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Martin Phillips

The Lord of the Rings as films in space and spaces of film Recent years have witnessed growing interest in what Clarke ( 1997 ) refers to as ‘cinematic geographies’, with much work focused on the ‘spaces in films’, such as ‘the space of the shot, the space of the narrative setting; the geographical relationships of various settings in sequence

in Cinematic countrysides
Editor: Robert Fish

Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.

The myth and reality of social existence
Anthony King

converted as a result of the latest interventions. However, it is perhaps possible to persuade the non-aligned to reject the conceptual framework of structure and agency. To this end, in the art of persuasion, rhetoric rather than argument may be more effective. In the last instance, satire may consequently be most effective means of breaking off the debate and encouraging at least the non-aligned to an interactionist or hermeneutic viewpoint. Since its publication in 1954, J. R. R. Tolkien’s The Lord of the Rings has remained a bestselling book in the history

in Human agents and social structures
Abstract only
‘You’d think she would remember all this from the first time’
Sarah Annes Brown

off the monster’s head. But many viewers will be reminded of another famous victory, another fulfilment of prophecy, the moment in The Lord of the Rings when cross-dressing Éowyn slays the Nazgûl, caught off his guard because he has been assured that he will never meet his death ‘by the hand of man’. 4 At the end of the film the Hatter sadly tells the troubled Alice

in A familiar compound ghost
Martin Barker, Clarissa Smith, and Feona Attwood

The decision to research the reception of Game of Thrones did not arise in a vacuum. This was the third in a line of ambitious projects on audiences for contemporary fantasy. In 2003, the first such project – gathering responses to the films of the Lord of the Rings , with funding support from the United Kingdom's Economic and Social Research Council – managed to gather just under 25,000 responses from across the world to a complex survey, recruiting participants mainly online, but also on paper outside cinemas in some countries. In 2014, a

in Watching Game of Thrones
Christine Cornea

experimental animations: for example, his fantasy animations, Fritz the Cat (1972) and The Lord of the Rings (1978), and his science fiction animation, Heavy Metal (1981). Through animation, Bakshi explored counter-cultural sensibilities of the period, emphasising a dark underside and loss of certainty as linked to the hallucinogenic haze of drug culture. In comparison with Disney’s output, Bakshi’s animations could

in Genre and performance
Tim William Machan

professor of medieval literature, a position that entitles him to state that he knows ‘better than most what is the truth about this “Nordic” nonsense’. A veteran of the First World War who fictionalised some of his wartime experience in The Lord of the Rings , Tolkien acknowledges ‘a burning private grudge’, although he focuses not on Nazi conquests or atrocities but, initially, on Hitler’s intelligence. Having already dismissed the ‘ignorant people’ who misunderstand the ‘“Germanic” ideal’ and the Nazi leader as one who dabbles in paint, Tolkien directs his ‘grudge

in Northern memories and the English Middle Ages
Jeremy Strong

an amalgam with other forms of tourism, enacted as a cultural practice in ways that commonly do not reveal distinct fault-lines. Equally, it is clear that since the 1986 Berri-directed adaptations the intervening years have seen a more explicit acknowledgement by the tourist industry internationally of the capacity of film (and in many cases its antecedent literature) to develop a propensity to visit. In 1990 Butler argued that the influence of screen-related tourism would increase and those expectations have largely been met.25 The Lord of the Rings trilogy (2001

in French literature on screen
Jack Holland

might help. Conclusion When Tolkien wrote The Lord of the Rings he bristled at suggestions that his book was allegorical. Yet, given that he had lived through World War II and fought in World War I, such a possibility was far from unthinkable. Indeed, while Tolkien’s point was to stress that everything means something to somebody and it is perfectly possible for fiction to remain just that, the Lord of the Rings films released between 2001 and 2003 were frequently read as an allegory of the War on Terror. Game of Thrones has, at times, been held up as an

in Fictional television and American Politics
Abstract only
Andrew Dix

activities of fans , since, as Henry Jenkins argues, ‘Fandom generates its own genres’ ( 2013 : 279). Altman has written interestingly about what he calls ‘generic communities’ ( 1999 : 156–64), understood as bodies of fans that cohere around enthusiasm for a particular kind of film (as well as, on occasion, for individual films, such as The Lord of the Rings franchise). The conversations that such a group has are not only interpretatively valuable in saying something about the genre in question, but socially enriching in affirming its members’ sense of well-being and

in Beginning film studies (second edition)