This website uses cookies to ensure you have the best experience. Learn more

Dreams In Buffy The Vampire Slayer

3532 words - 14 pages

Dreams in Buffy the Vampire Slayer

   The battle between Good and Evil. Nothing could be more timeless or universal. And each week, when presented as a contest between a teenage vampire slayer named Buffy and legions of vampires, demons, and assorted destructive forces on the television series Buffy the Vampire Slayer, millions of modern American television viewers watch that conflict as represented in late-nineties popular culture. As any frequent TV viewer knows, Good wins, vanquishing Evil with some ratings-garnering kicks and punches, and the episode concludes, at least until next week. Right? Not quite. Although Buffy consistently protects the world from destruction, her supremacy as a force of good remains challenged and incomplete. In part, this is a television necessity; forces of evil must always remain to be battled in next week's episode. But within the text of the series itself, the character of Buffy's boyfriend Angel -- a two-hundred odd year old vampire with a soul -- further complicates this blurring of the lines between good and evil. Angel, whose very nature embodies a coexistence of and struggle between good and evil, functions as a site within which the war between Good and Evil take place on a microcosmic level. In the episode "Amends," Angel's dreams and visions of his past destructive acts drive him to a suicide attempt. The episode's dual reading of the evil force responsible for Angel's dreams as an external demonic force and as an element of Angel's own psyche ultimately suggests the appropriate response to evil is not more destruction but rather comprehension of and vigilance against the complex and competing forces present within individuals.


On its most literal level, the episode "Amends" posits the existence -- and destructive nature of -- a purely evil force in the world. "The First," the force which controls Angel's dreams, is described by school librarian (and Buffy's Watcher) Giles as "Evil. Absolute evil, older than man, than demons" ("Amends," Act 3). Provided with a substantial degree of legitimacy through Giles' research in old texts and his characterization of the First as "an ancient power," the First appears as an evil counterpart to such benevolent and holy bringers of dreams in Christian influenced accounts of dream visions as the medieval Genius and the Pearl Maiden (Act 3). Unlike adversaries in other episodes, dispatched by a stake to the heart, Buffy cannot fight the First because it's "not a demon," not even "a physical being" (Act 4, Act 3). Rather, the "First Evil," as it describes itself, is "everywhere, every being, every thought, every drop of hate" (Act 4). In the absence of a comparable force of goodness -- for there is no "First Good," nor any mention of a Supreme Being in this episode -- the position granted to forces of evil within the context of "Amends" suggests both their inevitability and their power within the physical and spiritual realm.


In a dark twist...

Find Another Essay On Dreams in Buffy the Vampire Slayer

Buffy the Vampire Slayer Episode 410 Hush

1078 words - 5 pages In Buffy the Vampire Slayer episode 410 “Hush” A group of demon like creatures known as the Gentlemen take over Sunnydale by stealing everyone in the towns voice, and then stealing seven random people’s heart. Leading up to that part Buffy and Willow have started college and Buffy has met a boy name Riley who is a teacher aid in their class. During class Buffy has a dream of a little girl holding a wooden box who is singing a cryptic rhyme about

Buffy the vampire slayer and soaps

1121 words - 4 pages the events, explicitly presented and inferred to tell the story.As narratives vary from text to text they appeal to their audiences in different ways. One such television programme is the hybrid text 'Buffy the Vampire Slayer' which falls in the teen drama and horror genres. 'Buffy the Vampire Slayer' uses a self-contained narrative with each storyline beginning and ending within the same episode. The text also uses re-gendering of characters

Buffy the Vampire Slayer and the Horror Genre

1412 words - 6 pages Buffy the Vampire Slayer and the Horror Genre Typically the Horror or more specifically Vampire genre will have the theme good vs. evil where the hero represents good and the villain represents evil. This is consistent in Buffy the Vampire Slayer as Buffy is the hero and the evil vampires she slays (in this episode Glory/Ben) represent evil. There is also a cliché within this genre where good is always triumphant over

Comparing Sexuality and Power in Dracula and Buffy the Vampire Slayer

1678 words - 7 pages Comparing Sexuality and Power in Dracula and Buffy the Vampire Slayer   At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop

Reasons Why Buffy the Vampire Slayer Is Iconic and Played a Large Role in Poplular Culture

1516 words - 7 pages , kind of sequestered and uneventful, which I can really relate to. I don't get out much. Buffy I don't get that. Owen It's my fault, I just find most girls pretty frivolous, I mean there's a lot more important things in life then dating, you know? (Buffy the Vampire Slayer, Season 1, Episode 5, 21:16) This is a perfect example of the topic, even using a discussion about Emily Dickinson as a device to show everything that Buffy can not be

