and the neo-liberal New Zealand government. We argue that the interests of global capital were able to prevail materially and discursively through the construction and naturalisation of a concordance of interests between Warner Bros. In this paper, we draw on findings from a large-scale online Q methodology survey of pre-viewers for the first Hobbit film to document how differently located audiences made sense of these complex events, their local ramifications, and potentially global implications. More often obscured by processes of commodity sign production, circulation, and desire, the clash and confluence of global and national ambitions became subject to often heated public discussion and debate during the New Zealand Hobbit labour dispute and in its aftermath. This paper addresses local and global audience understandings of a sequence of events that exposed the play of politics and power underpinning the transnational production of a globalised entertainment product – Peter Jackson’s Hobbit trilogy (2012–14). We discuss the attributes of the film that most affected the film’s marketability and playability for each of the audience groups during the interpellation process from prefiguration to reception. Three of the pre-release audience groups expressed a high degree of anticipation to see the film, but only one post-viewing audience group expressed a high degree of enjoyment, while the others expressed various degrees of disappointment. We identify and describe five main pre-release and five main post-viewing audience groups, showing that the film had greater marketability than playability.
The article reports results of two online surveys of Hobbit audiences, one in November 2012 in the weeks preceding theatrical release, and one in February–June 2013 among post-viewing audiences, employing a mixedmethods approach that includes Q sorting and a questionnaire.
#HARRY POTTER NOVELTY QUICK QUOTES QUILL MOVIE#
This article interprets two key concepts in movie marketing (marketability and playability) through an empirical examination of the effects of commercial interpellation of audiences for a Hollywood ‘blockbuster’ fantasy film, Peter Jackson’s The Hobbit: An Unexpected Journey (2012). This is achieved by establishing an understanding of 'Political Economy', 'Globalization' and how they are relevant in the case of Harry Potter as a product in a consumer driven mediascape. This article will analyze in depth how an initially unpopular literary work, which was rejected by a publishing house, later, is commoditized to turn over an immeasurable profit. It is not just a literary work or a film, but an alternative reality. Harry Potter is undoubtedly an example of this approach.
The paper also looks at how Harry Potter as a product of exploitation prepares children to become part of consumption driven societies or cultures? Large media organizations chase cultural products, dominate the entertainment industry and create the market value from these cultural products.
Key points include the monopolization of the media industry which has led to the commoditizing of characters such as Harry Potter to become global phenomenon. This article aims to analyze the political economy of Harry Potter and its global implications by examining how Harry Potter is used by corporations as a means of exploitation.
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