When Mr. and Mrs. Dursley woke up on the dull, gray Tuesday our story starts, there was .. but they're saying that when he couldn't kill Harry Potter, Voldemort's .. and cut his hair so short he was almost bald except for his bangs, which. Split Seven Ways: The Magic of Death in the Harry Potter Novels. Breanna .. english/news/fullegodigo.tk Woulfe, J. . feature only for brief parts of the story, such as Snape's home, Spinner's End, and the. The initial short whisks us away to Severus Snape's hometown of Cokeworth.
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Harry Potter was a wizard — a wizard fresh from his first year at Hogwarts meaning to, believing the Dursleys' story that he had got his scar in the car crash that marching across the yard, scattering chickens, and for a short, plump, kind-. 𝗣𝗗𝗙 | This article suggests that the worldwide, multiage appeal of Harry Potter may lie in the way these stories of magic meet the needs of. PDF | Written at the height of the Harry Potter 'boom', this book attempted to any better, short of being incarcerated without food or water.
Books story. Rebirth is the key word here. However, Harry Potter not only proved them all wrong but even brought teenage boys back into the eager reader fold. The frog prince is alive and well and swimming the site. Movies story. Viewed in retrospect, the Harry Potter movie franchise seems like the surest of sure things. HP was as close to a guaranteed success as the movie business ever gets.
Hind- sight, nevertheless, obscures the enormously onerous quest that turned the raw liter- ary material into motion pictures that met the expectations of their audience.
Every aspect of the casting, the content and, not least, the overall control of the franchise was fraught with difficulty. Merchandise story. Comedy is the prevailing plot where tie-in merchandise is con- cerned.
This comedy is found in numerous tongue-in-cheek products that accompany the release of the books and movies e. The character- istic feature of comedy is reversal or inversion, and once again the merchandising of HP adheres to this template.
Whereas most blockbuster movie franchises seek to satu- rate the market with soft toys, T-shirts, promotional tie-ins, etc. This restraint was adopted at the insistence of J. Rowling, but ironically the very lack of ancillary overkill has ensured that the market has never been sated, nor has consumer disillusion set in.
Few contemporary novels have attracted as much opprobrium as Harry Potter. Continued even been denounced by bona fide witches and warlocks for its erroneous portrayal of magic.
Such criticisms, most neutrals might agree, are a travesty—possibly a tragedy—because for all her literary faults, J. Rowling has succeeded in turning a new generation of children on to the joys of reading.
PART I 8 The Making of Harry Potter
Tragically, scandal sells, and the more scandalous the product the more appealing it is to onlookers, who understandably wonder what all the fuss is about. Cyber story. In a world where surfing the Net is the norm and cruising through cyberspace an everyday occurrence, it is perhaps appropriate that the I-brand strand of the Harry Potter story should be predicated on the final primordial plot, voyage and return.
It is no accident that the inexorable rise of Harry Potter coincided with the inexorable rise of the Internet.
Chatrooms, Web sites, blogrolls, podcasts, fan fora, and so forth have done much to propagate HP. When the tribute Web sites first appeared, Warner Brothers sought to crush the interlopers who dared trespass on their intellectual property.
Such was the online outcry, though, that WB themselves ceased and desisted and decided to use the fan community to its pro- motional advantage. Unfortunately, with the ending of the seven-book saga, the old draconian mindset has reasserted itself, most notably in a court case against the publisher of an unofficial Potter lexicon.
Source: Authors. These are full-length novels writ- ten by Potter lovers and posted on the Web. Employing the canonical characters and settings albeit with occasional cross-franchise appearances from, say, Captains Kirk or Sparrow , these works of consumer art take the Potter story- line to places where Warner Brothers and J. Rowling fear to tread.
