Gollum's Blighted Repentance and What Bilbo
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The Opportunity • The world’s eyes have been on us • The Hobbit movies highlight New Zealand as: – a great place to visit – a great place to do business – a great place for film production • Take the attention and use it to our advantage We’re starting from a good base In 2004... • 87% of visitors were aware The Lord of The • Rings trilogy was made in New Zealand. • 6% cite The Lord of the Rings as being one of the main reasons for visiting • 1% cite the Lord of the Rings as their main or only reason for visiting equating to $33m in spend MIDDLE-EARTH IS NEW ZEALAND Paid Earned TV & IMP CINEMA Partnerships Opinion Leaders Content distribution Print Display Idea Premiere Media Programme newzealand.com Owned Social Assets: Pre-premiere IMP Key media hosted through IMP in the lead up to the premiere produced strong results including: Lonely Planet, The Daily Telegraph, The Telegraph Online and Mezamashi Doyoubi The premiere programme The media: - 40+ broadcast media – including NBC, TF1, Prosebien, CTV, T4, Channel 7, 9, 10 - 30+ print and online – NZ and AU - 100s of millions - estimate reach hundreds of viewers worldwide - NZ$24.7million AVE Germany – Pro7 Hobbit Special (45min) Audience: 1,190,000 AVE: NZ$6,236,527 USA - NBC TODAY Show & Rock Center Canada - etalk on CTV Audience: avg 4.5 million Audience: 610,900 AVE: NZ$4.3 million (total for 6 AVE: NZ$473,330 segments) Hobbiton event - Over 80 International and NZ media attended - Guided tour of the Hobbiton movie set - Cast interviews with dwarves – global exclusive - Press conference -
LOTR and Beowulf: I Need a Hero
Jestice/English 4 Lord of the Rings and Beowulf: I need a hero! (100 points) Directions: 1. On your own paper, and as you watch the selected scenes, answer the following questions by comparing and contrasting the heroism of Frodo Baggins to that of Beowulf. (The scene numbers are from the extended version; however, the scene titles are consistent with the regular edition.) 2. Use short answer but complete sentences. Fellowship of the Ring Scene 10: The Shadow of the Past Gandalf already has shown Frodo the One Ring and has told Frodo he must keep it hidden and safe. Frodo obliges. But when Gandalf tells him the story of the ring and that Frodo must take it out of the Shire, Frodo’s reaction is different. 1. Explain why Frodo reacts the way he does. Is this behavior fitting for a hero? Why or why not? Is Frodo a hero at this point of the story? 2. How does this differ from Beowulf’s call to adventure? Scene 27: The Council of Elrond Leaders from across Middle Earth have gathered in the Elvish capital of Rivendell to discuss the fate of the One Ring. Frodo has taken the ring to Rivendell for safekeeping. Having already tried unsuccessfully to destroy the ring, the leaders argue about who should take it to be consumed in the fires of Mordor. Frodo steps forward and accepts the challenge. 1. Frodo’s physical stature makes this journey seem impossible. What kinds of traits apparent so far in the story will help him overcome this deficiency? 2. -
The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J. -
Middle-Earth: the Wizards Characters(Hero) Resources(Hero
Middle-earth: The Wizards Card-list (484 cards) Sold in starters and boosters (no cards from other sets needed to play). A booster (15 cards, 36 boosters per display) holds 1 rare, 3 uncommons, and 11 commons. A starter holds a fixed set (at random), 3 rares, 9 uncommons, and 40 commons. R: rare; U: uncommon; CA1: once on general common sheet; CA2: twice on general common sheet; CB1: once on booster-only common sheet; CB2: twice on booster-only common sheet; F#: in # different fixed sets (out of 5). Look at the Fixed pack specs to see what cards are in in which fixed set. Characters (hero) Thorin II R Gwaihir R Risky Blow CA Thranduil F1 Halfling Stealth CB2 Roäc the Raven R Adrazar F1 Vôteli CB Halfling Strength CB2 Sacrifice of Form R Alatar F2 Vygavril R Hauberk of Bright Mail CA Sapling of the White Tree U Anborn U Wacho U Healing Herbs CA2 Scroll of Isildur U Annalena F2 Hiding R Secret Entrance R Aragorn II F1 Resources (hero) Hillmen U Secret Passage CA Arinmîr U A Chance Meeting CB Hobbits R Shadowfax R Arwen R A Friend or Three CB2 Horn of Anor CB Shield of Iron-bound Ash CA2 Balin U Align Palantir U Horses CA Skinbark R Bard Bowman F2 Anduin River CB2 Iron Hill Dwarves F1 Southrons R Barliman Butterbur U Anduril R Kindling of the Spirit CA Star-glass U Beorn F1 Army of the Dead R Knights of Dol Amroth U Stars U Beregond F1 Ash Mountains CB Lapse of Will U Stealth CA Beretar U Athelas U Leaflock U Sting U Bergil U Beautiful Gold Ring CA2 Lesser Ring U Stone of Erech R Bifur CB Beornings F1 Lordly Presence CB2 Sun U Bilbo R Bill -
The Comforts: the Image of Home in <I>The Hobbit</I>
Volume 14 Number 1 Article 6 Fall 10-15-1987 All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings Wayne G. Hammond Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hammond, Wayne G. (1987) "All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/6 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the importance of home, especially the Shire, as metaphor in The Hobbit and The Lord of the Rings. Relates it to the importance of change vs. permanence as a recurring theme in both works. -
Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University
Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 10 Lewis & Friends 3-2004 Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Rearick, Anderson (2004) "Why Is the Only Good Orc a Dead Orc," Inklings Forever: Vol. 4 , Article 10. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/10 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume IV A Collection of Essays Presented at The Fourth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS Taylor University 2004 Upland, Indiana Why Is the Only Good Orc a Dead Orc? Anderson Rearick, III Mount Vernon Nazarene University Rearick, Anderson. “Why Is the Only Good Orc a Dead Orc?” Inklings Forever 4 (2004) www.taylor.edu/cslewis 1 Why is the Only Good Orc a Dead Orc? Anderson M. Rearick, III The Dark Face of Racism Examined in Tolkien’s themselves out of sync with most of their peers, thus World1 underscoring the fact that Tolkien’s work has up until recently been the private domain of a select audience, In Jonathan Coe’s novel, The Rotters’ Club, a an audience who by their very nature may have confrontation takes place between two characters over inhibited serious critical examinations of Tolkien’s what one sees as racist elements in Tolkien’s Lord of work. -
Tolkien's Creative Technique: <I>Beowulf</I> and <I>The Hobbit</I>
Volume 15 Number 3 Article 1 Spring 3-15-1989 Tolkien's Creative Technique: Beowulf and The Hobbit Bonniejean Christensen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christensen, Bonniejean (1989) "Tolkien's Creative Technique: Beowulf and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 15 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol15/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Asserts that “The Hobbit, differing greatly in tone, is nonetheless a retelling of the incidents that comprise the plot and the digressions in both parts of Beowulf.” However, his retelling is from a Christian point of view. Additional Keywords Beowulf—Influence on The Hobbit; olkien,T J.R.R. -
Character Biography Radagast the Brown
Character Biography: Radagast the Brown 1 ____ Character Biography Radagast the Brown By Oshun ___ Radagast the Brown is one of the Istari (Wizards) who were sent from Aman to assist the peoples of Middle-earth in their struggle against Sauron. His Quenya name is Aiwendil, which means 'lover of birds.' Unfinished Tales contains a section entitled The Istari,which is an excellent source for Tolkien's conceptions of these emissaries from the land of the gods and their roles in the continuing struggle against darkness in Middle-earth. (We will explore this resource in more detail below.) Before we saw Radagast with bird droppings in his hair and driving a sled pulled by giant bunnies in Peter Jackson's film-stylings of The Hobbit, the majority of readers were probably all but unaware of this blink-and-one-misses-him character. I knew him, of course, and cringed—appalled, offended, and grudgingly entertained—every time he appeared on the screen. (I realize some viewers actually like Radagast in the film, but I'd like to reserve that discussion for another time and another venue.) There are, more importantly, some fascinating threads to chase about Radagast in the published texts. Radagast is identified in the novels, but not developed or exploited fully: In The Hobbit, Gandalf actually leans on Radagast's (local) reputation to get himself, and his dwarvish and hobbit charges, accepted by Beorn. In The Lord of the Rings, Radagast plays a key, intermediary role in communications between Gandalf and Saruman. Yet Radagast disappears from The Lord of the Rings after the Council of Elrond. -
Gandalf: One Wizard to Lead Them, One to Find Them, One to Bring Them And, Despite the Darkness, Unite Them
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 Gandalf: One Wizard to lead them, one to find them, one to bring them and, despite the darkness, unite them. Alex Gunn Middle Earth is a wonderful but strangely familiar place. The Hobbits, Elves, Men and other peoples who live in caves, forests, mountain ranges and stone cities, are all combined by Tolkien to create a fantasy world which is full of wonder, beauty and magic. However, looking past these fantastical elements, we can see that Middle Earth has many similarities to the society in which we live. The different races of Middle Earth have distinct and deep differences and often keep themselves separate from one another because of mutual distrust or dislike. Due to these divisions, only one person, one who does not belong to any particular race or people, can unite them for the coming war: Gandalf the Wizard who embodies the qualities needed to be an effective leader in our world. As Sue Kim points out in her book Beyond black and White: Race and Postmodernism in Lord of the Rings, Tolkien himself declared that, “the desire to converse with other living things is one of the great allurements of fantasy” (Kim 555). Given this belief, it is no surprise that Tolkien,‘fills his imagined worlds with a plethora of intelligent non human races and exotic ethnicities, all changing over time: Elves, Dwarves, Men, Hobbits, Ents, Trolls, Orcs, Wild Men, talking beasts and embodied spirits’ (Kim 555). This plethora, as Kim puts it, makes Gandalf an important literary tool for Tolkien because to believe that such a varied mix of people, creatures, races and ethnicities live in complete harmony would feel false and perhaps too convenient. -
