000			03644cam a22004814a 4500
001			muse87142
003			MdBmJHUP
005			20210127151750.0
006			m o d
007			cr||||||||nn|n
008			200721r20202014nyu o 00 0 eng d
020			_a9780615955742
035			_a(OCoLC)1176455059
040			_aMdBmJHUP _cMdBmJHUP
043			_an-us-ca
050		4	_aPN1992.77.B84 _bA354 2014
100	1		_aAdler, Anthony Curtis, _eauthor.
245	1	4	_aThe Afterlife of Genre: Remnants of the Trauerspiel in Buffy the Vampire Slayer
264		1	_bProject Muse,
264		3	_bProject MUSE,
300			_a1 online resource (60 pages)
500			_aIssued as part of book collections on Project MUSE.
504			_aIncludes bibliographical references (pages [61]).
505	0		_aThe question of genre -- A mourning play without mourning -- Violence and mourning -- The theology of television -- Paradise regained -- The nth degree of afterlife.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aCould there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience -- a pure surface that will never get caught in the ditch of time -- they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay ("If you're going to San Francisco...," "two girls for every guy"), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really "takes us back." And so we also will take ourselves back: to Buffy the Vampire Slayer, already almost charmingly quaint, and Walter Benjamin's magnum opus The Origin of the German Mourning-Play. What can come of this improbable conjunction? It will not seem too strange that Benjamin, posthumous wanderer across the textures of Americana, should again take up lodging at the Hotel California. But more is at stake than just another hapless visitation from the on high of high theory: reading Buffy as the remediated afterlife of the dead-on-arrival genre of the baroque German mourning play, Adler's book records the first broken, awkward steps toward a project that, with the recent rise of "quality television," seems more urgent than ever before: a political-theological characteristic of the television series.
588			_aDescription based on print version record.
600	1	1	_aBenjamin, Walter, _d1892-1940. _tUrsprung des deutschen Trauerspiels.
630	0	0	_aBuffy, the vampire slayer (Television program)
650		0	_aPopular culture _zCalifornia _zLos Angeles.
650		0	_aTelevision series _zUnited States _xInfluence.
655		0	_aElectronic books.
655		7	_aElectronic books. _2local
710	2		_aProject Muse, _edistributor.
776	1	8	_iPrint version: _z9780615955742
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/76459/
999			_c26947 _d26947