DISSERTATION FINAL
CULTURAL IDENTITY IN THE HARRY POTTER SERIES
VICTORIA BUCKNELL
DISSERTATION SUBMITTED IN PARTIAL FULFILMENT FOR THE DEGREE OF BACHELOR OF ARTS IN FILM AND SCREEN STUDIES
SCHOOL OF HUMANITIES AND CULTURAL INDUSTRIES
BATH SPA UNIVERSITY
WORD COUNT: 13,133
Abstract
Cultural Identity in the Harry Potter Films is a non-empirical evaluation of the topics of interest in the movie series that have had an impact or influence either on, or because of, British Cultural Identity. Emphasis is directed towards Feminism, Religion, War and Prejudice and how these topics have impacted upon the British legacy of the series. This dissertation does not set out to find a definitive conclusion; rather, it reflects on pre-existing literature to present a coherent analysis of the influences of Cultural Identity and Harry Potter. Drawing on a plethora of non-empirical research, this dissertation is an evaluation on what makes the Harry Potter series innately British and how these topics may have an influence on the series’ legacy and the young audiences viewing it.
Acknowledgements
Firstly, I would like to thank my teachers and my supervisor Terrence Rogers for getting me through the past seven months in one piece, and for coping with the daily emails. Secondly, I would like to thank my Dyslexia tutor Anna Croxson for spending tireless hours reading through my work and helping improve it. Thirdly, I would like to thank my family and friends for coping with a whole summer of “should I do this question? What about this one? I’ve thought of another question!” and my stress levels when I eventually settled on the first question I had thought of. Fourthly, I would like to thank my housemates who have helped me and comforted me when the stress got too much, even when their own dissertation work beckoned. Fifthly (and I think most importantly) I would like to thank Dairy Milk and Southern Comfort for always being there for me when I needed you. And finally, I would like to thank J.K. Rowling, who without her ingenious invention of this magical world, my childhood would not have been the same. An entire generation owe their childhood to her and to this skinny, shaggy black haired, bespectacled boy we have grown to know and love; Harry Potter.
Contents
Declaration…………………………………………………………………………………………………………………………..8
List of Illustrations………….…………………………………………………………………………………………………….9
List of Tables………………………………………………………………………………………………………….……………12
Introduction……………………………………………………………………………………………………………………….13
Chapter 1
National Identity
“If you must minister, but now I think I’ll have a nice cup of tea” ……………………………………….15
Chapter 2
Feminism
“The truth is you don’t think a girl would have been clever enough”…………………………………..19
Chapter 2:1
The Good
“You really are the brightest witch of your age”………………………………………………………………….21
Chapter 2:2
The Useless
“You know how I like it when they walk”……………………………………………………………………………27
Chapter 2:3
The Mothers
“Not my daughter you bitch”………………………………………………………………………………………………31
Chapter 2:4
Women of Power
“It is our choices that show what we truly are, far more than our abilities” ……………………….33
Chapter 3
Religion
“Saintlike…you see, I’m HOLEY, Fred, geddit?”……………………………………………………………………38
Chapter 3:1
Christianity vs. Witchcraft and the Occult
“Where your treasure is, there will your heart be also”……………………………………………………….41
Chapter 3:2
Representations and Reactions of other Religions
“We are only as strong as we are united, as weak as we are divided”…………………………………46
Chapter 4
War
“To the well-organised mind, death is but the next great adventure”…………………………………48
Chapter 4:1
Links to Adolf Hitler
“Fear of a name increases fear of the thing itself”………………………………………………………………49
Chapter 4:2
Death Eaters vs. Nazis
“If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals”………………………………………………………………………………………………………………………….52
Chapter 4:3
Power and Politics
“There is no good or evil: only power and those too weak to seek it”………………………………….55
Chapter 5
Prejudice
“We wizards have mistreated and abused our fellows for too long, and we are not reaping our reward”………………………………………………………………………………………………………………………..57
Chapter 5:1
Race
“No one asked your opinion, you filthy little Mudblood”……………………………………………………58
Chapter 5:2
Lycanthropy
“Someone let slip the nature of my condition”……………………………………………………………………60
Chapter 5:3
Social Class
“It’s not much, but its home”………………………………………………………………………………………………62
Chapter 5:4
Sexuality
“I do love knitting patterns”………………………………………………………………………………………………66
Chapter 6
Youth Audience
“Age is foolish and forgetful when it underestimates youth”………………………………………………68
Chapter 7
Legacy
“You’ll stay with me? Until the very end”……………………………………………………………………………70
Conclusion………………………………………………………………………………………………………………………….72
Appendices…………………………………………………………………………………………………………………………74
Bibliography……………………………………………………………………………………………………………………….86
Filmography ………………………………………………………………………………………………………………….…101
Illustration Sources…………………………………………………………………………………………………………..102
Declaration
I hereby declare that this dissertation is my own original work and that it has not been submitted for assessment at any other institution. Where other sources of information have been used they have been acknowledged.
