Fans, Blockbusterisation, and the Transformation of Cinematic Desire

Global Receptions of The Hobbit Film Trilogy

Nonfiction, Entertainment, Performing Arts, Film
Cover of the book Fans, Blockbusterisation, and the Transformation of Cinematic Desire by Craig Hight, Ann L. Hardy, Charles H. Davis, Carolyn Michelle, Palgrave Macmillan UK
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Author: Craig Hight, Ann L. Hardy, Charles H. Davis, Carolyn Michelle ISBN: 9781137596161
Publisher: Palgrave Macmillan UK Publication: November 24, 2017
Imprint: Palgrave Macmillan Language: English
Author: Craig Hight, Ann L. Hardy, Charles H. Davis, Carolyn Michelle
ISBN: 9781137596161
Publisher: Palgrave Macmillan UK
Publication: November 24, 2017
Imprint: Palgrave Macmillan
Language: English

This book explores the evolution of audience receptions of Peter Jackson’s Hobbit trilogy (2012-14) as an exemplar of the contemporary blockbuster event film franchise. Drawing on findings from a unique cross-cultural and longitudinal study, the authors argue that processes and imperatives associated with Hollywood ‘blockbusterisation’ shaped the trilogy’s conditions of production, format, content, and visual aesthetic in ways that left many viewers progressively disenchanted. The chapters address public and private prefigurations of the Hobbit trilogy, modes of reception, new cinematic technologies and the Hobbit hyperreality paradox, gender representations, adaptation and the transformation of cinematic desire, and the role of social and cultural location in shaping audience engagement and response. This book will appeal to audience researchers, Q methodologists, scholars and students in film and media studies, Tolkien scholars, and Hobbit fans and critics alike.

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This book explores the evolution of audience receptions of Peter Jackson’s Hobbit trilogy (2012-14) as an exemplar of the contemporary blockbuster event film franchise. Drawing on findings from a unique cross-cultural and longitudinal study, the authors argue that processes and imperatives associated with Hollywood ‘blockbusterisation’ shaped the trilogy’s conditions of production, format, content, and visual aesthetic in ways that left many viewers progressively disenchanted. The chapters address public and private prefigurations of the Hobbit trilogy, modes of reception, new cinematic technologies and the Hobbit hyperreality paradox, gender representations, adaptation and the transformation of cinematic desire, and the role of social and cultural location in shaping audience engagement and response. This book will appeal to audience researchers, Q methodologists, scholars and students in film and media studies, Tolkien scholars, and Hobbit fans and critics alike.

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