Tag Archives: Peter Jackson

Widsith, D&D, Fanworks, and Films: Another Year in ENGL 4475

27 Thursday Apr 2017

Posted by in Fan studies, Medievalisms, Old English, pedagogy, Teaching, Tolkien

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ENGL 4475: the year in review

I’ve filed away my course notes and given out the final grades. ENGL 4475: Tolkien & Myth-making is officially over for the 2016-17 academic year. The project proposals, annotated bibliographies, abstracts, research papers, and exams are all done now. What’s left is my delight at the many ways my students found to explore Tolkien’s fiction in relation to adaptation, medievalism, and fandom.

ENGL 4475 gift of lembas

Gift of lembas by a student from ENGL 4475

Our last class of the year is a celebration of the work students have done. We set up in a party room with snacks and drinks and read excerpts from each other’s essays. After all, it’s more interesting if you’re writing for your peers and not just for your teacher. My students then present their research projects to the rest of the seminar. I give them a range of general options for these projects, from studying Tolkien’s adaptations of texts such as Beowulf to producing their own adaptations based on Tolkien’s fiction. Because this is a senior-level English course, all of the projects require a written researched analysis of the texts and, if relevant, of the students’ process of adaptation or their participation in fandom.

On presentation day, the class had assembled around the seminar table but for one student, who at the last moment made quite an entrance in full costume, much to our delight. Gavin Rollins’ project was about cosplay, but he didn’t just write about it; he arrived as a living example of his research. (He also brought us some delicious lembas).

ENGL 4475 cosplay Gavin Rollins

Part of Gavin Rollins’ cosplay project

Gavin’s paper dealt with the immersive, communal experience of cosplay and the intertextuality of Tolkien’s fiction and Jackson’s films.

A couple of other students were thinking along the same lines when they conducted their study of Dungeons and Dragons gaming. Andrew Potter used his and his friends’ experiences to investigate the question, can a D&D adventure feel like a “faerian drama“?  Andrew’s answer is maybe, and certainly more likely than the experience of playing a video game or watching a film.

Luke Hammond and his D&D research team

Luke Hammond (centre) and his D&D research team

Luke Hammond created his own D&D-style adventure based on Tolkien’s Mines of Moria episode and experimented with his friends in a campaign lasting several hours to see how Tolkien’s place descriptions worked (they worked well) and what kind of choices would be made by players who didn’t know the books or the movies. (Turns out the Frodo-character put on the Ring every chance he could get!). Luke’s analysis also considered how the role-playing genre could fulfill Tolkien’s ideas expressed in his essay “On Fairy-Stories” about fantasy, recovery, escape, and consolation.

D&D dice from diceaholic.wordpress.com

Image from diceaholic.wordpress.com

It would take too long to summarize every student’s project, but at least I can give you a taste of the variety we enjoyed. Courtney Francis wrote about Legolas/Gimli fanfiction; Megan Bruce about surveillance in The Lord of the Rings, including her poem about Galadriel’s mirror as a surveillance tool. Nicole Martina tackled Tolkien’s descriptive landscapes and his artistic style. And Allyson Roussy adapted the Old English poem “Widsith,” in which a widely-travelled poet recounts all the great rulers and places he has been, thus recording legends and histories in his verse. Allyson transposed the style of “Widsith” to the history of Middle-earth, beginning with Silmarillion tales and ending with The Lord of the Rings. Her speaker is Gandalf, someone who has travelled widely and seen a great deal in Middle-earth. Although she does not attempt to write consistently in alliterative verse, she typically captures the four-beat style of her Old English model. Here is a passage spoken by Gandalf:

…I acted as guide in the war against Sauron.
I counselled men and elves and exiles,
sought those who desired to aid our cause,
who strengthened the armies of Middle-earth.
I was with Aragorn, of the House of Isildur,
Beren’s mirror, with Barahir’s ring,
last heir to the throne of Gondor and Arnor,
A true leader with patience and humility,
The hands of a healer and the hands of a king….

Film adaptations of Tolkien’s work also provided fertile ground for analysis. Kimia Nejat studied Jackson’s film representations of Frodo and Sam. Samantha VanNorden, starting with the premise that Middle-earth is a character in The Lord of the Rings, analyzed Jackson’s representations of certain landscapes. And Alexandra Rudderham examined Tolkien’s representation of Galadriel along with the film adaptations by Ralph Bakshi and Peter Jackson. Tolkien’s handling of gender and women has long been a topic of debate, and Alex further asked, have filmmakers captured all of Galadriel’s qualities as a beautiful, perilous, powerful queen? Compare for yourself; first, Bakshi’s animated 1978 version:

and then Peter Jackson’s 2001 Fellowship of the Ring:

Fan Studies in the Classroom

I’ve had an opportunity to write about the kind of work I ask my students to do in this course. My essay “Adaptation as Analysis: Creative Work in an English Classroom” is forthcoming in the book Fan Studies in the Classroom, edited by Katherine Howell, to be published by the University of Iowa Press. In this essay I discuss the theory behind my ENGL 4475 assignments, the practical details of how they’re done, and why I think the assignments  encourage intertextual engagement, creativity, and textual analyses. I’ll post more when the book is published. In the meantime, some of my former students’ assignments can be seen on the ENGL 4475: Studies in Medievalism – Tolkien & Myth-making course page.

Selected Bibliography

This is not meant to be a complete bibliography by any means, but I thought that a few readers might like to sample some of the sources, especially those dealing with fandom and adaptation, that my students have read as part of their research. I’ve culled one or two sources from each essay in case anyone wants to look further into some of the topics my students have written about.

Abrahamson, M.B.  “J.R.R. Tolkien, Fanfiction, and the Freedom of the Reader.” Mythlore, vol. 32, no. 1, 2013, pp. 53- 72.