Signed: Victoria Bucknell
Date:
List of Illustrations
Feminism
Figure 1: A still of Hermione Granger (Emma Watson) erasing her parents’ memories of her in Harry Potter and the Deathly Hallows: Part One…………………………………………………………….21
Figure 2: A picture timeline illustrating Ginny Weasley’s (Bonnie Wright) transformation through the Harry Potter series………………………………………………………………………………………….24
Figure 3: A still image of Harry Potter (Daniel Radcliffe) rescuing Ginny Weasley (Bonnie Wright) in Harry Potter and the Chamber of Secrets……………………………………………………………24
Figure 4: A still image of Harry Potter (Daniel Radcliffe) and Ginny Weasley (Bonnie Wright) at Quidditch tryouts…………………………………………………………………………………………………………..25
Figure 5: A still image of the Beauxbatons’ Ladies entering the Great Hall in Harry Potter and the Goblet of Fire………………………………………………………………………………………………………………27
Figure 6: A still of Ronald Weasley (Rupert Grint) and Hermione Granger (Emma Watson) in Harry Potter and the Order of the Phoenix………………………………………………………………………….29
Figure 7: A Still showing Molly Weasley (Julie Walters) duelling with Bellatrix Lestrange (Helena Bonham Carter) in Harry Potter and the Deathly Hallows: Part Two………………………31
Figure 8: A still showing Narcissa Malfoy (Helen McCrory) telling Lord Voldemort (Ralph Fiennes) that Harry Potter (Daniel Radcliffe) is dead in Harry Potter and the Deathly Hallows: Part Two…………………………………………………………………………………………………………………………….32
Figure 9: Professor Albus Dumbledore (Richard Harris) and Professor Minerva McGonagall (Dame Maggie Smith) leaving a baby Harry Potter on the Dursley’s doorstep in Harry Potter and the Philosophers Stone…………………………………………………………………………………………………34
Figure 10: A photograph of Dolores Umbridge’s (Imelda Staunton) costumes throughout the series…………………………………………………………………………………………………………………………………34
Figure 11: A still of Bellatrix Lestrange (Helena Bonham Carter) faced with the Cruciatus Curse in Harry Potter and the Order of the Phoenix…………………………………………………………….36
Religion
Figure 12: A still of Harry Potter (Daniel Radcliffe) and Hermione Granger (Emma Watson) at his parents’ gravestone in Harry Potter and the Deathly Hallows: Part One……………………….41
Figure 13: A still of Harry Potter (Daniel Radcliffe) and a deceased Albus Dumbledore (Sir
Michael Gambon) in Harry Potter and the Deathly Hallows: Part Two………………………………44
War
Figure 15: A still image of Azkaban Prison during the breakout as seen in Harry Potter and the Order of the Phoenix…………………………………………………………………………………………………..48
Figure 16: The Death Eaters entering the Quidditch World Cup in Harry Potter and the Goblet of Fire…………………………………………………………………………………………………………..………..51
Figure 17: A still showing Lucius Malfoy (Jason Isaacs) running away from the Battle of Hogwarts in Harry Potter and the Deathly Hallows: Part Two……………………………………………52
Prejudice
Figure 20: A still showing a young Lily Potter (Ellie Darcey-Alden) and a young Severus Snape (Benedict Clarke) in Harry Potter and the Deathly Hallows: Part Two…………………………………61
Figure 21: A montage of stills depicting Harry Potter (Daniel Radcliffe) and Draco Malfoy (Tom Felton) in Harry Potter and the Philosophers Stone………………………………………………….62
Legacy
Figure 22: Children of all ages dressed in Harry Potter costumes at a convention………………68
List of Tables
Figure 14: Table referring to all things related to Christ throughout the entire series as created by John Granger (2002)………………………………………………………………………………………………………………………45
Figure 18: Table documenting examples of prejudice; what is being prejudiced against; by whom and about whom, as created by John Granger (2002: 36)……………………………………………………………………….57
Table 19: Table comparing the similarities between Lycanthropy and the H.I.V Virus as created by an Unknown Source (2011) available at: http://www.quora.com/Harry-Potter-books-movies-and-creative-franchise/In-Harry-Potter-books-movies-and-creative-franchise-does-J-K-Rowling-use-lycanthropy-as-a-metaphor-for-HIV-AIDS............................................................................................61
As this dissertation covers a fictional topic, there is some Harry Potter terminology used throughout which can be referenced to in APPENDIX A. Also, there is a list of Harry Potter characters shown in APPENDIX B.
