Angel as a milestone in television horror: Wayne State's TV Milestone Series

继《吸血鬼猎人巴菲》前三季大获成功后，该剧的制片人决定为该剧的主人公之一、有灵魂的吸血鬼天使创作一部衍生剧。虽然这对原版和新剧都有风险，但这一决定成功地创造了一部全新的电视剧，专门针对越来越被巴菲吸引的成年观众。2004年，华纳兄弟电视网决定不再续订这部电视剧，尽管遭到粉丝的强烈抗议，该剧还是结束了(1999-2004)。因此，该系列的结束创造了一个理想的机会来反思它五年的运行和它的制作背景。鉴于最近学术界对美国优质电视的讨论，安吉尔展示了衍生剧的商业惯例，旨在利用一个成功的模式，是如何被变异敌人写作团队挪用的，以允许更复杂的电视体验，不仅简单地重复吸血鬼杀手巴菲的模式，而且为这部电视剧注入了自己独特的身份。这一研究项目的目的是探索电视剧《天使》的叙事、体裁、风格和主题的复杂性如何成为电视界的里程碑。特别是，我将探索这部电视剧在恐怖和奇幻电视史上的地位，以及这部电视剧是如何促成现代吸血鬼神话的。我将把这部剧放在作者的讨论中，但我不会将功劳归功于这部剧的制片人乔斯·惠顿，我将考察变异人敌人写作团队的贡献，他们在五年多的时间里合作开发了这部剧，并将其推向了越来越具有挑战性和越界的极限。在此过程中，我将考察他们的叙事结构方法，在插曲和更大的叙事弧线之间创造平衡，同时也讨论如何将一系列不同作家的不同影响和方法结合在一起，以创造叙事的连贯性。最后，尽管《吸血鬼杀手巴菲》被誉为女权主义偶像和复杂的后女权主义文本，但我将探索安吉尔如何通过探索当代男性气质问题来扭转这种关注，当代男性气质在电影和电视研究中都越来越重要。这项研究是作为电视研究中更广泛的话语的一部分，讨论美国电视领域的当代发展，作为对质量、实验，特别是在类型电视中的越轨的引用。

Following the phenomenal success of the first three seasons of Buffy the Vampire Slayer, the series' producers decided to create a spin-off series for one of the show's main characters, Angel, the vampire with a soul. While this was a risk for both the original and the new series, the decision successfully created a radically new show, specifically aimed at the adult audiences who were increasingly being drawn to Buffy. In 2004, the Warner Brothers network decided not to renew the series and, despite a phenomenal protest by fans, the series ended (1999-2004). The end of the series, therefore, creates an ideal opportunity to reflect upon its five year run and the context of its production. In the light of recent discussions within academia about American Quality Television, Angel demonstrates how the commercial convention of the spin-off, designed to capitalise upon a successful formula, has been appropriated by the Mutant Enemy writing team to allow for an even more complex televisual experience that does not simply repeat the formula of Buffy the Vampire Slayer but imbues the series with its own distinct identity. The aim of this research project is to explore how the series Angel is a milestone in television due to the complexity of its narrative, genre, style and theme. In particular I will be exploring the series' place within a history of horror and fantasy television, as well as how the series has contributed to a modern vampire mythology. I will place the series within discussions of authorship, but rather than attribute credit to the series' producer Joss Whedon, I will examine the contribution of the Mutant Enemy writing team who worked collaboratively over five years to develop the series and push it towards increasingly challenging and transgressed limits. In so doing, I will examine their approach to narrative structure, creating a balance between the episodic and greater narrative arcs, while also addressing how the different influences and approaches of a range of different authors are brought together to create a narrative coherency. Finally, while Buffy the Vampire Slayer has been hailed as a feminist icon and a complex post-feminist text, I will explore how Angel reverses this focus by exploring issues of contemporary masculinity, a subject of increasing significance within both film and television studies. This research is being undertaken as part of a broader discourse within television studies, addressing contemporary developments within American Television as a cite for quality, experimentation and, in genre television in particular, transgression.