Playing with Gollum: Uncovering the Cultural Life and Transnational Travels of a Complex Character
Scope: An Online Journal of Film and Television Studies Issue 19 February 2011 Playing with Gollum: Uncovering the Cultural Life and Transnational Travels of a Complex Character Martin Barker, Aberystwyth University, UK Introduction It dawned on me that the world had changed dramatically since we had all started work on the films in 1999, and that everyone's perceptions about Gollum were changing as the years went by. (Serkis , 2003, 1) This quotation from the opening of Andy Serkis' account of his "life as Gollum" addresses something of potential importance. In this essay, I explore the processes whereby a fictional character – in this case, of a very distinctive kind – enters into wider cultural processes. What qualities are picked upon, and how are they utilised? To what uses is this "character" put in different cultural contexts? And what trajectories of attention can be discerned, from before a film's appearance to beyond its main public life? The figure of "Gollum" is a fascinating one, not least because of his vivid embodiment in the Lord of the Rings (Peter Jackson, 2001-2003) film trilogy. Rightly celebrated for its marriage of still- evolving digital technologies with the acting of Andy Serkis [1], Gollum himself raises a number of issues. Two curious moments, to introduce and illustrate my interests. 1. In 2004, in the British Medical Journal, a lecturer and five medical students published the results of a peculiar case they had been "studying": a 587 year-old creature suffering from paranoid delusions about a "Ring." Providing a forensic pseudo-diagnosis, the authors describe his unkempt appearance, his peculiar passivity associated also with spitefulness and deep delusions; they conclude that, although it might be tempting to judge him schizophrenic, in fact the creature "fulfils seven of the nine criteria for schizoid personality disorder" (Bashir et al., 2004: 1436).
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