Introduction
Harry Potter is a phenomenon that shows no sign of disappearing. For my generation in particular – the first book published when I was four, and the first film when I was eight – saying goodbye to the series, means saying goodbye to their childhood.
Despite my generation’s protective nature of the series, other generations have come along and become fans of it, with the likelihood of more following. In a scholarly sense, it is important to study the series as it contains topics that are of concern in society; “Rowling’s work speaks directly to a number of problems we face in the non-magical world”. (Sheltrown, N: 2009: 47).
Academics, including John Granger, Richard Abanes, and Pratiksha Thanki have closely studied the series, choosing to predominantly focus on Feminism, Religion and War. My dissertation will look at those three topics, amongst others.
All of these issues will be bought back to what they say about our cultural identity and the series’ legacy. Through these issues, it is questionable what gives Harry the ability to prevail against Voldemort; was it just the love shown by his mother, his friendships or something else? Julie Foster believes that, contrary to challengers’ claims, “Potter promotes through their characters, love, bravery, self-reliance, the importance of family, and tolerance of those different from us” (Foster, J: 2001), as the main way Harry is different to Voldemort, and ultimately how he manages to destroy him.
This dissertation shall be a non-empirical discussion, using pre-existing literature, plus scenes from the series, to explore how those topics could potentially have an impact upon young audiences, our cultural identity, and the series’ legacy.
“If you must Minister, but now I think I’ll have a nice cup of tea”
There is debate concerning how Harry Potter fits in with the definition of ‘Englishness’:
“Englishness is our cultural identity. To say that Englishness is a culture is effectively the same thing as saying that England is a nation. And a nation is not simply a piece of land, a political construct or even random collection of people dwelling in the same place. A nation is a people who feel they are bound together by a culture, a history, a language, a homeland (in most cases) – in other words, a shared sense of self.” (Kingsnorth, P: 2009). As stated above, the idea of being ‘English’ suggest feeling connected to the ‘culture…history…homeland’ (ibid: 2009); something that is felt by a generation about Harry Potter. Generations feel connected to how Britain is represented, and how it reflects a mix of traditional and modernity in its exploration of Britain, as otherwise stated by Higson; “National identity is…about the experience of belonging to such a community, being steeped in its traditions, its rituals and its characteristic modes of discourse.” (Higson, A cited in Hjort, M and MacKenzie, S: 2000: 63). In film, ‘cultural identity’ can be explained in a more aesthetic way by focusing on the production, distribution and exhibition side of the movie (Campbell, D: 2002).
The 2006 Finance Act created a tax relief for British films which encouraged ‘inward investment’. For a film to qualify for said tax relief they must be certified British. This can be done through:
“being set in the UK, lead characters are British citizens or residents; a film based on British subject matter or underlying material; original dialogue recorded mainly in the English language…film represents/reflects a diverse British culture, heritage or creativity…studio and/or location [set in Britain]…and director, scriptwriter, producer, composer, lead actors” (Street, S: 2009) must be of British origin.
