With the rise of franchise films and non-filmmaking entities such as Hasbro and Lego entering the studio system, studios and the media conglomerates that run them have been able to create what (Townsend, 2011) (Moore, 2016, p. 542) identifies as ancillary markets that enable intellectual properties to be sold across multiple platforms, resulting in 'unprecedented synergy'. Critics argue that the franchise model demands a simplification of film narratives as films are now expected to be "iterations of entertainment supertexts, multimedia forms that can be expanded and resold almost ad infinitum"(Andersen and Gray 2007 p.176) (Moore, 2016).
In an attempt to appeal to broad audiences, franchise films tend to be 'tent-pole' productions that appeal to "the lowest (and largest) common dominator by avoiding topics that are too controversial" (Moore 2016 p.542 (Kellner 1995)). When Hollywood films do attempt to represent controversial topics, such as environmental issues, there has been a tendency to revert back to familiar genre tropes, present issues as ideological binaries, simplification of complex global problems, and the individualisation of the issue.
For many films, the true representation of environmental issues may not be found in the surface reading of a text, but through what Althusser and Balibar (2009) define as a 'symptomatic' or 'dual' reading, that consists of a primary surface 'manifest' analysis, and a second, deeper ideological reading. (p.32) The symptomatic reading is intended to identify deeper meaning through identification of "lacunae" or silences in the text p. 86). Silences enable the reader to define the problematic, or "an answer given to its absent question" (Althusser and Balibar p.32). (Moore, 2016)
The natural environment is central to the themes and narrative of Peter Jackson's 'Lord of the Rings' trilogy (2001 – 2003) and through a considered use of allegory, has been able to overcome what (Moore p.550) identifies as "significant silences" in some films representation of environmental issues.
When introducing the antagonists in the trilogies first installment 'The Fellowship of the Ring' environmental issues are reduced to binary issues and individualised through Hobbit Frodo Baggins and the 'Ring Wraith'. As the Hobbits are searching for wild mushrooms, a Wraith slowly enters the screen as a symbol of industry as the diegetic sounds of birds and wildlife is silenced as in the presence of an unnatural presence, recoiling from it. The camera tilts in to an extreme low angle shot, increased the area of space the wraith films in the frame; domination both through the initial reading (framing) and the deeper ideological reading, revealing 'lunucae' or a silence. The impact of the industrial symbol entering nature is revealed as the problematic. The Wraith is a demonstration of industries twisting and subjugation of nature and the Wraiths obsession with the one ring creates a clear link between materialism and environmental issues, framing the environmental destruction we see later in the film.
The films further address the limitations of individualisation, by juxtaposing the environmentally sound Hobbits and their homes with that of Isengard and Mordor; fortresses of the principal antagonists. Both antagonists see nature as a tool to be used in the growth of industry and on deeper reading, represent the systemtic nature of the environmental crisis in film and real world.
Isengard's environment is one of destruction and hellish symbolism. The once green forest that surrounded Saruman's tower has been destroyed and the black earth is now full of fiery cracks, as sights and sounds of industry frame the environment as a tool for industrial growth. Saruman's narration during the scene speaks of how 'forests will fall' and how 'the old world (natural) with burn in the fires of industry'. By expanding on the causes of environmental issues, Jackson has been able to overcome common 'silences, such as "omissions of potential problem definitions" (Entman 1993 p54) (Moore, 2016) and define not only the cause of the environment issues, but also the systemic nature of it.
The climax of the environmental battle comes to a conclusion in the trilogies final installment 'The Return of the King' when nature itself is positioned as a solution to the malice of industry. Ents; tree that come alive, awaken from a deep slumber and march on Isengard, tearing down man-made dams, releasing rivers that cascade down on to Isengard, destroying the systems of industry that have been seen to subjugate them. The use of nature here presents a potential solution to the environmental issues we face; only though a greater harmony with nature can be reduce the impact of industry on the environment.
The presentation of nature as a resolution to industrial destruction of environments is further reinforced when 'Elven hero 'Arawen', summons the force of a river to wipe away the approaching Ring Wraiths as they search for Frodo and the Ring.
The Lord of the Rings Trilogy is framed by the natural beauty of New Zealand's environment revealing through a deeper reading, a concentrated message about environmental issues. Through the adopting of allegory and identification of key 'lanucae', Jackson has overcome criticisms of environmental films by framing the environmental issues as a binary, an individualised problem but as also being systemic in nature, positioning the individual antagonists as parts of a larger machine. As (McDonagh and Brererton (2010) p.134) point out, "Film has a profound influence in framing how we conceptualise and address ourselves and lifestyles, and by inference our global problems" and The Lord of the Rings trilogy has been able to frame environmental issues in a way that overcomes many of the issues other fims have been unable to.
Bibliography
Moore, E., 2016. Green Screen or Smokescreen? Hollywood's Message about Nature and the Environment. TandFonline, Volume 10, p. 14.
Townsend, A., 2011. State of Play: Toy Companies have become Hollywood's new auteurs.. Tandfonlone.
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