btvs

30 Days of Female Awesome: Day Six

Favorite female driven canon. Buffy the Vampire Slayer, the first TV show I was properly fannish about.Formative influence, and the show with the most characters to show up on this meme. A show with women who were selfish, naive, petty, messy human beings and who still got to be the heroes. It's one of the best shows for strong women who don't fit into the Strong Female Character TM boxes. It's a show about women in the protagonist-plot-driven sense and in the women's-issues-are-the-thematic-heart-of-the-heroic-narrative sense. And yes, I am aware that it drops the ball sometimes. It's still some of the best television I've ever watched and it's female driven and that's meant a lot to me.

So. In other people's words.

A Deconstruction of Society's Demonization of Women by butterfly. Examines 'Restless' through the lense of 'Chosen,' what Buffly learns about being whole and human and strong.

Buffy, the Vampire Slayer vs Buffy the Vampire Slayer by beer good foamy. An interpretation of season seven as postmodernism, of a sort:  "
Buffy The Vampire Slayer isn't just the title of a television show, it's the central conflict of it. The very thing that gives Buffy (andBuffy) strength is the same thing that traps her. The story itself is the biggest bad, and the central problem of season 7 is, how do you end the story without killing the story?"

Bachelorette by obsessive24. Fanvid, women interacting with male power-structures.

Reader, I destroyed him by aycheb. "
For this essay I want to look at how BtVS, rather than giving honourary man status to one girl’s story, rewrites multiple stories, lots of girls, lots of times and lots of different ways. Some, like the WttH teaser, are short vignettes others are novels that stretch across seasons but all attempt to subvert the far too common genre standbys of screaming, redeeming and dying."

feminist community in BtVS by heresluck. "Rhonda Wilcox has argued persuasively that within the Buffyverse "the choice to fight alone, while heroic, is also presented as wrong" ("Of Creatures and Creators: Buffy Does Frankenstein,"Fighting the Forces, p. 7). Similarly, Anita Rose's reading of the Scooby gang's Season Four confrontation with Adam emphasizes that "the isolated Romantic hero must fail in the face of a technological society if he or she remains isolated" ("'Who Died and Made Her the Boss?' Patterns of Mortality in Buffy," Fighting the Forces, p. 141). As Wilcox and Rose suggest, Buffy offers an implicit corrective to masculinist and individualist models of heroism by insisting that successful heroism is always collective.

I want to develop these fairly familiar ideas about collective heroism by arguing that the nature of the group's collectivity changes over the course of the show. Early on, the Slayerettes begin to form what we might call an intentional family, notable for its feminist disregard for gender roles and its emphasis on shared power; this family grows and develops over the course of the series. In the final season, the show takes this principle still further: it attempts to create a community that extends beyond the bounds of friendship or family."