Allington, Daniel. “‘How Come Most People Don’t See It?’: Slashing The Lord of the Rings.” Social Semiotics, vol. 17, no. 1, Mar. 2007, pp. 43–62.

Amendt-Raduege, Amy. “Dream Visions in J.R.R. Tolkien’s The Lord of the Rings.” Tolkien Studies, vol. 3, 2006, pp. 45-55.

Barker, Martin. “Envisaging ‘Visualisation’: Some challenges from the international Lord of the Rings audience project.” Film-Philosophy, vol. 10, no. 3, 2006, pp. 1-25.

Battis, Jes. “Gazing upon Sauron: Hobbits, Elves, and the Queering of the Postcolonial optic.” Modern Fiction Studies, vol. 50, 2004, pp. 908-26.

Clark, George. “J.R.R. Tolkien and the True Hero.” J.R.R. Tolkien and His Literary Resonances: Views of Middle-Earth, Greenwood Press, 2000, pp. 39–52.

Cohen, Cynthia M. “The Unique Representation of Trees in The Lord of the Rings.” Tolkien Studies, vol. 6, 2009, pp. 91-125.

Croft, Janet Brennan and Leslie Donovan, editors. Perilous and Fair: Women in the Works and Life of J.R.R. Tolkien. Mythopoeic Press, 2015.

Enright, Nancy. “Tolkien’s Females and the Defining of Power.” Renascence, vol. 59, Issue 2, 2007, 93-108.

Ewalt, David M. Of Dice and Men: The Story of Dungeons and Dragons and the People Who Play It. Scribner, 2013.

Gygax, Gary. “The Influence of J.R.R. Tolkien on the D&D and AD&D Games.” Dragon, vol. 95. March 1985. pp. 12-13.

Hammond, Wayne G. and Christina Scull.  J.R.R. Tolkien: Artist & Illustrator. HarperCollins, 2004.

Haydock, Nickolas. The Imaginary Middle Ages: Movie Medievalism. McFarland, 2008.

Hellekson, Karen and Kristina Busse, editors. Fan Fiction and Fan Communities in the Age of the Internet: New Essays. McFarland, 2006.

Hutcheon, L. with S. O’Flynn. A Theory of Adaptation, 2nd ed, Routledge, London and New York.

Jenkins, Henry. “About: Aca/Fan Defined.” Confessions of an Aca-Fan.

Pugh, Sheenagh. The Democratic Genre: Fan Fiction in a Literary Context. Bridgend, Seren, 2005.

Rahman, Osmud, Liu Wing-Sun, and Brittany Hei-Man Cheung.  “’Cosplay’: Imaginative Self and Performing Identity.”  Fashion Theory-The Journal Of Dress Body & Culture, vol. 16, no. 3, Sep 2012, pp. 317-342.

Rateliff, John. “Tolkien Moot 2008 MerpCon IV John D. Rateliff  solo speech History of the Hobbit author.” YouTube, 28 Jun 2012.

Reid, Robin Anne. “Thrusts in the Dark: Slashers’ Queer Practices.” Extrapolation, vol. 50, no. 3, 2009, pp. 463–483.

_________.  “Tree and flower, leaf and grass: The Grammar of Middle-earth in The Lord of the Rings.”  Fantasy Fiction into Film.  Edited by Stratyner, Leslie and James R. Keller.  McFarland, 2007.

Russell, Gary.  The Lord of the Rings: Art of the Fellowship of the Ring.  HarperCollins, 2002.

Shank, Nathan. “Productive Violence and Poststructural Play in the Dungeons and Dragons Narrative.” Journal of Popular Culture, vol 48, no.1, 2015.

Smol, Anna. “ ‘Oh…Oh…Frodo!’: Readings of Male Intimacy in The Lord of the Rings..” Modern Fiction Studies, vol. 50, no. 4, 2004, pp. 949–979.

Two Calls for Papers in Fan Studies

14 Friday Apr 2017

Posted by in Calls for Papers, Fan studies, pedagogy, Tolkien

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These calls for papers in fan studies have recently come my way.

The first is for a special issue of the Journal of Tolkien Research, The editors, Kristine Larsen and Robin Reid, have put out a call for proposals “for fan studies scholarship on any aspect of fan production, creation, or activities relating to J. R. R. Tolkien’s Legendarium and/or Peter Jackson’s live-action film adaptations of The Lord of the Rings and The Hobbit.” Read more in the Call for Papers: Tolkien Jackson fan studies [pdf].

The other call is for a special issue of the Journal of Fandom Studies on disability, pedagogy, and identity in fan studies classrooms. The guest editor, Katherine Howell, summarizes the aims of this special issue: “to investigate the intersection of disability studies and fan studies. We welcome all explorations of this intersection, but are especially excited about discussions of how the pedagogy we employ, as well as the texts we teach and identities we embody, impact our students and our teaching.” For more details, see the  Call for Papers: Disability Pedagogy and Identity. [pdf]

 

Tolkien Studies at PCA 2016

20 Sunday Mar 2016

Posted by in Conferences, Fan studies, pedagogy, Tolkien

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Looking over the schedule of Tolkien Studies sessions at the Popular Culture Association conference, held annually in the US, certainly makes me wish I could be there this year. The conference will be held in Seattle, Washington, March 22 – 25, with all of the Tolkien sessions on the 24th and 25th. Robin Reid has once again put together a healthy program of eight Tolkien panels.

Of course, everyone will have different interests that attract them, but for me, one of the highlights of the conference would be presentations by Martin Barker and others about the World Hobbit Project. There’s also the Editors’ Roundtable discussing the “nuts ‘n bolts of Tolkien studies” which will include well-known book and journal editors Leslie Donovan, Janice Bogstad, Brad Eden, Janet Croft, and Martin Barker — a great opportunity for researchers to hear about the state of Tolkien scholarship and any new publishing developments. As usual, the PCA sessions will offer a broad range of papers, from historical and interdisciplinary approaches to pedagogy to reception studies — including a fascinating paper topic on fans’ participation in Chinese translations of books and films.