When we think of ‘national cinema’, we tend to think about how the medium reflects the ‘British Ideal’; however, it can also be defined as how that medium may impact upon audiences and could contribute to their watching of the film. “The parameters of a national cinema should be drawn at the site of consumption as much as at the site of production of films…the activity of national audiences and the conditions under which they make sense of and use the films they watch.” (Higson, A: 1989: 36-47). Higson argues that it is the audience’s identification with the film that truly defines ‘national cinema’.
Without the concept of ‘cultural identity’, individuals become “without an anchor, without horizons, colourless, stateless, rootless” (Hall, S cited in Baker, HA, Diawara, M, Lindeborg, RH: 1996: 176). Hall argues that without a ‘cultural identity’, one struggles to identity with a community. However, “cultural identity is not a fixed essence at all…it is not some universal and transcendental spirit inside us on which history has made no fundamental mark.” (Ibid: 1996).
Harry Potter is a quintessentially British creation; British author, British sets, locations, crew, culture and ideology. J.K. Rowling stated herself that being British means “a welfare state of which we should be fiercely proud and a tradition of tolerance and free speech we should defend to our last collective breath” (Rowling, J.K: 2009: online).
All the characters are fiercely proud of their beliefs and will defend this ideology to the death – as Lord Voldemort did and as Harry was prepared to do. Even though this dissertation has clearly defined the series as British, Aviva Chomsky has suggested that Harry Potter is a parable on US immigration rights, stating that:
“immigration, citizenship and naturalisation laws are based explicitly on discrimination on the basis of national origin. Where you were born, and what passport your carry, determine whether you have to right to come here, to visit, to work, or to live here.” (Chomsky, A: 2007).
The ‘cultural identity’ seen in the series is overall positive; however, critics have stated that it is “essentially patronising, very conservative, highly derivative, dispiritingly nostalgic for a bygone Britain” (Holden, A: 2000: online). This debate is about whether the series focuses too much on tradition than modernity; however it is this nostalgic view of Britain that foreigners look for. Luke Harding stated that Russians were buying into the Hogwarts feeling that British boarding schools have; the magical feeling. “Harry Potter…is extremely popular in Russia…Like the Roman Empire, Britain has an assimilating Culture” (Harding, L: 2013: online). To them, Britain has a tradition that is very different which appeals to their culture. In the movies, “it’s England they see in the [films]” (Ibid). The emigration of Russians to Britain brings up the issue of experiencing a culture outside of one’s own – especially in Rowling’s stories. Her employment at Amnesty International made Rowling realise that:
“imagination is what allows us to empathise with people who have suffered horribly and to act on their behalf...the danger of inaction comes from people who prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are.” (Rowling, JK: 2008: online).
When Rowling visited Harvard University in 2008, she told those graduating that “the majority of you belong to the world’s only remaining superpower…the pressure you bring to bear on your government, has an impact way beyond your borders.” (Rowling, JK: 2008: online). What she meant by this, was that our generation has the power to achieve anything, even if that means standing up to those in charge. Rowling puts powerful young people into her series to show her young audiences that anyone can save the world. When compared to their American counterparts, “British films have often come across as ‘restrictive and shifting subservient to middle-class artistic models and to middle-and upper-class values’” (Hill, H cited in Petrie, D: 1992/2008: 152). Rowling writes characters that range on the social class spectrum; all who have achieved greatness, but all have flaws. However, even though we have focused on the series’ ‘cultural identity’, it is important to note that Harry Potter isn’t mere escapism and “shows a world in which happiness can be achieved, villains can be defeated, and the means of success can be learned.” (Durante, D: 2004). These are values that make our ‘cultural identity’ what it is.
“The truth is you don’t think a girl would have been clever enough”
Female characters are of significant interest throughout the Harry Potter series despite the main characters being men. “J.K. Rowling gave the women of the wizarding world a range of characteristics, instead of pigeonholing them into the stereotype of independent, loud and smart.” (Yandoll, K: 2011) and it is this “representation of female characters in the series [that] is critical to the feminist understanding that women are all different.” (ibid). So, because of this apparent gender equality, audiences can understand the movies as a “metaphor for current societal feminist consciousness…that only masks a deeply entrenched patriarchal structure in the collective unconscious”. (Yeo, M: 2004: 2). The series contains many different female characters from students (Hermione Granger, Ginny Weasley), teachers (Professor McGonagall, Dolores Umbridge), villains (Bellatrix Lestrange, Narcissa Malfoy), to the mothers (Molly Weasley, Lily Potter). “All the woman in the series are strong, but in different ways and for different reasons…these women are so unique; and even in a fantasy series, in a world that is not ours, they feel incredibly real.” (Bowman, E: 2013).