What is newsworthy about Potter-related storytelling—in addition to its sheer scale and worldwide scope—is that consumers are telling stories about a seven-episode story, itself made up of seven intertwined stories that collectively encapsulate every plot permutation known to the Western literary tradition Table 1. The following results draw from a wide-ranging, in-depth, seven-year study of the Harry Potter brand.
This research program ranges from content analy- sis of the marketing-replete novels, via participation in the promotional circus during new book release frenzy, to tracking studies of media representations of the ever-burgeoning Potterscape on tribute Web sites, in fan fiction, though analysis of extras on DVDs.
Empirical data were also gathered from Harry Potter lovers, Harry Potter haters, and Harry Potter indifferents by means of focus groups, depth interviews, netnography, and introspective storytelling tech- niques. This information was acquired at various points in the Potter product release cycle it commenced prior to the publication of the fifth book and con- cluded in the immediate aftermath of the final episode and involved consumers of diverse ages, genders, and nationalities the youngest informant was 7 years old, the oldest Close friends, extended family, zealous school-chums, enthusiastic coworkers, and even ardent casual acquaintances— such as impassioned strangers met on planes or trains—provide the ringing endorsement that propels most people headlong into Harry Potter.
I could go about my daily business with not a mention of Harry Potter. I could not remember the last time Emma, my best friend of 20 years, had picked up a book. She spent most of her time sleep- ing or watching reruns of Sex and the City. But all this changed when Harry Potter came on the scene. These days she is a bookworm and completely obsessed with Harry Potter.
It was Emma who raised my awareness of Harry Potter or rather forced me to pay attention. She makes sure I know when all the books and films are coming out and keeps me updated on the plot.
And I must pretend that I am inter- ested, as any good friend would. Every day she will give me a little snippet of Harry Potter information.
No matter how much I tried to keep quiet I was uncovered as a Harry Potter virgin when I was asked who my favorite character was. The only char- acter I knew was Harry Potter and I think they were looking for some more in-depth answer than that.
So I had to confess that I had not read even one page out of the Harry Potter books, never mind have a favorite character!! Oh the look of shame! Irish female, 22, introspection Sheer bafflement sucks some in. Consider the case of a year-old office worker who started reading Rowling because the 8-year-old daughter of a colleague reckoned Potter might appeal to his personality type.
The movies, the DVDs, the soundtracks, the computer games, the media brouhaha, the soft toys and T-shirts, catching a trailer on television, or good old-fashioned serendipity such as being given complimentary cinema tick- ets are no less important points of entry than the novels themselves.
Countless consumers read the novels, or attempt to read the novels, after seeing one or more of the movies. Others find their way to Hogwarts by a decidedly circuitous route. One adult informant, for instance, was asked to download a Potter-themed gift for a distant cousin, only to discover that the requisite item had sold out months before.
Dazzled by the array of Potter merchandise on display in a department store and astonished that the stuff was selling like hot pancakes on Shrove Tuesday, she was sufficiently intrigued to start reading the novels. And, hey presto, another Potterite was born. Almost without exception, informants find themselves spellbound, enrap- tured, caught up in the wonderful world of Muggles and Mudbloods, Hagrid and Hermione, Albus Dumbledore and Dudley Dursley.
We had an hour or two to kill in Gatwick and I did some last minute panic downloading for some holiday reading. I was however only too aware of the publicity surrounding the books and who the author was, as well as some of the characters. When I got down to reading, I felt the books were brilliant.
I could really see how the books appealed to adults and children alike. Needless to say that my new page turning obsession did not go down too well with my new life partner. When on our first night in the Mal- dives and expecting some form of conjugal rites found herself in second place to a fic- tional year-old trainee wizard and something called the Sorting Hat.
The very unexpectedness of their reaction renders it all the more intense and, as often as not, the first hit of Harry precipitates an orgy of reading or viewing, where episode after episode is wolfed down. Participant 1: I kinda knew about them for ages, and I wanted to start to read them. It was like one after the other.