I list the session titles below. If you want to know more, you can read presenters’ names and their abstracts here.

March 24. Session 3038.  Tolkien Studies I.  Reception: The World Hobbit Project

March 24. Session 3138. Tolkien Studies II.  Pedagogy: Teaching Tolkien’s Middle-earth in the 21st Century. (Roundtable)

March 24. Session 3238. Tolkien Studies III. Reception: Fans, Translations, and Connections

March 24. Session 3338. Tolkien Studies IV.  Adaptation: Film Studies

March 24. Session 3438. Tolkien Studies V. Historical Approaches

March 25. Session 4138. Tolkien Studies VI. Scholarship: Editors’ Roundtable

March 25. Session 4238. Tolkien Studies VII. The Silmarillion

March 25. Session 4338. Tolkien Studies VIII. Interdisciplinary Approaches

I understand that a Meet ‘n Greet will be held on one of the evenings as well. To connect with people going to the conference or for more news about the PCA Tolkien Studies group, you can join the Facebook group: search for “Tolkien Studies at Popular Culture / American Culture Association.”

A Look Back at The New York Tolkien Conference

15 Wednesday Jul 2015

Posted by in Conferences, Medievalisms, Research, Tolkien

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New York Tolkien Conference banner. Image by Luke Spooner

banner image by Luke Spooner

When I heard that a Tolkien conference was going to be held in New York City last month, of course I paid attention, as I find any reason to visit New York a welcome one. When I investigated further and saw the list of presenters — Janet Brennan Croft, Kristine Larsen, Nicholas Birns, Laura Lee Smith, Chris Vaccaro, Dawn Walls-Thumma, and others who kept getting added to the roster —  I was convinced I had to go. The conference gave me a great opportunity to talk about my research on Tolkien’s art, and I was also pleased to be invited to participate in the Women in Middle-earth roundtable (more on my sessions below). Plus, as with most conferences, it was a chance to catch up with friends and meet new people.

Organized by Anthony Burdge and Jessica Burke, the conference featured Janet Brennan Croft as the Scholar Guest of Honour. Janet’s keynote, “Barrel-Rides and She-Elves: Audience and ‘Anticipation’ in Peter Jackson’s Hobbit Trilogy,” started off the day’s proceedings. Janet pointed out the challenges that Jackson faced in making The Hobbit, which is supposed to be a prequel to The Lord of the Rings, but was made after what is supposed to be its sequel. Following me? If not, you can always look up a version of Janet’s talk, complete with diagrams illustrating the internal and composition chronologies of versions of The Hobbit and The Lord of the Rings, here.

Janet Brennan Croft

Janet Brennan Croft, Scholar Guest of Honour. photo K. Larsen

Janet used Tolkien’s criticisms of Zimmerman’s screenplay as a way of discussing some of Jackson’s issues in trying to make The Hobbit and The Lord of the Rings a seamless sequence, including problems of tone, audience, plot structure, and characterization.

After the plenary, it was time to disperse to various sessions. The conference call for papers had elicited so many presentations for this one-day event that the speakers had to be divided into four or five concurrent sessions for every timeslot. I found myself wishing that I could be in two or three places at any one time throughout the day. Luckily, two of the sessions were taped and posted online, so if you were in another room or just stayed at home, you can still listen to Dawn Walls-Thumma talking about “The Loremasters of Feanor: Historical Bias in the Works of J.R.R. Tolkien and Transformative Works.” This link will take you to a page that also includes the text of her talk and the slides that she showed. The other taped session was “History and Technique: Sourcing the Arms, Armor, and Fighting Techniques of Middle-earth” featuring Rebecca Glass and Kat Fanning (if you follow the link, you’ll have to scroll down the page to their video).

Kristine Larsen in the Women in Middle-earth panel. photo C. Vaccaro

Kristine Larsen in the Women in Middle-earth panel. photo C. Vaccaro

Chris Vaccaro NY Tolkien Conference 2015

Chris Vaccaro talking about Beowulf. photo K. Larsen

I attended two regular sessions other than my own. First up was Kristine Larsen‘s paper, “‘While the World Lasted’: End Times in Tolkien’s Works.” Kristine talked about Tolkien’s references to the end of the world, mainly in The History of Middle-earth, The Fall of Arthur, and The Legend of Sigurd and Gudrun, and commented on the prevalence of this theme in his work in the 1930s. Chris Vaccaro‘s presentation on “Affection Between Men in Tolkien’s Beowulf” took a look at the way in which a phrase from Beowulf, “dyrne longath,” has been rendered by many different translators, with interpretations varying widely: do the words refer to deep feelings? secret longings? affection? Chris looked at departure scenes in Beowulf and in Tolkien’s work in the light of this phrase.

Perilous and Fair: Women in the Works and Life of J.R.R. Tolkien

Perilous and Fair: Women in the Works and Life of J.R.R. Tolkien

It was certainly a day packed with ideas and events. I was part of the Women in Middle-earth roundtable discussion along with Janet Brennan Croft, Jessica Burke, Rebecca Glass, and Kristine Larsen. We had a free-ranging discussion about various characters, our first-time reactions as readers and/or movie-goers, and critics’ views of women in Tolkien’s works. One of my points (based on a lecture I had heard recently) echoed the concerns that Janet and her co-editor, Leslie Donovan, express in their recently published anthology, Perilous and Fair: Women in the Works and Life of J.R.R. Tolkien  — that any literary critic who wants to talk about women in Tolkien’s life and work should be informed about previous and current research on the topic. That doesn’t mean that they have to agree with other critics’ opinions, but they shouldn’t just repeat cliches or make statements as if they are the first to look into the question without investigating further. I recommend this book for its combination of older essays and new research for anyone interested in the topic of women.

