouse, The Cabin in the Woods and Dr. Horrible's Sing-Along Blog Part II. Subverting Tropes, Corporations and Media: A Dollhouse Case Study Five. "That is their business, but that is not their purpose": Dollhouse as a Subversive Text Six. Curiosity or Arrogance? Dollhouse and the Troubled Relationship with Corporate-Sponsored Technology Seven. "We're pimps and killers, but in a philanthropic way": Interrogating Corporate and Governmental Politics Eight. "Call us what you want, just not family": Undermining Whedon Tropes in the Dollhouse Conclusion. Whedon as Corporate Critique, or Can TV Change the World? Chapter Notes Bibliography Television and Filmography Index
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