English female, 20, focus group Diachronic The problem with infatuation, of course, is that it is comparatively short-lived, and consumer narratives consistently exhibit a diachronic component. It waxes and wanes through time.
It is less of an unbreakable pact than an ongoing process. In addi- tion to the above discovery archetype of doughty resistance and sudden sur- render, numerous informants report that their attitude to Harry Potter has changed considerably.
Either their initial enthusiasm for the series wore off as the stories became longer and darker and more repetitive, or their instinctive antipathy ebbed when they actually read the books, or watched the movies, and grudgingly recognized their merits: Watching the film provided me with a glimpse of why so many older people worship Harry Potter. On one hand it may be the idea that takes them back to their child- hood days. I can relate to this theory. As you get older it gets increas- ingly harder to have fun.
Worries about the mortgage, worries about the kids, wor- ries about the kids having kids, and so on. Dutch male, 24, introspection This inconstancy is perhaps not surprising, since the Harry Potter books are part of the Bildungsroman tradition Gray, The children who were 11 years old when the first book about an year-old boy wizard was published are now leaving college.
This appeal to the inner child attracts them to Harry Potter in the first place: I got uncomfortable with the third from last one. The one that was very dark and was more about the witchy side of things.
And it was very dark, very heavy, and kind of depressing. I think if all of the books had been like that, I would have stopped after the first two, because that lightness was part of the effect, um, kind of a window into childhood. Nigerian female, 34, interview Younger readers, on the other hand, those whose ability to cope with the adult themes of the darker, later books and movies has often been debated—to the extent of issuing official warnings and slapping a 12A certificate equivalent to PG on movie five—invariably prefer the later books because they are more exciting, because they are more frightening, because they are signifiers of grownupness: Do you like the films?
Do you find it too scary? It is all right. Would you prefer it, if it was less scary?
I like them to get scarier and scarier. Even if you have to be 12 to see them. English male, 9, interview Above and beyond the shifting of pro and anti opinion, the continental plates of Pottertectonics contain another important diachronic component—prolepsis. Obviously, much of the appeal of Harry Potter is attributable to its proleptic power i. Now that she has written them all? English female, 28, interview Denial Needless to say, not every Potterite is happy to see the back of Harry.
A post—Deathly Hallows survey reported that many fans were suffering from with- drawal symptoms, if not outright denial Harry Potter Addicts, Denial is the watchword of Harry Potter marketing.
This denial extends to consumers themselves, in as much as they tease one another. But her being her normal self would not divulge any information about what we were about to observe. My two younger cousins were inquisitive about what they would see.
By this stage, I myself was intrigued by the whole affair. One of the most striking things about our consumer stories data set is that almost every informant either denies or subtly downplays their connection to the Harry Potter brand. They are admirers but not love-struck admirers, so to speak. As might be expected, this denial narrative is more likely to be found among adults than teenagers or preteens. Um, I used to really love Harry Potter. But not so much now.
Why do you think that happened? So you prefer Dr. Who to Harry Potter. Why is Dr.
Who better than Harry? Who has loads of characters.
Count- less consumers repudiate Potter, period. Many love the stories but dislike J. Some adore the books, but abominate the movies. Others enjoy the stories, both on the page and on the screen, but draw a line at ancillary mer- chandise. Or at the computer games. Or surfing for stuff on the net. Or queuing up in costume at midnight.
Harry Potter: Page to Screen
By the time the last book came out, however, I had gotten wise to the marketing ploys of the publishers. Numer- ous consumers adopt a tongue-in-cheek attitude toward the boy wizard and his world. You catch him in the bathroom polishing his wand.
He gets busted shoplifting a newt. When he enters a room there is a burst of purple smoke. Source: mugglenet. After a crowd of my mates and I went to watch the first movie it is not uncommon for the following phrase to be shouted out randomly on a night out. And of course it is a lot funnier when you are drunk! That is to say, the stories that shelter under the Harry Potter brand umbrella—the author story, the critics story, the cyber story, etc.
