LEADER 04000nam 22005295 450 001 9910255090603321 005 20200704011904.0 010 $a1-137-59616-3 024 7 $a10.1057/978-1-137-59616-1 035 $a(CKB)4340000000223177 035 $a(DE-He213)978-1-137-59616-1 035 $a(MiAaPQ)EBC5162109 035 $a(EXLCZ)994340000000223177 100 $a20171125d2017 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aFans, Blockbusterisation, and the Transformation of Cinematic Desire $eGlobal Receptions of The Hobbit Film Trilogy /$fby Carolyn Michelle, Charles H. Davis, Ann L. Hardy, Craig Hight 205 $a1st ed. 2017. 210 1$aLondon :$cPalgrave Macmillan UK :$cImprint: Palgrave Macmillan,$d2017. 215 $a1 online resource (XVI, 344 p. 7 illus.) 311 $a1-137-59615-5 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $a1. Returning to Middle-earth, in Blockbusterised Form -- 2. Researching Audience Engagements with the Hobbit Trilogy: A Unique Methodological Approach -- 3. Adaptation, Anticipation, and Cinematic Desire: Prefigurative Engagements with a Blockbuster Fantasy Franchise -- 4. Unexpected Controversies Cast a Shadow over Middle-earth -- 5. The Saga Begins: Mapping Audience Reactions to An Unexpected Journey -- 6. The Rise of the Hobbit Critic: From The Desolation of Smaug To The Battle of the Five Armies -- 7. Pioneering Cinematic Technologies and the Hobbit?s Hyperreality Paradox -- 8. On the Transformation of Meaning and Cinematic Desire -- 9. Making Sense of Difference: How Social Location and Identity Shaped Engagements with the Hobbit Trilogy -- 10. Conclusion and Methodological Reflections on a Unique Project. 330 $aThis 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. 606 $aMotion pictures 606 $aCulture?Study and teaching 606 $aFilm Theory$3https://scigraph.springernature.com/ontologies/product-market-codes/413090 606 $aCultural Theory$3https://scigraph.springernature.com/ontologies/product-market-codes/411130 606 $aGlobal Cinema and TV$3https://scigraph.springernature.com/ontologies/product-market-codes/413240 608 $aFilm adaptations.$2fast 615 0$aMotion pictures. 615 0$aCulture?Study and teaching. 615 14$aFilm Theory. 615 24$aCultural Theory. 615 24$aGlobal Cinema and TV. 676 $a791.4301 700 $aMichelle$b Carolyn$4aut$4http://id.loc.gov/vocabulary/relators/aut$0939938 702 $aDavis$b Charles H$4aut$4http://id.loc.gov/vocabulary/relators/aut 702 $aHardy$b Ann L$4aut$4http://id.loc.gov/vocabulary/relators/aut 702 $aHight$b Craig$4aut$4http://id.loc.gov/vocabulary/relators/aut 906 $aBOOK 912 $a9910255090603321 996 $aFans, Blockbusterisation, and the Transformation of Cinematic Desire$92119204 997 $aUNINA