The inclusion of such a wide range of female and male characters creates a cross-gendered setting at Hogwarts. This cross-gendered setting “appears to be both a fantastically post-feminist world where sexism no longer undermines women’s power and agency and one in which a post-feminist façade merely camouflages the [movies] rather traditional gender roles and its erasure of sexual orientation difference.” (Modleski, T: 1991).
Modleski states there are two ways of looking at this story; having a multitude of characters shows that you cannot stereotype a female as one thing, and a male as another. Although, she also states that it could be a way of disguising stereotypical female gender roles.
However, even though this exploration of female characters presents the idea that there is no female stereotype, the idea of “heteronormative heroism ultimately squelches gender equality and sexual diversity in favour of the ideological status quo.” (Mendlesohn, F: 2006). Even though the females are very important to the series’ progression, the end result always had to come from a male to male battle. It is this idea that links to the “alpha-male model of masculinity” (Pugh, T and Wallace, D: 2006) that men must be the ones to finish a fight.
This idea that men must be the ones to succeed has been picked up on by scholars such as Christine Schoefer who criticised the series as sexist, saying “the series presents a patriarchal world filled with stereotypes and adherence to the conventional assumption that men do and should run the world.” (Schoefer, C: 2000).
Another viewpoint put forward by Gallardo and Smith, states that they believe Harry himself could be seen as a female character. Harry moves from being the passive subject at home (Cinderella as servant) to being active at Hogwarts (Cinderella at the ball). This leads to the hero ‘blooming’. This link to female tales allows female readers to identify with a male protagonist. Also, Harry tends to prefer the feminine symbols such as caves, instead of phallic symbols such as the sword. Thirdly, his obsession with ‘otherness’ such as giants and house-elves opens the narrative to gender critique. Fourthly “though the…series does not support radical feminism, it is radical as children’s literature and therefore has ample material to support feminist readings” (Cited in Anatol, FL: 2003).
This dissertation will now move onto looking at some of the female characters in detail.
“You really are the brightest witch of your age”
Hermione Granger
Hermione Jean Granger is a Muggle-born witch and the main female protagonist. She was born in 1979 to dentist parents. After their adventures ended, she returned to Hogwarts to finish studying. She married Ron Weasley and had a daughter named Rose and a son, Hugo. Emma Watson portrayed Hermione in all eight films. (imdb. Online).
Hermione is a role model for young girls due to her feminist traits. She relies on her intellect rather than her looks to help herself and her friends. She is outspoken and will do anything in order to save her loved ones; in Deathly Hallows: Part 1 she removes all memory of her from her parents’ mind so they would be safe.
Figure 1: A still image of Hermione Granger erasing her parents’ memories of her
“Hermione is repeatedly the truth-sleuth, comfortable in the library, who finds the clue that makes sense of the mystery at hand. She is always the one standing at a crossroads pointing the way”. (Grynbaum, GA: 2011: 8). Without Hermione, the trio are unlikely to have survived the series: examples ranged from her getting past the Devil Snare trap in Philosophers Stone (2001); discovering the Basilisk is using the pipes in Chamber of Secrets (2002) and using the Time-Turner to save Sirius Black in Prisoner of Azkaban (2004). “Where else in cinema or a big film franchise is there a female character that is not just supplementary or additional or the pretty face. She’s a breakthrough, I think. She’s like the brains behind the whole operation. And she’s so integral to that trio and to Harry’s success. I think she’s a very important figure.” (Watson, E; online)
Being Muggle-born (seen as a disadvantage) is a respectable trait for fans as it “makes her an even more accessibly heroine” (Hibbard, L: 2011). Removing her magic, she is almost relatable. Her time is spent studying so she is well learned; and so, young girls believe that if they work hard then they can achieve greatness. Doyle explains why this ‘disadvantage’ actually comes to be the most important quality of the characters:
“Hermione is not chosen. That’s the best thing about her. Hermione is a hero because she decides to be a hero; she’s brave, she’s principled, she works hard, and she never apologises for the fact that her goal is to be very, extremely good at this whole ‘wizard’ deal…Hermione is never comfortable with relying on her ‘gifts’ to get by. There’s no prophecy assuring her importance; the only way for Hermione to have the life she wants is to work for it…Hermione saves the day, over and over; in every book, there is a moment where her classmates need to be saved, and they need a plan that is going to save them, and they inevitably turn to Hermione, ‘the brightest witch of her age’, Hermione always comes through; she has the plans, she saves them all.” (Doyle, S: 2011).
