The digital evolution in the film industry has opened possibilities that was only to blockbusters before the digital age. I am talking about mass-scenes. Huge scenes with hordes of people often in huge battlefields. This was earlier in film history an extremly costly undertaking for the filmindustry and was a major reason why the large studio systems in Hollywood collapsed in the 60s. Now we can enjoy large scale battles created with CGI without costly extras, costumes and props. It’s all made with the computer and with ’blue screen’ technology. Is it possible to track the mass-scene back to some sort of origin or at least to who that defined the mass-scene ? If we look closer at mass-scenes used in contemporary movies then a clear pattern often emerges. These scenes can often be traced back to especially two propaganda films from the late 30s. Triumph des Willens by Leni Riefenstahl and Alexander Nevsky by Sergei M. Eisenstein. Of course there are others, but these two stands out from the others regarding mass-scenes. My opinion is that these two classic propaganda films have defined the mass-scenes as we have come to see and understand them in many comtemporary films from Star Wars to Lord Of The Rings. In this thesis I will try to explore the usage of mass-scenes in comtemporary films and hopefully uncover the strong intertextual ties to Triumph des Willens and Alexander Nevsky. I will also attempt to define the mass-scene and it’s usage in contemporary film.

Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.

No description available.

No abstract available / English / M.A. (English)

Esta dissertação tem como objetivo analisar o diálogo intermidiático que se estabelece na passagem de A Sociedade do Anel, de John Ronald Reuel Tolkien (1892 – 1973) para o jogo The Lord of The Rings Online (Lotro) e pretende dar conta de aspectos importantes na construção desse diálogo, de como se instala e como se movimenta, dando enfoque, segundo o viés comparatista, ao processo de remidiação e aos aspectos de estrutura, meia-realidade e ficção interativa, próprios da interação entre as mídias pertencentes ao corpus. A obra de John R. R. Tolkien já passou por inúmeros e complexos processos (re)midiação, The Lord of The Rings Online é um deles. O jogo contempla toda a parte do mapa da Terra Média e a história narrada nos dois primeiros volumes de O Senhor dos Anéis e guia seus jogadores por missões denominadas epic books, que seguem, assim como os nove membros da sociedade do anel, os caminhos até as grandes batalhas em Mordor. A análise aqui realizada parte da problemática de classificação do que uma mídia é (MCLUHAN, 2013) e do modo como as mídias se relacionam entre si e o contexto em que são inseridas (BOLTER; GRUSIN, 2000), agregando os postulados teóricos do videointerativo. A partir do corpus de pesquisa, propõe-se um estudo comparado que compreende, exemplificando as devidas diferenças de articulações estruturais e de outros aspectos, a passagem (VAN TIEGHEM, 1931) da literatura para o videogame como um empreendimento bem-sucedido, que valoriza as duas mídias e promove novas experiências ao leitor. / This M.A. thesis analyses the intermediatic dialogue established between The Fellowship of the Ring, a book written by Professor John Ronald Reuel Tolkien (1892 - 1973), and The Lord of the Rings Online (Lotro), a Massively Multiplayer Online Role-playing Game. Here, I intend to explain important aspects for the construction of this dialogue such as how it is created and how it has been articulating itself, focusing, according to Comparative Literature Studies’, on the remediation process and on aspects such as structure, half-reality and interactive fiction, characteristic of the interaction between both media. John R. R. Tolkien’s book has gone through several complex processes of (re)mediation, being The Lord of the Rings Online one of them. The game features the part of Middle-Earth that is told in the first two volumes of The Lord of the Rings. Lotro guides its players through missions called epic quests, which follow the nine members of the fellowship of the ring to the great battles at Mordor. The analysis proposed starts from the problematic issue of classifying what a medium is (MCLUHAN, 2013), the way through which media relate to one another and the context in which they are created (BOLTER; GRUSIN, 2000), adding the theoretical postulates of videogames. It is a comparative analysis that includes, as an example of the appropriate differences in structural articulations and other aspects, the passage (VAN TIEGHEM, 1931) from literature into videogame as a successful exchange that values both media, while promoting new experiences to the reader.

Films are art, language and symbolic materiality. As a kind of language, films get their meanings in history, as discourse. As a kind of discourse they relate to the socio-historical context and as a language they reverberate, change and spread. We analyze the film trilogy The Lord of the Rings as a piece of work an artistic production - that can be considered, according to NECKEL (2010), as a sample of the artistic discourse. We consider the theoretical framework of the Franco-Brazilian Discourse Analysis, mainly of authors such as Pêcheux (1969, 1975), Orlandi (2005) and Neckel (idem), to analyze our corpus. We aim to findthe discursive regularities that operate in the filmic narrative. Along the trilogy, we analyze the repetition of the focus of the camera in the eyes of some characters, resulting in what we see is ocularcentrism, and also of the discourse of hope by some characters. / Filmes são arte, linguagem, materialidade simbólica posta para interpretação. Enquanto linguagem, o filme ganha sentido na história e é dessa forma um discurso. Sendo discurso se inscreve sócio-historicamente e enquanto linguagem seus sentidos reverberarão, mudarão e se multiplicarão. Analisamos os filmes da trilogia O Senhor dos Anéis que chamaremos, em seu conjunto, como uma obra uma produção artística - que, segundo NECKEL (2010), pode ser entendida como da ordem do Discurso Artístico. Consideramos o quadro teórico da Análise do Discurso Francesa e Brasileira, principalmente Pêcheux (1969, 1975), Orlandi (2005) e Neckel (idem), para analisar nosso corpus. Buscamos, ao longo de nossa análise, as regularidades discursivas que se constroem na narrativa fílmica. Analisamos a repetição, ao longo da trilogia fílmica, do foco nos olhos, que compreendemos ser um ocularcentrismo, e também a fala de alguns personagens, no que entendemos ser a materialização do discurso da esperança. / Mestre em Estudos Linguísticos

