Buffy's Voice

Abstract

This paper studies the narrative use of popular music in the television show Buffy the Vampire Slayer (1997–2003) in order to open the primary television text to feminist analysis. Perhaps in no other way are the implications and contradictions of presenting BtVS's feminist narrative on television more obvious than that revealed in the analysis of the popular music soundtrack

Keywords:

• Buffy the Vampire Slayer
• girl power
• popular music
• riot grrrlz
• second wave feminism
• television
• third wave feminism

Notes

1. A predominant number of female artists are featured in BtVS's popular music soundtrack. They range from the introspective “feminine” singer/songwriters Jonatha Brooke, Angie Hart (singer/songwriter of Australian band Splendid), Aimee Mann and Lilith Fair organiser, Sarah McLachlan; the country/bluegrass of Alison Krauss; the alternative riot grrrl rock of Kim Shattuck's band, The Muffs and Kim Deal's The Breeders; the romantic Goth-pop of cello trio, Rasputina; the hip-hop/alternative rock of New York trio, Luscious Jackson; the commercial “girl power” pop of Michelle Branch, Bif Naked, and The Halo Friendles and the Shibua-Kei/Japanese pop of New York-based duo, Cibo Matto. Significantly, during its first five years on The WB all live performances on BtVS featured acts affiliated with parent company Warner Brothers. This is represented by the artists featured in this paper. For example, Bif Naked is released on Atlantic/WEA, Cibo Matto on Warner Music, and The Breeders while on indie label 4AD are distributed by Reprise, a division of Warner Music

2. The idea of “mystical female energy” may suggest an issue of conflict with feminism but, as Byers notes: “the [post]feminist inclination of this show … appears in its refusal to make its female characters masculine. Instead, the supernatural opens up possibilities for female power as well as empowerment” (2003, p. 172). In other words Buffy's “mystical female energy” is about discovering her unique feminine power as The Slayer.

3. The way Buffy taunts Xander in this scene “did I ever thank you for saving my life? … Don't you wish I would?” (Whedon 1997, p. 26) brings to mind Projansky's observation that rape narratives in films traditionally offer marriage as a means of saving rape victims by returning them “to a gendered and classed status quo” (2001, p. 39). Buffy's dismissive treatment of Xander implies this is never an option.

4. It is important to include this “victim feminist” reading of BtVS's popular music soundtrack because, as Boyle observes: “the post-feminist frame works to banish the spectre of the radical (“victim”) feminist and her analysis of patriarchy,” the result of which being little feminist analysis of “media representations of male violence” ([2005] 2008, p. 185).

5. This was not the case in the pilot presentation in which the camera's often sexist view suggests lack of control by first-time director, Joss Whedon: “I had a terrible crew that I could not communicate with, and I was a first-time guy who didn't know what he was doing” (cited in Tasha Robinson 2001). This is most evident in the scene introducing Buffy. Arriving for her first day at school, the accompanying music supplied by alternative punk band Rancid is meant to establish this young woman represents the positive power of youth: “Come on baby show me what you got. Woe oh, I want your salvation, woe oh oh.” Unfortunately the “male gaze” of the camera—starting with a voyeuristic rear view of Buffy's very short miniskirt—suggests a very different interpretation of Rancid's lyrics.