I was scheduled to give my paper in the last regular session, and thankfully even near the end of a very full day some people showed up and offered interesting comments and questions. My presentation, “‘If you’re a vivid visualizer’: Words and Images in Tolkien’s Sub-creative Process,” extends some of the research that my colleague Jeff MacLeod and I have been doing on Tolkien’s artwork and his visual imagination and style. (We have one essay published, “A Single Leaf: Tolkien’s Visual Art and Fantasy,” and another one on Tolkien’s painterly style that has just been submitted to a journal). My basic question for this presentation was: what can a manuscript sketch such as the Tower of Kirith Ungol (still spelled with a “K” at this point) tell us about Tolkien’s process of composition? How do words and images interact in Tolkien’s drafting of the story?

Tower of Kirith Ungol sketch

Tower of Kirith Ungol sketch

You can find this image in Hammond and Scull’s book, J.R.R. Tolkien: Artist and Illustrator, and in The History of Middle-earth, the Sauron Defeated volume. I’ve also been fortunate enough to look at a digital scan of the manuscript at the Marquette University Tolkien archive. In my presentation, I talked about the placement of the sketch on the page, the sequence of pencil and pen drafting, and the effect on the wording of Tolkien’s draft of the story at this point.

Here I am talking about Tolkien's painterly style

Here I am talking about Tolkien’s painterly style (though it looks like I’m demonstrating the height of Durin’s folk)

To set up the ideas for this manuscript examination, I showed examples of Tolkien’s artwork and talked about how he is a “vivid visualizer.” This opening quotation in my presentation title comes from “The Notion Club Papers,” an unfinished story that you can find in Sauron Defeated. In this time-travel story, Tolkien describes characters with different talents: some are vivid visualizers, others have a predilection for words and languages. Sometimes in the story those two abilities working together enhance the characters’ understanding. I talked about how a sketch like the Tower of Kirith Ungol shows this close interplay of words and images in Tolkien’s creative process.

To round off our busy day, we had one closing plenary session. A copy of the 2005 Ring Goes Ever On conference proceedings * was given to Baruch College librarian Chris Tuthill as a gift from the Tolkien Society’s Tolkien to the World program. Then we sat back and listened to the Minstrel Guest of Honour, John diBartolo and The Lonely Mountain Band, who provided some lively music to close out the fellowship of the day. You can sample their music from the links on the conference blog. By the end of it all, Anthony and Jessica’s question about whether they should make this a regular event was met with an enthusiastic yes.

at the New York Tolkien Conference, Baruch College

New York Tolkien Conference, Baruch College

You can read abstracts of all the presentations here. For accounts of different paths through the program from mine, you can read Myla Malinalda’s description of the sessions that she attended on Middle-earth News or Dawn Walls-Thumma’s report for the Signum Eagle newsletter, “The New York Tolkien Conference: Friends and Fellowship.“ And if you’re interested in knowing about future meetings, you should subscribe to the conference blog, follow @herenistarion on Twitter, or join the Facebook group.

Although the conference was only a one-day event, I did extend my stay in New York by a few days. Accompanied by my daughter, we took full advantage of the city: we visited museums (the Frick, the Guggenheim, a few galleries in the Met); we went boating in Central Park and walked on the High Line; we saw a play, Skylight; a musical, An American in Paris; a performance by the Alvin Ailey dance company; and we took advantage of free Shakespeare in the Park tickets to see The Tempest. Add to that a day of Tolkien fellowship — well, that’s not bad for a four-day trip.

*Among the many essays in the 2005 Ring Goes Ever On volumes donated to Baruch College you can find an essay by Kristine Larsen, “‘A Little Earth of His Own’: Tolkien’s Lunar Creation Myths” and one by me: “Male Friendship in The Lord of the Rings: Medievalism, the First World War, and Contemporary Rewritings,” which you can read here.

Please feel free to comment on your own experiences at the conference or to provide links to any other accounts of the event that you know of. Or just tell us your thoughts!

Ahhh, Oxford!

05 Sunday Jul 2015

Posted by in Research, Tolkien

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OxfordI love Oxford. I have no idea what it’s like to be a student there or a member of faculty. I don’t know what it’s like to be a resident (expensive, I’m guessing, if I’m to believe Kirstie and Phil*). But as a visiting academic / tourist, I love it. This is where I can walk through medieval streets to the Bodleian Library, where over the years I have been privileged to read Anglo-Saxon manuscripts, Elizabeth Elstob‘s notebook and books, and Tolkien’s unpublished drafts and lectures. This is where I can stroll by the house in which Tolkien wrote The Lord of the Rings or order a beer in the Eagle and Child pub, which was a regular meeting place for Tolkien and his friends. The parks, the river, the colleges — they all make for a lovely sojourn in which the daily duties of the regular academic term can be traded for the pleasures of concentrated research.

I finally returned to Oxford, after more years than I could believe, for a week in June. Academic attire in OxfordUnfortunately, I could not schedule my research trip to take advantage of Peter Jackson’s visit to Oxford, which I missed by a couple of weeks. Oh well. I had plenty of other things to enjoy, such as the Bodleian Library’s Marks of Genius exhibit. Here, you can see Shakespeare’s First Folio, the Magna Carta, Blake’s Songs of Innocence, Mary Shelley’s journal, fragments of Sappho’s poetry, and so much more. But of course, a main attraction for me was Tolkien’s dust-jacket design for The Hobbit, complete with marginal notes to the publisher. It’s fantastic to be able to see some of Tolkien’s original artwork, as his pictures are under extra restricted access in the archive.