Esta dissertação tem como objetivo analisar o diálogo intermidiático que se estabelece na passagem de A Sociedade do Anel, de John Ronald Reuel Tolkien (1892 – 1973) para o jogo The Lord of The Rings Online (Lotro) e pretende dar conta de aspectos importantes na construção desse diálogo, de como se instala e como se movimenta, dando enfoque, segundo o viés comparatista, ao processo de remidiação e aos aspectos de estrutura, meia-realidade e ficção interativa, próprios da interação entre as mídias pertencentes ao corpus. A obra de John R. R. Tolkien já passou por inúmeros e complexos processos (re)midiação, The Lord of The Rings Online é um deles. O jogo contempla toda a parte do mapa da Terra Média e a história narrada nos dois primeiros volumes de O Senhor dos Anéis e guia seus jogadores por missões denominadas epic books, que seguem, assim como os nove membros da sociedade do anel, os caminhos até as grandes batalhas em Mordor. A análise aqui realizada parte da problemática de classificação do que uma mídia é (MCLUHAN, 2013) e do modo como as mídias se relacionam entre si e o contexto em que são inseridas (BOLTER; GRUSIN, 2000), agregando os postulados teóricos do videointerativo. A partir do corpus de pesquisa, propõe-se um estudo comparado que compreende, exemplificando as devidas diferenças de articulações estruturais e de outros aspectos, a passagem (VAN TIEGHEM, 1931) da literatura para o videogame como um empreendimento bem-sucedido, que valoriza as duas mídias e promove novas experiências ao leitor. / This M.A. thesis analyses the intermediatic dialogue established between The Fellowship of the Ring, a book written by Professor John Ronald Reuel Tolkien (1892 - 1973), and The Lord of the Rings Online (Lotro), a Massively Multiplayer Online Role-playing Game. Here, I intend to explain important aspects for the construction of this dialogue such as how it is created and how it has been articulating itself, focusing, according to Comparative Literature Studies’, on the remediation process and on aspects such as structure, half-reality and interactive fiction, characteristic of the interaction between both media. John R. R. Tolkien’s book has gone through several complex processes of (re)mediation, being The Lord of the Rings Online one of them. The game features the part of Middle-Earth that is told in the first two volumes of The Lord of the Rings. Lotro guides its players through missions called epic quests, which follow the nine members of the fellowship of the ring to the great battles at Mordor. The analysis proposed starts from the problematic issue of classifying what a medium is (MCLUHAN, 2013), the way through which media relate to one another and the context in which they are created (BOLTER; GRUSIN, 2000), adding the theoretical postulates of videogames. It is a comparative analysis that includes, as an example of the appropriate differences in structural articulations and other aspects, the passage (VAN TIEGHEM, 1931) from literature into videogame as a successful exchange that values both media, while promoting new experiences to the reader.

This essay focuses on J.R.R Tolkien’s The Lord of the Rings, how the different races in the text are portrayed and how they interact with each other. The essay uses postcolonial theories, mainly “Orientalism” and “Otherness”, to prove traces of racism in the text. It focuses on the text and what can be found in the characters opinions of each other. The aim of this essay is to prove that in The Lord of the Rings there is an underlying story of racial issues between the different races of Middle-Earth and that these issues can be described as racism.  The colonial themes of the text can mostly be found in the geographical descriptions, the colour of skin and the stereotypical descriptions of different races within the text. The stereotypical descriptions are probably sprung from the fact that J.R.R Tolkien grew up towards the end of the big Imperialist era of 19th century Europe and the similarities and descriptions of foreign cultures existing in the real world can be traced throughout the text.  The Lord of the Rings contains themes with racial issues and this can be described as racism, even though it is not possible to say that The Lord of the Rings is a racist text as whole. / Uppsatsen analyserar Sagan om Ringen av J.R.R Tolkien. Den visar på hur olika raser är beskrivna i texten och hur dessa grupper interagerar med varandra. Uppsatsen använder sig av Postcoloniala teorier, i huvudsak Orientalism och de andra för att visa på rasistiska spår i texten. Uppsatsen behandlar texten och undersöker karaktärernas åsikter om varandra. Målet med uppsatsen är att visa att Sagan om ringen har underligande rasistiska strömningar mellan de olika raserna i Midgård. Det koloniala temat i texten ses tydligast i de geografiska beskrivningarna, hudfärg på karaktärer och de steriotypa beskrivnnignarna av olika grupper i verket. De steriotypa beskrivnnigarna kommer troligtvis ifrån Tolkiens egen uppväxt i det imperialistiska Storbritanien under slutet av 1800-talet då tidstypiska beskrivingar från denna era kan skönjas i texten som helhet. Sagan om ringen innehåller flera rasistiska partier men det är inte möjligt att beskriva hela verket som rasistiskt.

No description available.

In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.