"Is This a Penis Metaphor?: An Analysis of Adolescent Sexuality in Buffy the Vampire Slayer"

4029 words - 16 pages exaggerate the significance of sex in everyday adolescent life. However, the medium of television can also be utilised in order to communicate the complexities of adolescent sexuality. This is demonstrated potently in the post-modern show Buffy the Vampire Slayer, which attempts to convey the ambiguities of sexual morality without simplifying or condemning the issue.Often, Buffy, the Vampire Slayer has been dismissed merely as a fad. Studies reveal

Female vs. Male in Television Shows Buffy the Vampire Slayer and Supernatural

1419 words - 6 pages Christine O’Toole March 7, 2014 Rationale The research question I intend to look into is how female driven narratives differ from male centric shows, and how critics and fans have reacted to shows in turn. Two of the shows I would like to focus on are Buffy the Vampire Slayer, which ran from 1997 until 2003 with a total of seven seasons, and Supernatural, which started in 2005 and is still going strong, having just been renewed for its tenth

A Feminist Reading of Buffy the Vampire Slayer

3271 words - 13 pages A Feminist Reading of Buffy the Vampire Slayer        In numerous interviews, creator Joss Whedon has explained that the inspiration for Buffy the Vampire Slayer struck while he was watching horror films and TV shows in which pretty women run away from or get killed by monsters in alleyways. Whedon claims he wanted to give this paradigmatic girl-victim a new role: that of the monster-killing hero. Whedon's explanation of his own

The Vampire Slayer

1243 words - 5 pages vampire in the liquid. I shot the body one last time with a special bullet that’ll help the body burn. The fire danced engulfing the monster in its flames. The stench in the air engulfed me in relief. I hauled my bag over my shoulder and sauntered out. I am a Slayer. A Vampire Slayer that is. I’ve slaughtered newborn vampires for most of my life. I lived a regular childhood for the most part but once every child is of age in the Slayer society, we

The Serpent-Vampire in Keats' Lamia

3140 words - 13 pages The Serpent-Vampire in Keats's Lamia     The origin of the lamia myth lies in one of the love affairs of Zeus. The Olympian falls in love with Lamia, queen of Libya, which was, for the Greeks, the whole continent of Africa. When Hera finds out about their love, she destroys each of Lamia's children at birth. In her misery, Lamia withdraws to the rocks and caves of the sea-coast, where she preys on other women's children, eating them and

The Sympathetic Modern Vampire: Hypersexuality and Homoeroticism in Anne Rice's Interview With the Vampire

1832 words - 8 pages Anne Rice's The Vampire Chronicles series have been stated by many various scholars that they represent less a dramatic shift in the portrayal of the vampire. Usually, the vampire – from early folklore to nineteenth-century pieces of literature – has been portrayed as a figure of fear, but it has been claimed by many to shift from a standard figure of fear to one of sympathy. Not only that, but it has also been argued that Rice's vampires

Similar Essays

Hush, Buffy The Vampire Slayer Essay

561 words - 2 pages scenes. The theme that "When you stop talking you start communicating" and that language is so specific it limits the actual communication of the film are proven though the lack of communication in the show. Buffy and her crush are able to kill the gentlemen without communication which means it is not necessary at all and do not need it to write a good show. With the fact that no words make a better plot, no words can still make the show humorous and scary as viewed in many different parts. Joss succeeds and more during this show by keeping the aspects that make him successful while taking out the words.

Staked In The Heart: Buffy The Vampire Slayer

1246 words - 5 pages character of a formerly wild popular show, Buffy the Vampire Slayer. However, in Sara Blevin’s eyes, Buffy is more than a symbol of feminism and altruism. Sara was in college trying to complete her English major, when her best friend at the time, Todd begged her to take an independent study course with him. “Even though the show was running while I was a teenager, I didn’t watch it until then. Todd begged me to take the class with him and another

Something To Sing About In Buffy The Vampire Slayer

1495 words - 6 pages     Throughout much of recorded human history, people have written tales of the dead returning to life, usually to trouble the living in some way. These traditional myths have progressed from ancient superstitions, to campfire ghost stories, to television shows such as Joss Whedon's Buffy the Vampire Slayer. In the series, vampires are created from the dead victims of other vampires (as long as a certain rite is performed during the

Buffy The Vampire Slayer: Colonial Imaginary & “Pangs”

1015 words - 4 pages history of the world is not people making friends. You had better weapons, you massacred them, end of story! Bibliography Ella Shohat & Robert Stam, “The Imperial Imaginary” in Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994) 119. “Inca Mummy Girl,” Buffy the Vampire Slayer, WB, United States, 6 Oct. 1997. “Pangs,” Buffy the Vampire Slayer, WB, United States