Stairs to the reading room, Weston Library

Stairs to the reading room, Weston Library

The Marks of Genius exhibit, which runs to September 20, is displayed in the newly renovated Weston Library, formerly known as the New Bodleian. This building has now been partially opened up to the public, with a wide-open entrance off Broad Street leading into a spacious entrance hall, shop, and cafe. Even better, the modern manuscripts reading room, where the Tolkien manuscripts are consulted, is just around the corner and up the stairs (you need a reader’s pass to get into this part of the library though **). I’ve written about the experience of working in the old reading room; I was not disappointed by the new one, which is a large space, with full-length windows between bookshelves all down one wall, and beautifully restored elements from the original 1930s building: a stunning carved wood ceiling, massive chandeliers at either end of the room, broad tables with a mix of re-upholstered old chairs and the newly designed Bodleian chairs. I was told that even some of the wastepaper containers were refurbished wood. Another welcome addition is the Headley Tea Room for staff and readers — when hours of squinting at Tolkien’s handwriting was taking its toll, I could pop down to the Tea Room for a stiff Americano to wake me up and fuel a few more hours of manuscript transcription.

on the way to the Library

On the way to the Library

What I was mainly reading during this visit were Tolkien’s lectures and notes on Old English poetry and versification. I’m interested in Tolkien’s verse drama, The Homecoming of Beorhtnoth Beorhthelm’s Son, which he wrote very carefully in alliterative meter. It’s fascinating to follow the evolution of this play from its earliest drafts, when Tolkien was playing with the Battle of Maldon story initially by writing in iambic meter, then switching to alliterative verse. I’ve given conference presentations on this play a few times already, pointing out how scrupulous yet creative Tolkien was in his use of the meter and how he used his retelling of the story to work out some scholarly and poetic ideas of his. It’s now way past the time when I should have produced a final written version of my ideas, and I hope I’ll be able to report soon that an article will be forthcoming.

Oxford, looking to the Radcliffe Camera

Looking towards the Radcliffe Camera (part of the Bodleian Library)

While in Oxford, I was also thinking a lot about Tolkien’s unfinished story, “The Notion Club Papers,” partly because I was looking ahead to my talk at the New York Tolkien Conference, where I was going directly from Oxford and where I was going to talk about the story. Whenever I can, I like to stay at a bed & breakfast at 100 Banbury Road, not only because it’s a nice B&B just around the corner from Tolkien’s former home on Northmoor Road, but also because Tolkien mentions that address in “The Notion Club Papers.” (I’m still puzzling out why that particular address).

This is an unusual story for Tolkien because it’s set in twentieth-century Oxford and features a group of men who meet regularly to read and discuss their work, much like the Inklings did. Even so, it features strange visions, new languages, time travel, lots of talk about dreams and myths, bits of Old English. It’s fun to stand in the same place as the characters and look at the same landmarks, such as the Radcliffe Camera. Most of my photos of Oxford were taken on sunny days, but one particular day that threatened rain seemed the perfect moment to envision the storms and “great wind” about to sweep over Oxford in “The Notion Club Papers.”

Most of the time, though, the weather was fine, and after a satisfying day at the library, it was a pleasure to take leisurely paths back to my hotel through University Parks or around Christ Church Meadow. The week, of course, went by far too quickly.

Oxford, punting on the river.

*Kirstie Allsopp and Phil Spencer are the hosts of the TV show Location, Location, Location. Yes, I am a fan of real estate shows, and especially this one, which lets me peek into British homes. [back]

**If you’re interested in doing scholarly research in the Bodleian, you should look at the Library’s information page about getting a reader’s card. To work with Tolkien’s manuscripts, you’ll also need permission from the Tolkien Estate lawyer; the Library staff can advise you on this matter. [back]

Tolkien Studies at PCA 2015

21 Saturday Mar 2015

Posted by in Conferences, Fan studies, Tolkien

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Popular Culture Association logoThe Popular Culture Association national conference is just around the corner. After a successful trial run of Tolkien Studies as a special area last year, the organizers have included Tolkien Studies as a regular topic in the annual program. This year features another packed program, once again organized by Robin Reid.

The conference will be held in New Orleans from April 1 – 4. The Tolkien sessions are all on Friday, April 3, with a business meeting on April 4.  If you’re interested, you can join the Facebook group, “Tolkien Studies at Popular Culture/American Culture Association” and/or read my summary of a couple of roundtables last year here and here. And please note that the list of panels below is subject to change — if you plan to go, always check the official program to make sure you have accurate and updated information.  As you can see, the Tolkien Studies sessions occupy a whole day, but if you’re around for the rest of the conference, there’s a huge range of other sessions on popular culture to take in.

Tolkien Studies I: Literary Studies 1
Friday, April 3, 2015 – 8:00 a.m. – 9:30 a.m.
Room: Studio 7

Kristine Larsen, Central Connecticut State University
“Ore-ganisms”: The Myth and Meaning of ‘Living Rock’ in Middle-earth

Victoria L. Holtz Wodzak, Viterbo University
Tolkien’s Gimpy Heroes: Trench Fever, Missing Limbs, and the Crippling Long-Term Effects of Injury

Margaret Sinex, Western Illinois University
“Nay, not Níniel”: The Wounded Psyche in the Prose Tradition of The Children of Húrin

Tolkien Studies II: Literary Studies 2
Friday, April 3, 2015 – 9:45 a.m. – 11:15 a.m.
Room: Studio 7

Megan Whobrey, University of Central Oklahoma
Middle-earth’s Eddaic Hierarchy of Music

John Rosegrant, private practice
The Man-Maiden and the Spider with Horns: Galadriel, Shelob, and the Dyamics of Loss and Gender

Rich Cooper, Texas A&M
From Folk Tale to Fantasy: J.R.R. Tolkien, Madame D’Aulnoy, and the Evolution of a Literary Form

Janet Croft, Rutgers University
The Name of the Ring: Or, There and Back Again

Tolkien Studies III: Film and Literary Studies
Friday, April 3, 2015 – 11:30 a.m. – 1:00 p.m.
Room: Studio 7

Steven Kelly, Kansas State University
Forget the Gold: Unpacking Conservative Ideology in Peter Jackson’s Film Adaptations of The Hobbit

Peter Grybauskas, University of Maryland
The Devil’s Due: Sporting Enemies in the Legendarium

David Bratman, Mythopoeic Society
“Smith of Wootton Major and Genre Fantasy”

Michael Wodzak, Viterbo University
Utumno Born and Utumno Bred, Strong in t’Arm and Thick in t’Ead:Who are Tom, Bert and Bill Huggins?

