results from uses of fantasy 21.10.2016
TRANSCRIPT
USES OF FANTASYFinnish sub-project of The World Hobbit ProjectUniversity of JyväskyläDepartment of Art and Culture StudiesResearch Centre for Contemporary Culture
• The World Hobbit Research Project is a global research network
● https://globalhobbitca.wordpress.com/home-a/● https://www.facebook.com/WorldHobbitProject
• The World Hobbit Project survey (Barker et al. 2014–2015). An international internet survey on audience reception of The Hobbit films.
● 46 countries, in 38 languages, 36 000 responses● Finnish survey organized by the Research Center for
Contemporary Culture● https://www.jyu.fi/hum/laitokset/taiku/hobitti
• The Finnish survey: N: 1614● Female” 1078 ● Male” 536
HOBBIT RESEARCH PROJECT
THE USES OF FANTASY – FINNISH SUB-PROJECT
• Uses of Fantasy project combines qualitative and quantitative methods.
• Research questions: ● What is the meaning of fantasy to the respondents, and
what does fantasy bring to their lives● How are questions of identity, fandom and cultural
consumption visible in the meaning-making processes of the respondents
● What kinds of transmedial strategies of media use can be found through the practices of media use as reported in the data
● How do conceptions of national, territorial and cultural identity affect the processes of meaning-making as well as strategies of reception within the audience of the Hobbit trilogy?
PhD Irma Hirsjärvi (University of Jyväskylä, Finland) (responsible researcher)PhD Aino-Kaisa Koistinen (University of Jyväskylä)PhD Jyrki Korpua (University of Oulu)PhD, Professor Raine Koskimaa (University of Jyväskylä)PhD Urpo Kovala (University of Jyväskylä) PhD student, MA Maria Ruotsalainen (University of Jyväskylä)PhD student, MA Tanja Välisalo (University of Jyväskylä)
PROJECT TEAM
THREE REASONS FOR SEEING THE HOBBIT FILMS (FINLAND, SWEDEN, DENMARK)
FINNISH RESULTS
TABLE 1: AGE DISTRIBUTION OF THE RESPONDENTS:
TABLE 2: OCCUPATIONAL DISTRIBUTION OF THE RESPONDENTS:
TABLE 3: EDUCATIONAL DISTRIBUTION OF THE RESPONDENTS
TRANSMEDIAL USER PRACTICES• Transmedia storytelling (Jenkins 2006):
● Telling a story via different mediums● Each expansion contributing to the overall storyworld● Adaptation vs. transmedia?
• Colin B. Harvey (2015): the role of memory in transmedial storytelling
• Transmedial User Practices● Engaging “the Hobbit” via different mediums● Also practices that are not directly tied to a medium, such
as visiting filming locations● User practices/experiences vs. storytelling?
Q12: HAVE YOU TAKEN PART IN ANY OF THESE OTHER ACTIVITIES CONNECTED WITH THE HOBBIT FILMS?
The respondents were able to choose as many options as they wished. The options were:
• Producing fan art• Blogging• Role-playing• Writing fan fiction• Collecting merchandise• Seriously debating the films*• Commenting online• Gaming• Making fan videos• Visiting filming locations
In the global data: participated 66,7 %, not participated 33,3 %
THE ACTIVITIES TRANSMEDIA USERS PARTICIPATED IN
Respondents were able to choose several options.
TRANSMEDIA USERS• Most of the transmedial users were 16–35 year old women
who had completed secondary school and were currently students
● All respondents to the survey were also mostly women
• The most popular activity was Q12.6 – seriously debating the films, chosen by 1127 respondents.
• Different meanings/uses of fantasy: personal and societal
• Fans?
TRANSMEDIAL MODE OF READING● Transmedial mode of reading:
approach to reading that radically draws on the resources associated with several mediums
● Transmediality is becoming more salient, due to technological and cultural factors – can we say that a specific transmedial mode of reading texts is emerging?
TRANSMEDIAL MODE OF READING● The Hobbit as a transmedial cultural text?
● Editions of the book, adaptations on theatre, radio, television and cinema, re-imaginations, transmedial practises (computer and console games, internet debates, fan fiction, role playing games, live action role playing games, board games, cosplay, etc.)
● ”The Hobbit phenomenon”
● Is there a transmedial mode (or modes) or reading to be identified in the Finnish data of the Global Hobbit project?
TRANSMEDIAL MODE OF READING● Question 2 (from the survey): ”Can you sum up your
response to the film in your own words?”● ”Good movie but bad adaptations. --” (172)● ”I accept the fact that the trilogy is not loyal to the book, but
Jackson has taken too many liberties what comes to the vast amount of fighting scenes, especially in the last film. However, as a supporter of Tolkien I really do like the series a lot.” (317, emphazies added.)
● ”No wonder Christopher Tolkien is mad about his father’s vision being twisted into Hollywood bullshit. --” (340)
● ”It is nice to return to the familiar world after LOTR movies. I liked the old characters, but the overall result was not as touching and moving as in LOTR movies --” (485)
TRANSMEDIAL MODE OF READING● The Hobbit book, media texts: animations, trailers, LOTR
trilogy, Oscar gala presentations● It seems to be impossible to watch films without these
contexts and other media texts?
● Taste and loyality?● ”It is a surprise how loyal the movies are to the book, I
liked that --” (419)● ”A classic, raped by the requirements of action and
market value.” (465)● The role of director. The role of movie industry
THE SILMARILLION ● The Silmarillion mentioned 67 times in the survey answers. Of
these, 10 saw elements from the book in the movies.● There are no (clear) elements from The Silmarillion in The Hobbit
movies● ”All fit in perfectly, since there were story elements taken from
The Silmarillion and appendixes.” (1807)● ”Although using Silmarillion as an extension was a good thing --
(25733)● ”There were parts nicely taken from the Silmarillion to add some
extra excitement to the story.” (1422)● ”Lots of references to -- The Silmarillion.” (2421)● ”[P]arts taken from The Silmarillion – did not fit particularly well.”
(33992)● The role of the internet?
NI LASSUI – KIITOS!
https://theworldhobbitprojectfinland.comhttps://www.facebook.com/[email protected]
Kuva: Aegileif / DeviantArt