Doyle backs up what other scholars think of Hermione. She doesn’t let her background stop her from saving the day. She has faith in herself and has abilities as a witch. (Mayes-Elma: RE: 2003); it is this intellect that creates a positive character; “she is a perfect example that possessing information and knowledge leads to power” (Dresang, ET: 2002: 211-242). Hermione “throws a wrench in the ‘men-and-women-can’t-really-be-just-friends theory’ (Hibbard, L: 2011: online). She works intelligently alongside Harry, platonically. For women wanting to be appreciated for their talents and work in tandem with men, the fictional friendship is empowering” (ibid). In creating a character who stands up for herself, “Rowling has succeeded in developing the character of a child who transforms herself into a young woman…[who] does not ‘lose her voice’” (Dresang, ET: 2002: 211-242). Having said that, some critics believe Hermione is the stereotypical feminine character – in the most negative way. Mayes-Elma believes that because Hermione is studious and participates voluntarily in class, she is mirroring society’s constructions of girls (2003). For most, this studious feel is encouraging for young girls. However, Yeo picked up on that even though Hermione’s intelligence does save the trio several times, she is often the passive character. In Chamber of Secrets, she is transformed into a cat – which is associated with the feminine – and then she spends the rest of the film petrified, and therefore silenced. (2004: 1-10). Cherland picked up on the idea that “Hermione often serves as a foil for Harry” (2008-2009: 273-282). This means that Rowling has created a character that cries or runs away when stressed, and always refers back to books for help. In comparison to Harry, he appears “cool, calm, and capable of acting independently” (ibid). However, even though Hermione expresses these ‘feminine’ traits of emotion – Harry’s reactions are not picked up on. Although he doesn’t cry or run away, but he shouts “you think I don’t know how this feels” (Deathly Hallows: Part 1: 2010); swears; “You’re a right foul git” (Goblet of Fire: 2005), and isolates himself; “perhaps it’s best to go it alone” (Half-Blood Prince: 2009); as a result, the comparison between Harry and Hermione demonstrates it is her who appears ‘cool, calm and capable of acting independently’.
Ginny Weasley
Ginevra ‘Ginny’ Weasley is the youngest and only girl of the Weasley family. She is feisty and stubborn, with a sarcastic sense of humour, and unwavering popularity. She starts her Hogwarts journey by being manipulated by Lord Voldemort before becoming a hero in her own right. She marries Harry and has two sons, Albus Severus and James Sirius, and one daughter Lily Luna. Bonnie Wright portrays Ginny in all eight films. (imdb: online).
Ginny begins the series as a “giggly Harry Potter fan” (Harry Potter Philosophy: online), before turning into a mature young lady. In Order of the Phoenix she is described as a girl with a “long mane of red hair” (Rowling, JK: 2003: 66) rather than a “small and red-haired girl” (Rowling, JK: 2000: 51).
Figure 2: A picture timeline of Ginny Weasley’s transformation throughout the series
She is often seen as weak and bait, which is why Voldemort used her in Chamber of Secrets as he knew Harry would rescue her.
Figure 3: A still image of Harry Potter rescuing Ginny Weasley from the Chamber of Secrets.
However, she doesn’t move away from this subordinate behaviour; instead becoming a woman who is not afraid to challenge the establishment when she joins Harry to learn the dark arts. (Harry Potter Philosophy: online).
