So Here's Us, On the Raggedy Edge”
Exoticism and Identification in Joss Whedon's Firefly
Bibliographic Data
| ID | 11703232 |
|---|---|
| Authors | S Andrew Granade (corresponding author) |
| Year | 2011 |
| Volume | 34 |
| Issue | 5 |
| Pages | 621-637 |
| Publication date | 2011-11-25 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Popular Music & Society (JOURNAL) |
| Journal identifiers | ISSN: 0300-7766 • E-ISSN: 1740-1712 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/03007766.2010.537858 |
| OpenAlex | W2075434517 |
| Language | EN |
| References cited | 8 |
In his short-lived television show Firefly, Joss Whedon created a future clearly rooted in the present through melded Asian and American influences. Since one of Whedon's overriding concerns in his art is identification of and with his characters, Firefly offers a rich tapestry to explore the ways music, particularly non-Western music, is used in formulations of identity. Exploring the visual and audible representations of the exotic permeating Firefly, this article finds that the show reverses standard musical depictions of non-Western elements and creates new patterns of identification that aid in viewer attachment
Aesthetics · Art · Art history · Biology · Evolutionary biology · Exoticism · Firefly protocol · Identification (biology · Identity (music · Musical · Visual arts · Music History and Culture · Musicology and Musical Analysis · Theater, Performance, and Music History · Ecology
| Citation velocity | historical |
|---|---|
| Highly cited | No |