Books like Tolkien’s The Lord of the Rings or Harry Potter by Joanne K. Rowling were sold more or almost as often as the bible, whereby they are counted among the all-time bestsellers list (Brown). Furthermore they have been translated into various languages, in the case of Harry Potter “61 different languages, including Icelandic, Serbo-Croat, Vietnamese, Hebrew, Swahili, Ukrainian, and Afrikaans [. . .]” (Brown). Hence the fantasy-genre enjoys great popularity.
The arising question is how people’s enthusiasm becomes apparent? Has the manner of doing this changed? If so, for what reason has it been altered? These questions will be followed in this essay.
Table of Contents
1. The Phenomenon of “Harry Potter Himself”
Objectives & Topics
This essay explores the evolution of fan culture and enthusiasm surrounding fantasy literature, specifically analyzing the shift from independent, community-driven fandoms like that of J.R.R. Tolkien to the modern, highly commercialized marketing strategies utilized for works like Harry Potter.
- The historical development of fantasy literature fandom since World War II.
- The transition from organic community engagement to corporate branding strategies.
- The role of "cultural synergy" and media conglomerates in creating global hype.
- The contradictory relationship between fan subcultures and media corporations.
- Case studies of extreme fan identification and the blurring lines between consumerism and fanaticism.
Excerpt from the book
The Phenomenon of “Harry Potter Himself”
In Coining for Capital Jyotsna Kapur remarks that “the cornerstone of the free-market ideology espoused by Hollywood is the notion that it is not its producers but its consumers who make a film”, which means the supply is adapted to the demands of consumers (147). These days, children and adolescence are seen as consumers equal to adults, that is why this logic is brought to children’s and young literature as well as film-genre, which “has been at the forefront of commercialisation of culture” (Kapur 148). To reach this, marketing companies mainly use the branding-strategy.
That means a book or a film with an easy summary at the core is conceived of as a brand, which is repeated and visualized several times (Kapur 152-153). Janet Wasko “characterizes this phenomenon as “cultural synergy”” in The Magical Market of Disney (qtd. in Kapur 148). More precisely in the preproduction stage the brand is promoted “across a growing number of outlets that can be cross-promoted and then distributed trough media conglomerates across a range of media” (Kapur 148). So no aspect of consumption remains untouched, till the limits of the “political-economic realities of the business” of modern media and technology is reached, to make the dreams of the demanders come true (Kapur 147).
Summary of Chapters
1. The Phenomenon of “Harry Potter Himself”: This chapter introduces the enduring popularity of fantasy literature and establishes the central inquiry into how the nature of fan enthusiasm has shifted due to modern marketing and commercialization.
Keywords
Harry Potter, J.R.R. Tolkien, Fantasy Literature, Fan Culture, Marketing Strategy, Commercialization, Branding, Cultural Synergy, Media Conglomerates, Consumerism, Subculture, Fanaticism, Middle-earth, Hogwarts, Privatisation
Frequently Asked Questions
What is the fundamental focus of this work?
The work examines how the expression of fan enthusiasm for fantasy literature has evolved from the mid-20th century to the present, focusing on the influence of commercial marketing.
What are the central thematic fields addressed?
The essay centers on the intersection of literature, fan subcultures, media economics, and the commercial strategies employed by large corporations.
What is the primary goal or research question?
The author investigates how the nature of fan hype has changed since World War II, specifically asking if and why the manifestation of fan enthusiasm has been altered by modern marketing practices.
Which scientific approach is utilized?
The analysis employs a descriptive and analytical approach, synthesizing existing literature, media theory, and sociological perspectives on fandom and commercialization.
What is covered in the main body of the work?
The main body contrasts the grass-roots history of the Tolkien fandom with the highly orchestrated, brand-driven marketing campaigns associated with modern franchises like Harry Potter.
Which keywords characterize the work?
The work is characterized by terms such as cultural synergy, branding, fan culture, media conglomerates, and the commodification of literature.
How does the author define the "consumption web"?
The "consumption web" refers to the comprehensive, cross-media promotional strategy used by conglomerates to ensure that no aspect of the consumer experience remains untouched by the marketing brand.
What does the case of "Harry Potter Himself" illustrate?
It illustrates the extreme end of fan identification, where the lines between healthy enthusiasm and consumer-driven fanaticism blur, potentially at the expense of the fan's individual agency.
What is the relationship between media corporations and fans?
The relationship is described as contradictory, as media corporations foster community involvement while simultaneously limiting it through privatization and strict property rights.
- Arbeit zitieren
- Beatrice Dietel (Autor:in), 2010, The Phenomenon of “Harry Potter Himself”, München, GRIN Verlag, https://www.hausarbeiten.de/document/173871