Tolkien Studies IV: Film Studies
Friday, April 3, 2015 – 1:15 p.m. – 2:45 p.m.
Room: Studio 7

Alicia Fox-Lenz, Independent Scholar
The Union between The Two Towers and the Twin Towers: Contemporary Audience Reception and the influence of war on The Lord of the Rings

Jennifer Spirko, Blount County Public Library
Extraordinary Orcs: Distorted Bodies in the films of The Lord of the Rings and The Hobbit

Janice Bogstad, University of Wisconsin-Eau Claire
Lineage, Family, and the Absent Mother: Comparing Tolkien’s The Hobbit to the Jackson/Walsh/Boyens Cinematic Renderings

Robin Reid, Texas A&M University-Commerce
Conflicting Audience Receptions of Tauriel in Peter Jackson’s The Hobbit

Tolkien Studies V: Cultural Studies
Friday, April 3, 2015 – 3:00 p.m. – 4:30 p.m.
Room: Studio 7

Phillip Fitzsimmons, Southwestern Oklahoma State University
The palantíri Stones in J. R. R. Tolkien’s The Lord of the Rings as Sauron’s Social Media: How to Avoid Getting Poked by the Dark Lord

Devena Holmes, Kent State University
Narration and Description: A Marxist Analysis of J.R.R. Tolkien’s The Lord of the Rings

Helen Young, University of Sydney
Playing in the Shadow of Middle-earth

Tolkien Studies VI: New Approaches to Tolkien Studies
Friday, April 3, 2015 – 4:45 p.m. – 6:15 p.m.
Room: Studio 7

Brad Eden, Valparaiso University
Preliminary thoughts on the library of Michael H.R. Tolkien

Quinn Gervel, University of Manchester/Ashbury University
Tolkien in Context

Jerem Painter and Michael Elam, Regent University
Orwell and Tolkien: Language and Survelliance in Middle-earth and Oceana

Michael Elam, Regent University
Storming the Ivory Tower: Tolkien’s Graduate-Program Possibilities

Tolkien Studies VII:  Roundtable
Friday, April 3, 2015 – 6:30 p.m. – 8:00 p.m.
Room: Studio 7
“In a hole in the ground there lived a fangirl”: The Complications of Tolkien, Fandom, and The Hobbit
Cait Coker Texas A&M; Kristine Larsen, Central Connecticut State University; Robin Reid, Texas A&M, Commerce

Tolkien Studies VIII:  Viewing of Desolation of Smaug extended edition
Friday, April 3, 2015.  8:15 p.m.
Room: Studio 7

Tolkien Studies IX: Business meeting
Saturday, April 4, 2015.  9:45 a.m.-11:15 a.m.
Room:  Galerie I

Jackson’s Lost Opportunity: The Death of Sister-Sons

16 Friday Jan 2015

Posted by in Fan studies, Medieval, Medievalisms, Old English, Review, Tolkien

≈ 8 Comments

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Thorin Fili Kili banner

Thorin, Fili, Kili banner. TheOneRing.net

I enjoy many things about Peter Jackson’s Hobbit films – the material realization of various Middle-earth cultures, the creation of the best movie dragon I’ve ever seen, Martin Freeman’s Bilbo, to name only a few – but of course Jackson is not making the films specifically for me, a medievalist with a love of Tolkien’s work. As such, I had hoped that Jackson would have given us a resonant scene focusing on an uncle and his nephews — Thorin, Fili, and Kili — making their heroic last stand in battle together. There is a long tradition of the special relationship between “sister-sons” and their uncles in medieval literature that Tolkien refers to in The Hobbit. Working out that relationship to its traditional end would have inserted Jackson’s scene more firmly in a body of stories about these deeply embedded emotional relationships that are a part of western Europe’s cultural history.[1]

Now wait a minute, you might be saying to yourself. Jackson [2] clearly indicates a strong relationship between Thorin and his nephews, and their death scenes in The Battle of the Five Armies are somewhat connected and set apart from others. Yes, but not exactly in the traditional way I’m talking about.

In The Hobbit, Tolkien simply reports, “Of the twelve companions of Thorin, ten remained. Fili and Kili had fallen defending him with shield and body, for he was their mother’s elder brother.” (“The Return Journey,” The Hobbit 268).[3] Yes, they defend each other because they’re family, but more specifically because Fili and Kili are Thorin’s “sister-sons” (sweostor sunu in Old English).

Fili, Kili

Fili, Kili. Lisa’s Video Frame Capture Library. The Hobbit: An Unexpected Journey. Image 235

Uncle-nephew relationships, and sometimes even more precisely maternal uncle-nephew relationships (therefore, “sister-sons”), are frequently represented as a special bond in medieval literature. In Beowulf, the poet alludes to the story of Sigemund, êam (maternal uncle) to Fitela (line 881), and how they fought together in times of need. In line 115 of the Old English poem “The Battle of Maldon,” Wulfmær, one of the fallen warriors, is identified as the lord’s swuster sunu. Tolkien recognizes the appropriateness of Wulfmær’s place near his uncle in the verse drama “The Homecoming of Beorhtnoth Beorhthelm’s Son,” which is based on “The Battle of Maldon.”  In this play, two men are searching after the battle for the body of their lord when one of them finds Wulfmær:

This head we know!
Wulfmær it is. I’ll wager aught
not far did he fall from friend and master.