It is often seen as negative that all of her actions seem to revolve around Harry. On the website Harry Philosophy Potter, they state that Ginny remains calm when Harry is immune to her romantic advantages “like the strong, independent and mature girl she has become” (ibid: online). However, Ginny never becomes fully independent away from Harry. ‘I believe it took her courage to move one, but she still got into problems where she needed Harry’s assistance …having said that, once Harry leaves to hunt down Horcruxes , she is left with the task of running Dumbledore’s Army’ (Bowman, E: 2013)
Running Dumbledore’s Army could result in expulsion or imprisonment, which does that her loyalties lie with the right side. With seven brothers, Ginny has been surrounded by masculinity forever, and this includes ‘masculine’ hobbies such as sport – in this case, Quidditch. “She never ever allows her brothers’ superior masculine attitude to prevent her from being an ace player in a sport she loves” (Harry Philosophy Potter: online). Harry picks Ginny to be his vice-captain on the Gryffindor team, while Ron has to try out for a place. This love of sports suggests a masculine quality behind her feminine exterior.
Figure 4: A still image of Harry Potter and Ginny Weasley at Quidditch try-outs
Ginny has previously portrayed non-feminine characteristics such as arguing with her best friend. In Half-Blood Prince (2009), she stands up to Hermione regardless (or in fact of) their strong friendship – this shows she is not afraid to stand up for what she believes is right. (Rowling, JK: 2005).
Similarly with Hermione, some academics are negative about Ginny: “[In today’s] time of third-wave feminism that celebrates ‘girl power’ (Aapola, Gonick and Harris, 2005; Gonick, 2006), other newer discourses are circulating…girls like Ginny Weasley may be positioned as immoral or impure, but they can speak themselves into another existence by taking up different subject positions”. (Cherland, M: 2008-2009: 273-282).
Ginny could be seen as ‘impure’ because her focus tends to be on pleasing Harry. However, she proves she is intelligent and strong and independent. Having said that, whenever Ginny gets into trouble, it is always Harry who rescues her; “another example in a lone line of texts where girls and women were included [as] typecasts. They…watched boys, cried, needed help” (Sadker, M and Sadker, D: 1994: 71). A lot of the existing academia about Ginny revolves around her need to please Harry. There is no prominent focus on her achievements away from him, which range from getting into Gryffindor house, performing advanced spells and surviving in the face of death. There needs to be more focus in future research on Ginny as an independent character, rather than just focusing on her as someone always one step behind Harry.
“You know how I like it when they walk”
Fleur DeLacour
Fleur Isabelle Delacour is a French witch from Beauxbatons Academy. She is part Veela and uses her power to entice men to her advantage. She is picked as one of the Triwizard Tournament competitors. She marries Bill Weasley and has three children; Victoire, Dominique, and Louis. Clemence Poesy portrays Fleur in four films (imdb: online).
Fleur’s beauty plays a major part in her storyline; this is evident through the names. Beauxbatons itself references beauty (Beaux in French means beautiful), likewise, the name Durmstrang references strength and violence. (Cherland, M: 2008-2009: 273-282). Fleur translates to ‘flower’, Isabelle is a play on the translation for ‘beauty’, and Delacour means ‘of the court’.
The Beauxbatons’ ladies’ figures are of significant focus. When first entering the Great Hall, the camera pans to show the audience what the boys are looking at – their moving buttocks. Their tight dresses show off their figures, and we see that all pupils are beautiful.
.
Figure 5: A still image of the Beauxbatons’ ladies entering the Great Hall.
In Goblet of Fire, Fleur rewards Ron and Harry with two kisses each for rescuing her sister – an act of gratitude playing on her sexuality. In the movie, Ron is shown to fancy Fleur, with him stating he “likes it when they walk” (Rowling, JK: 2005), which is another statement concerning her physical appearance.
Veelas are famous for having seductive magic (unknown: Harry Potter Wiki: online), which poses questions as to whether men are actually attracted to Fleur, or just to her Veela quality. “It is the understanding that female people are different from normal people. Girls and women are sexual beings with dangerous power over men.” (Cherland, M: 2008-2009: 273-282).
