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“The Mind Doesn’t Matter, It’s the Body We Want”

By Kate Rennebohm

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from Inside Joss’ Dollhouse

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Description

This is one essay from the anthology Inside Joss’ Dollhouse

Though Joss Whedon’s television show Dollhouse ended in January 2010 after its second season, its small but devoted cult following is still reeling from not only from its mind-blowing plot twists but also its challenging, dystopic look at the ethics of new technology.

Inside Joss’ Dollhouse is a fitting tribute to this complex, engaging show. The anthology’s 18 sometimes funny, always insightful pieces cover Dollhouse from anticipated start to explosive finish. Drawn from an international contest judged by fan favorite Whedon screenwriter Jane Espenson, its essays get right to heart of what Dollhouse viewers loved most about the show.

Espenson also acts as the book’s editor, offering context and extra insight on its topics and the show—a role she played in previous anthologies Finding Serenity and Serenity Found, also on Joss Whedon creations.

From programmer Topher’s amorality to the accuracy of the show’s neurobiology, Inside Joss’ Dollhouse brings Dollhouse back to life with a depth sure to satisfy its many still-mourning fans.

About the Editor

Jane Espenson is a television writer and producer. She has written for shows including Ellen, Gilmore Girls, The O.C, Angel, Firefly, Dollhouse and Caprica among many others. She is the co-creator of Warehouse 13 and is best known for her work on Buffy the Vampire Slayer and Battlestar Galactica.

Contributors

Kate Rennebohm, Kristin Noone, Zalina Alvi, Peter Tupper, Valerie Estelle Frankel, Andrew Zimmerman Jones, Johnathan Mason, Ian G. Klein, Rebecca Levinger, Susan Quilty, Luciana Hiromi Yamada da Silveira, Tami Anderson, Lillian DeRitter, Kirsten Strayer, Christopher Souza, Oluwafemi Morohunfola, Martin Shuster, and Julie Hawk

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About the Author

Kate  Rennebohm

Kate Rennebohm is currently earning a Master’s degree in Cinema Studies at Concordia University in Montreal. She has published articles in the film journals Offscreen and Synoptique and has worked as a film reviewer. She also works for the Telluride Film Festival. She is currently working on completing her thesis, which focuses on the filmmaking of Chantal Akerman and Judith Butler’s recent work on ethics.

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