Western University Scholarship@Western Electronic Thesis and Dissertation Repository June 2012 Narrative Brought to Life: The Wizarding World of Harry Potter Stefani Klaric Western University Supervisor Bridget Elliott The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Stefani Klaric 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the American Art and Architecture Commons, Contemporary Art Commons, Interactive Arts Commons, Interdisciplinary Arts and Media Commons, Sales and Merchandising Commons, and the Visual Studies Commons Recommended Citation Klaric, Stefani, "Narrative Brought to Life: The Wizarding World of Harry Potter" (2012). Electronic Thesis and Dissertation Repository. 573. https://ir.lib.uwo.ca/etd/573 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. 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NARRATIVE BROUGHT TO LIFE: THE WIZARDING WORLD OF HARRY POTTER (Spine title: Narrative Brought to Life) (Thesis format: Monograph) by Stefani Klaric Graduate Program in Visual Arts, Art History A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Stefani Klaric 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. Bridget J Elliott Dr. Cody Barteet ______________________________ Dr. John Hatch ______________________________ Dr. Vladimir Tumanov The thesis by Stefani Klaric entitled: Narrative Brought to Life: The Wizarding World of Harry Potter is accepted in partial fulfillment of the requirements for the degree of Master of Arts ______________________ _______________________________ Date Chair of the Thesis Examination Board ii Abstract This thesis explores The Wizarding World of Harry Potter and the motivations for creating fictive, immersive environments. These can be defined as spaces that generate new physical environments or worlds that engage our senses. The theme park is the experiential space where entertainment, fantasy, and commodity consumption come together. By including recognizable objects, narratives, characters, and the like, taken directly from the Harry Potter books and films, audiences and participants are brought into The Wizarding World of Harry Potter in a way that immerses them in the space and allows them to experience the narrative by participating in a journey similar to that of the popular fictive hero, Harry Potter. Keywords: Harry Potter, The Wizarding World of Harry Potter, Theme Parks, Theming, Immersion, Immersive Spaces, Props, Souvenirs, Authentic Replicas iii Copyright Release Copyright Act, Section 29: Fair Dealings The present thesis is a non-profit publication, thus I have included reproductions of artworks without obtaining prior copyright clearance for each image. In Canada, this is not considered an infringement of copyright for a commercial publication, due to the “fair dealings” provision in the Section 29 of the Copyright Act. This reads as follows: Fair Dealing Research or private study 29.1 Fair dealing for the purpose of research or private study does not infringe copyright. R.S., 1985, c. C-42, s.29; R.S., 1985, c.10 (4th Supp.), s. 7; 1994, c. 47, s. 61; 1997, c. 24, s. 18. Criticism or Review 29. 1 Fair dealing for the purpose of criticism or review does not infringe copyright if the following are mentioned: (a) the source; and (b) if given in the source, the name of the i. author, in the case of a work, ii. performer, in the case of a performer’s performance, iii. maker, in the case of a sound recording, or iv. broadcaster, in the case of a communication signal. 1997, c. 24, s. 18. The full act can be found online at: http://laws-lois.justice.gc.ca/eng/acts/C-42/page-14.html#h-24 iv Acknowledgments I would like to thank Professor Bridget J Elliot for mentoring me during my first year of graduate studies and guiding me as supervisor during my second year of studies. Her passion and support for my project is greatly appreciated. I am indebted to her for all of her feedback, comments, discussions, edits, and suggestions throughout the writing process. Most importantly, she has been extremely encouraging to me especially in taking up a research project for which I did primary research in Orlando, Florida, by visiting the theme park and interviewing the Creative Director for The Wizarding World’s project. I would also like to thank those with whom I have had discussions about my project. My conversations with Dr. Michael O’Brien, Maggie O’Brien, and Kristina-Ana Klaric have helped me to work through ideas for my second chapter. Their comments and feedback have been very helpful. I would also like to extend my thanks to Alan Gilmore for responding to my many questions about the theme park and to Thierry Coup for taking the time to meet with me and answer my questions and discuss the theme park. Lastly, I would also like to thank the Department of Visual Arts at Western University, Canada which was very supportive during my graduate studies. To the Faculty of Arts and Humanities at Western, thank-you for providing me with research travel funding; this aided me in conducting my research. v Table of Contents CERTIFICATE OF EXAMINATION ............................................................................... ii Abstract .............................................................................................................................. iii Copyright Release .............................................................................................................. iv Acknowledgments............................................................................................................... v Table of Contents ............................................................................................................... vi List of Figures ................................................................................................................... vii Preface................................................................................................................................ ix Chapter 1 ............................................................................................................................. 1 THE HARRY POTTER PHENOMENON AND NARRATIVES BROUGHT TO LIFE THROUGH IMMERSIVE MEDIATION .............................................................. 1 Figures for Chapter 1 ................................................................................................... 18 Chapter 2 ........................................................................................................................... 20 THE PRODUCERS’ VISION TO CREATE A BELIEVABLE AND REALISTIC NARRATIVE ....................................................................................................... 20 Figures for Chapter 2 ................................................................................................... 43 Chapter 3 ........................................................................................................................... 49 THE CONSUMER’S IMMERSIVE EXPERIENCE AT THE WIZARDING WORLD OF HARRY POTTER ............................................................................................ 49 Figures for Chapter 3 ................................................................................................... 77 Afterward .......................................................................................................................... 83 Bibliography ..................................................................................................................... 87 Curriculum Vitae .............................................................................................................. 92 vi List of Figures Figure 1.1. Robert Mitchell, Cross section of Robert Barker's two-level panorama rotunda in Leicester Square, ca. 1798. Coloured aquatint by the architect. British Museum, London. Reproduced from http://www.panoramaonview.org/panorama_history.html (accessed January 30, 2012) …………………………….…...................................................................18 Figure 1.2. Dionysiac Mystery Frieze, Second style wall painting in room 5 of the Villa of Mysteries, ca. 60-50 BCE. Fresco, frieze 5’4” high. Pompeii, Italy. Reproduced from ArtStor, http://www.artstor.org (accessed January 30, 2012)………………………………………………………………………………...……….18 Figure 1.3. Rinaldo Mantovano, from designs by Giulio Romano, Sala dei Giganti: The Gods on Mount Olympus and the Fall of the Giants, 1530-32. Painting. Palazzo del Tè. Mantua, Italy. Reproduced from ArtStor, http://www.artstor.org (accessed January 30, 2012)…………………………………………………………………………………………19 Figure 1.4. Pierfrancesco Mazzucchelli,Giovanni d'Enrico. Ecce Homo, Chapel 33, ca. 1600. Statues and frescos. Sacro Monte at Varallo. Reproduced from http://www.sacromontevarallo.eu/internaeng.php?liv1=restauri&liv2=&liv3=6 (accessed May 9, 2012)…………………………………………………………………........................19 Figure 2.1. Golden Dragon Eggs in display case, Dragon Challenge ride