Tolkien's Women: the Medieval Modern in the Lord of the Rings
Tolkien’s Women: The Medieval Modern in The Lord of the Rings Jon Michael Darga Tolkien’s Women: The Medieval Modern in The Lord of the Rings by Jon Michael Darga A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2014 © 2014 Jon Michael Darga For my cohort, for the support and for the laughter Acknowledgements My thanks go, first and foremost, to my advisor Andrea Zemgulys. She took a risk agreeing to work with a student she had never met on a book she had no academic experience in, and in doing so she gave me the opportunity of my undergraduate career. Andrea knew exactly when to provide her input and when it was best to prod and encourage me and then step out of the way; yet she was always there if I needed her, and every book that she recommended opened up a significant new argument that changed my thesis for the better. The independence and guidance she gave me has resulted in a project I am so, so proud of, and so grateful to her for. I feel so lucky to have had an advisor who could make me laugh while telling me how badly my thesis needed work, who didn’t judge me when I came to her sleep-deprived or couldn’t express myself, and who shared my passion through her willingness to join and guide me on this ride. Her constant encouragement kept me going. I also owe a distinct debt of gratitude to Gillian White, who led my cohort during the fall semester. -
JRR Tolkien's Genealogies
Tolkien’s Genealogies J.R.R. Tolkien’s Genealogies: The Roots of his ‘Sub creation’ Daniel Timmons As many critics have noted, Tolkien’s books have they liked to have books filled with things that provoked both condemnations and laurels. However, they already knew, set out fair and square with to borrow the author’s view from his “Valedictory no contradictions. Address,” I do not think it is helpful to confront (Tolkien, 1966a, p. 26) simplistic opinions of a given work and then provide Tolkien’s tone is light here, and there is some irony fuel for a “faction fight” (Tolkien, 1983, p. 231). A apparent when he says hobbits like “books filled with role of a scholar is to offer perspectives on the depth things that they already knew;” many who disparage and significance of a text, and minimize a political The Lord of the Rings do it because the work is not agenda or self-aggrandizement. It is much more real to life, as they purport to know it. Still, all the worthwhile to focus on subjects where Tolkien’s details given are contrived to be serious and accomplishments are widely acknowledged. authentic. If we had nothing more to go on, the mere Foremost of these, of course, is the vast and intricate size and appearance of hobbits could work against Middle-earth: Tolkien’s unique “Sub-creation,” attempts to suspend our disbelief. Tolkien’s narrator which is unmatched by any English literary work. plainly states he is relating a ‘history’ - not a fiction. Tolkien’s genealogies not only exhibit the complexity The Lord of the Rings is said to be an account drawn of this “Sub-creation” but in fact serve as one of the from the “Red Book of Westmarch” (Tolkien, 1966a, central grounds - the roots, if you will - of his p.34), a book that was originally a private diary of fictional invention. -
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien Robin Veenman BA Thesis Tilburg University 18/06/2019 Supervisor: David Janssens Second reader: Sander Bax Abstract The work of J.R.R. Tolkien appears to resemble various aspects from Norse mythology and the Norse sagas. While many have researched these resemblances, few have done so specifically on the dark side of Tolkien’s work. Since Tolkien himself was fascinated with the dark side of literature and was of the opinion that monsters served an essential role within a story, I argue that both the monsters and Tolkien’s attraction to Norse mythology and sagas are essential phenomena within his work. Table of Contents Abstract Acknowledgements 3 Introduction 4 Chapter one: Tolkien’s Fascination with Norse mythology 7 1.1 Introduction 7 1.2 Humphrey Carpenter: Tolkien’s Biographer 8 1.3 Concrete Examples From Jakobsson and Shippey 9 1.4 St. Clair: an Overview 10 1.5 Kuseela’s Theory on Gandalf 11 1.6 Chapter Overview 12 Chapter two: The monsters Compared: Midgard vs Middle-earth 14 2.1 Introduction 14 2.2 Dragons 15 2.3 Dwarves 19 2.4 Orcs 23 2.5 Wargs 28 2.6 Wights 30 2.7 Trolls 34 2.8 Chapter Conclusion 38 Chapter three: The Meaning of Monsters 41 3.1 Introduction 41 3.2 The Dark Side of Literature 42 3.3 A Horrifically Human Fascination 43 3.4 Demonstrare: the Applicability of Monsters 49 3.5 Chapter Conclusion 53 Chapter four: The 20th Century and the Northern Warrior-Ethos in Middle-earth 55 4.1 Introduction 55 4.2 An Author of His Century 57 4.3 Norse Warrior-Ethos 60 4.4 Chapter Conclusion 63 Discussion 65 Conclusion 68 Bibliography 71 2 Acknowledgements First and foremost I have to thank the person who is evidently at the start of most thesis acknowledgements -for I could not have done this without him-: my supervisor.