They are contradictory. They are cacophonous. They clash and crash and negate one another. Who to Harry Potter, period. Just as J. Indeed, the very intensity of Pottermania prompts the equal and opposite hostility to all things Harry: The crazy over-the-top media frenzy surrounding the whole phenomenon acts as a barrier preventing me from taking the bold step of reading a Harry Potter book or watching any of the films.
As the management best-sellers list indicates, recent years have witnessed a narrative turn in that managers are urged to weave compelling yarns around their brands, their organ- izations, their strategies Denning, One-word positioning postures and two- sentence mission statements are being replaced by stirring stories of the triple bottom line.
Richards , p.
Hence the frequency with which they are cast in fairytale form, complete with once-upon-a-time home pages and happily-ever-after sales service. Harry Potter, however, suggests that plain and simple is not necessarily the best story-selling strategy. The problem with plain and simple is that it palls very quickly. There may be a limited number of basic plots, as Booker intimates, but the permuta- tions on the plots are infinite.
Brand narratives should be allowed to bloom and burgeon, like the proverbial thousand flowers. They should be urged to take arms against a sea of fables and fight each other to a temporary stand- still. They should be Whitmanesque, simultaneously multitudinous and con- tradictory. Consistency, as Ralph Waldo Emerson almost said, is the hobgoblin of small brands. Creating stories, he continued, is what Disney is all about. This paper has examined some of the plots that inhere in the story-stuffed Harry Potter brand and extracted three key subnarratives that consumers share and circu- late.
Just as Harry Potter is, ultimately, a story of good versus evil, so too these consumer stories contain positive discovery and negative denial components that shift and slide through time diachrony. This fluidity suggests that the tra- ditional branding notion of harmonious core values should be replaced with a celebration of discordant consumer narratives.
Love it or loathe it, Harry Potter induces an explosion of meanings.
The Cambridge introduction to narrative. Cambridge: Cambridge University Press. Adaval, R. The role of narratives in consumer information pro- cessing.
Journal of Consumer Psychology, 7, — Adams, G. Can fantasy epics survive the credit crunch chronicles? The Independent on Sunday, Arnould, E. Getting to the story wasn't terribly easy, as Pottermore users you need to be logged in must first correctly solve a riddle before being treated to the day's content.
The riddle for today was "In a house on Spinner's End, a meeting takes place, a mother begs help for her son, tears on her face.
Agreeing to help, though he doesn't know how. Which potions master performs an unbreakable vow? The answer to the riddle is Severus Snape, but Snape's name needs to be entered as "Professor Snape" to gain access to the story. Tricky, tricky, J. There will be new content posted to Rowling's Pottermore site daily over the next 12 days, leading up to what we can only hope is another lengthy tale like the one about Dolores Umbridge , the singing sorceress Celestina Warbeck or the tale of a middle-aged Harry from earlier this year.
All Marvel franchises ranked, from Avengers to Daredevil: Just so happens we made a list. How Muslim millennials are looking for love: Some call it haram forbidden , but more Muslims than ever are turning to apps like Minder and Muzmatch to find romance.
Be respectful, keep it civil and stay on topic. We delete comments that violate our policy , which we encourage you to read. Discussion threads can be closed at any time at our discretion. Don't show this again.Campbell, J.
Tricky, tricky, J. Creating stories, he continued, is what Disney is all about. I tried Samsung's foldable phone IRL and it was amazing. As Table 1 illus- trates, the story in the novels is an exemplar of overcoming the monster; the story of the author is rags to riches writ large; the story of the books is rebirth plain and simple; the struggle to make the movies is a still-unfinished quest; the story of the tie-in merchandise is nothing if not a comedy; the story of the critics is a tragedy in its own way; and the story of Internet activity is analogous to voyage and return.
There's no spell casting today, but J. Or at the computer games.
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