His companion answers:

His sister-son! The songs tell us,
ever near shall be at need nephew to uncle.  (“Homecoming” 127)

Other uncle-nephew relationships can be found in Charlemagne and Roland, Hrothgar and Hrothulf, Arthur and Gawain. The relationship isn’t always positive; in some stories, Mordred is Arthur’s sister-son, which makes his treachery even worse. Théoden and Éomer or Turgon and Maeglin provide some other examples in Tolkien’s work. Verlyn Flieger explains how we can even see the Bilbo-Frodo relationship in this light. [4]

So what does Jackson do with the uncle-nephew bond? In The Battle of the Five Armies, Thorin welcomes Fili and Kili to the kingdom of Erebor, addressing them as his “sister’s sons.” In Jackson’s movies the young dwarves Fili and Kili refer to Thorin as their uncle, and in The Desolation of Smaug Thorin tells Fili that one day he will be king.[5] In The Battle of the Five Armies, when Thorin finally bursts out of the mountain gate to join the battle, the two warriors running closest to him on either side are Fili and Kili. In their last fight, Thorin calls Dwalin, Fili, and Kili to go with him in an attempt to take down Azog. Gandalf comments that Thorin is taking his best fighters with him. In Old English they would be called his heorð-geneatas, his “hearth-companions,” a small group of noble, well-trained fighters who are closest to their lord, and it is reasonable to think that the young and courageous nephews would be among them. Fili and Kili, then, are appropriately represented as sister-sons in most of Jackson’s Hobbit.

But the uncle-nephew bond dissipates in their final scenes. While Tolkien recognizes in “The Homecoming” that “ever near shall be at need nephew to uncle,” in The Battle of the Five Armies the nephews end up nowhere near their uncle in a time of need. Instead, Thorin sends Fili and Kili away to hunt for Azog, and then the two nephews split up in separate searches as well. Fili is killed in the sight of both of his kinsmen (we don’t see him fighting heroically to the end; he’s just skewered and then thrown over a cliff) but both Thorin and Kili are too far away to do anything about that attack. Uncle and nephew cannot stand and defend each other. The killing of Fili enrages Kili, who runs off in a passionate Orc-killing spree, but his end is complicated by the arrival of Tauriel.

Now, I have to make clear that I do not object in principle to the creation of new characters like Tauriel. But her involvement in Kili’s last fight obscures the uncle-nephew bond that defines Thorin and his sister-sons. Instead of Thorin, Fili, and Kili fighting side-by-side until they are cut down, we get a different trio: Kili-Tauriel-Legolas defending each other. Kili’s last look is not to his uncle but to Tauriel; his uncle is too far away to be part of the scene. The special bond of an uncle with his nephews who “had fallen defending him with shield and body,” is nowhere to be seen.

Peter Jackson knows how to film emotional battle scenes, as he demonstrated in The Return of the King: sweeping music, slow motion, the melee of battle, the depiction of personal anguish.

Return of the King battle scenes

from Lisa’s Video Frame Capture Library. Return of the King. Aragorn, Image 1808; Eowyn with Theoden, Image 1811; Eomer with Eowyn, Image 1846

Had Jackson completed the Hobbit story with a heroic last stand of uncle and nephews fighting side-by-side on the battlefield, their tale would have participated in a long tradition of sister-son stories and allowed us to feel the emotional impact of that relationship in a visceral way.

Thorin, Kili

Thorin, Kili. Lisa’s Video Frame Capture Library. The Hobbit: trailers. Image 326.

Too bad the opportunity was lost so close to the end of the movie.

Endnotes

[1] These uncle-nephew relationships are important in other cultures beyond the European, but I am only familiar with the northern European literary uncle-nephew motif. It is likely that the practice of fostering high-born children – having a son educated in his uncle’s home, for example – contributed to the motif in medieval literature.

[2] I use “Jackson” throughout as shorthand. Although he was the director of the Hobbit movies, he was not the only writer. The full writing team consists of Peter Jackson, Philippa Boyens, Fran Walsh, and Guillermo del Toro, who gets a writing credit for his involvement with the project in its earlier stages.

[3] Tolkien inserted this line about Fili and Kili dying in defense of their uncle late in the process of composition. According to John Rateliff: “The idea that the two most likeable of all Bilbo’s companions should also die in the battle…first appears in the continuation of the typescript that eventually (autumn 1936) replaced the Third Phase manuscript” (684, n. 11). Rateliff also points out that Thorin was originally Fili and Kili’s great-uncle, but Tolkien later moved him one generation closer. (See, for example, Rateliff  444 – 445, note 11). In Appendix A of The Lord of the Rings, in the section on “Durin’s Folk,” Thorin appears in the genealogy as Fili and Kili’s uncle (1418).

[4] Verlyn Flieger discusses the Bilbo-Frodo kinship in the light of the uncle-nephew motif in her essay, “Frodo and Aragorn: The Concept of the Hero.” The essay has been reprinted in a couple of places, including Flieger’s collected essays in Green Suns and Faërie: Essays on J.R.R. Tolkien. Kent State University Press, 2012 and in the 2004 volume, Understanding the Lord of the Rings: The Best of Tolkien Criticism, edited by Rose A. Zimbardo and Neil D. Isaacs, published by Houghton Mifflin and partly available as a Google e-book.

[5] Rateliff comments on the line of succession in Tolkien’s conception of the Dwarves’ patriarchal line of kings which excludes the maternal nephews (704). In the early Middle Ages, young relatives in the maternal line might succeed a ruler; it is interesting that in this detail Jackson is closer to early medieval practice than the book.

