Popular Culture Review Vol. 12, No. 1, February 2001 | Page 83

Deconstructing Buffy: B u ffy th e Vampire^s
Contribution to the Discouse on
Gender Construction
As a parent of a teenage daughter and as a teacher of adolescents, I try to stay
in touch with their entertainment world. I listen to their music, go to some of the
“teen” movies, read adolescent novels, and watch television targeted to the teen
audience. Two years ago, my daughter invited me to watch her favorite television
program with her. Initially, I would simply enjoy sitting with her and sneaking in
some conversation during the commercials. Since that time, I am surprised and a
little embarrassed to discover that I frequently find myself sitting alone watching
this program while my daughter busies herself with other activities. I’m hooked.
That program is
The Vampire 5/ay^r starring Sarah Michelle Cellar as Buffy
Summers.
Although I find the show extremely entertaining, I am also drawn to it because
of its cultural significance. I propose that Bujfy offers a unique perspective on
views of feminism and feminist behavior, particularly for adolescent females. In
the following discussion, I will explain Bujfy's, contribution to the discourse on
gender from three stances—as a critical reader of texts, as a feminist, and as a
literacy educator. As such, I will answer the following questions:
1. What does B ujfy add to the continuing discourse of our
postmodern society in terms of poststructural feminist
theory?
2. What does Buffy add to our understanding of how females
are portrayed in adolescent texts?
3. What might B u ffy teach teens and young adults about
negotiating the potential minefield between adolescence and
adulthood?

Who (or what) is B u ff y l

The series, which premiered on March 10, 1997, is a spin-off from the 1992
movie of the same name. Although the movie was not a box-office hit, it developed
a loyal following of viewers who kept video rentals and sales active. The scriptwriter
for the movie version of Buffy, Joss Whedon, also serves as creative executive—
writer, producer, and director—for the television series (Genge). Although the show
airs on the upstart network, WB, and is targeted at adolescents, it has received a
significant amount of attention in entertainment and mainstream media. B u ff ' has