Works Cited

Flieger, Verlyn. “Frodo and Aragorn: The Concept of the Hero.” Green Suns and Faërie: Essays on J.R.R. Tolkien. Kent State University Press, 2012. 141-58. Print. Also available in Understanding The Lord of the Rings: The Best of Tolkien Criticism. Ed. Rose A. Zimbardo and Neil D. Isaacs. Boston: Houghton Mifflin, 2004. 122-45. Print and Google e-book.

Jackson, Peter, dir. The Battle of the Five Armies. New Line Cinema, 2014. Film.

____. The Desolation of Smaug.  New Line Cinema, 2013. Film.

Klaeber’s Beowulf. Ed. R.D. Fulk, Robert E. Bjork, and John D. Niles. 4th ed. Toronto: U of Toronto P, 2009. Print.

Rateliff, John D.  The History of the Hobbit. 2 Vols. Boston and New York: Houghton Mifflin, 2007. Print.

“The Battle of Maldon: Hypertext Edition.” Old English Literature: A Hypertext Course Pack. English Faculty, Oxford. 2009. Web. 14 Jan. 2015.

“The Lord of the Rings: The Hobbit: An Unexpected Journey.” Lisa’s Video Frame Capture Library. 2 Oct. 2014. Screenshots. 14 Jan. 2015.

“The Lord of the Rings: The Hobbit: Trailers.” Lisa’s Video Frame Capture Library. Jul – Nov 2014. Screenshots. 14 Jan. 2015.

“The Lord of the Rings: The Return of the King.” Lisa’s Video Frame Capture Library. n.d. Screenshots. 14 Jan. 2015.

“Thorin, Fili and Kili Banner in Super High-Resolution.” TheOneRing.net. 22 Nov. 2014. JPEG. 14 Jan. 2015.

Tolkien, J.R.R. “Durin’s Folk.” Appendix A.iii. Return of the King, being the third part of The Lord of the Rings. London: HarperCollins, 2007. 1406-19. Print.

_____. The Hobbit, or There and Back Again. London: HarperCollins, 1999. Print.

_____.  “The Homecoming of Beorhtnoth Beorhthelm’s Son.” Tree and Leaf, including the poem Mythopoeia. London: HarperCollins, 2001. Print.

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MLA citation of this post:  Smol, Anna. “Jackson’s Lost Opportunity: The Death of Sister-Sons.” A Single Leaf.  16 Jan 2015. Web.  [insert date of access here without brackets].

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What did you think of these final scenes in the film? Any other examples of sister-sons that you want to discuss or add?  Please feel free to comment!

An imagined dystopian LotR film

09 Friday Jan 2015

Posted by in Fan studies, Medievalisms, pedagogy, Teaching, Tolkien

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Today I have a post that combines my interests in both Tolkien and pedagogy.

In one of my English courses, Studies in Medievalism: Tolkien and Myth-making, I ask students to read the works of J.R.R. Tolkien and some of the medieval literature that influenced him. We also consider later adaptations of Tolkien’s fiction in various media. As part of this cultural study of contemporary fandom and myth-making, students have the option of producing their own adaptation of Tolkien’s Middle-earth stories, accompanied by a researched analysis that relates their project to critical discussions of adaptation, fandom, medievalism, and Tolkien’s fiction.

In the January 2014 semester, my student Shelby MacGregor produced a series of photographs illustrating scenes from an imagined dystopian Lord of the Rings movie, set sometime in the near future. The analysis that she wrote to accompany these pictures discussed Tolkien’s representation of nature and technology compared to Peter Jackson’s film versions and considered some of the problems of adaptation.

Below, you will find some of Shelby’s photographs along with her descriptions. (All photos copyright Shelby MacGregor).

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Photos and Descriptions by Shelby MacGregor

This project aimed to present scenes in a post-modern adaptation of J.R.R. Tolkien’s Lord of the Rings. It was heavily inspired by Peter Jackson’s interpretation of the trilogy, and also by the science fiction films of Ridley Scott.

Frodo, who must install a virus in the Super Computer

Frodo, who must install a virus in the Super Computer

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Moving the story to somewhere in our future instead of somewhere in our past would require different weapons and technologies from the original. The Ring became a computer chip, and instead of throwing the Ring into a volcano, it became a virus that would be installed into the Super Computer that was controlling industry and therefore destroying the world.

Mordor. By Shelby MacGregor

Mordor

View larger version of Mordor (3 Mb)

Frodo and Sam play a large role in this imagined film, as they are charged with installing the virus in the Super Computer. They are dressed in more natural clothes to connect to the natural lifestyles of the people in the Shire and to contrast the natural world with industry in a visual and striking way. Mordor appears as a power plant, with Frodo daunted by the size and destruction found in the modern world.

The Black Gate is closed

The Black Gate is closed.

View larger version of The Black Gate (5 Mb)

Each character is styled differently to reflect the regions of Tolkien’s Middle-earth that they come from. Lady Eowyn is the closest to Jackson’s representation of her. It is assumed that the people of Rohan accept less technology than the rest of Middle-earth, preferring to tend to their horses.

Eowyn by Shelby MacGregor

Eowyn

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Boromir and Aragorn are in modern dress but use medieval weaponry, not because they resist technology but because it has become a symbol of the enemy.

Boromir's Death by Shelby MacGregor

Boromir’s Death

View larger version of Boromir’s Death (4 Mb)

This project allowed me to work with adaptation theory, photography, editing, and costume design, as I made or styled every item that the characters are wearing. I was aiming to make film scenes come to life that are instantly recognizable as The Lord of the Rings, while also staying away from simply remaking Jackson’s film scenes. It was an interesting and challenging project, and I am glad that I got the opportunity to try something creative.

— Shelby MacGregor