The obsession with her beauty could create a negative aspiration for young girls. “I think it is important to note that Fleur’s beauty is mentioned frequently, and this may make the subject position she occupies (as the weak and irrational one) more desirable for girls to take up”. (Cherland, M: 2008-2009: 273-282). The appeal of being beautiful is always of great interest, and the fact that Rowling wrote a prominent character whose sole purpose is to be the ‘eye-candy’, creates an un-feminist outlook on how women need to be beautiful.
Having said that, Fleur is talented enough to participate in the Triwizard Tournament – however she doesn’t achieve much. In the movie version of Goblet of Fire, we don’t see her finish task one, but in the book we see that her clothes get set on fire before almost failing the task (Rowling, JK: 2000: 308). In the second task, she is attacked by Grindylows and fails to save her sister, relying on Ron and Harry to save her (Rowling, JK: 2000: 437).
Finally, in the third task, she is overpowered by Viktor Krum, before Harry saves her (Rowling, JK: 2000: 542). This shows that Fleur is portrayed as the useless, weak woman who must rely on the help of men to get her through dangerous tasks.
Cho Chang
Cho Chang is Harry’s first love when they meet in Goblet of Fire (2005). In the space of two movies, they go from being crushes, to friends, to partners, and back to friends. She marries a Muggle after Hogwarts – it is unknown if they had any children.
Cho is a two-dimensional character, her only capability being attracting men. In Goblet of Fire, she turns down Harry, and then dates Cedric; later accepting Harry after Cedric’s death. There is very little focus on her magical ability or strength as an individual. Dealing with dilemmas over the opposite sex is traditionally a feminine trait.
“Hermione: Don’t you understand how she must be feeling? Well, obviously she’s feeling sad about Cedric, and therefore confused about liking Harry, guilty about kissing him, conflicted because Umbridge is pressing to sack her mum from the Ministry, and frightened about failing her OWLs because she’s so busy worry about everything else.
Ron: One person couldn’t feel all that. They’d explode!
Hermione: Just because you’ve got the emotional range of a teaspoon.” (2007)
Figure 6: A still image of Ronald Weasley and Hermione Granger.
Figure 6 in Order of the Phoenix (2007) coincides with the patriarchal theory of how different genders deal with emotions. We assume Cho is talented –, but, her crush on Harry threatens herself and others. Whilst performing the Levicorpus spell in a Dumbledore’s Army session, she is distracted by Harry resulting in Colin Creevey crashing to the floor. Other characters also view Cho as weak. The Inquisitorial Squad take Cho from Dumbledore’s Army and ply her with Veritaserum in order to get the truth from her. They choose Cho for reasons two-fold: 1) she can be easily manipulated, and 2) similarly to Ginny, Harry will always rescue her. So therefore, she is just another character whose weakness is her ability to love.
“Not my daughter you bitch”
‘Motherhood is an important motif; Petunia Dursley, Molly Weasley and Narcissa Malfoy – even Lily Potter is felt throughout the series. Ultimately it was his mother’s love what saved Harry from Voldemort’ (Yandoll, K: 2011).
Molly Weasley
Molly Weasley is the mother of seven children, but takes in Harry and Hermione as her own. She is married to Arthur Weasley and is a housewife.
Molly is a loving mother and wife who cares deeply for her family, however her children are embarrassed by her expressions of love, especially when she knits Ron ugly sweaters. However, it is this love that means she chooses to face Bellatrix single handed. This could be an unwise decision given that Bellatrix is in Voldemort’s upper echelon which means she is a very powerful witch. It is Molly’s unexpected strength that saves her.
She is known throughout the series as an overprotective housewife, but this final duel shows her breaking out of her “usual role of tending to the home front…to kill her murderous adversary while shouting an utterly satisfying expletive” (Pugh and Wallace; 2006). It is this utterance of “not my daughter you bitch” (Deathly Hallows Part 2: 2011) that gives Molly a sense of power that mothers can relate to; when a child is threatened, said mother is willing to stare death in the face to protect them.
Figure 7: A still image of Molly Weasley during the Battle of Hogwarts.
Petunia Dursley Despite her Muggle status, Petunia Dursley doesn’t differ far from her sister in terms of the love they have for their sons. Dudley is the only character we see that is treated with respect by Petunia. She showed the “ability to define one’s own goals” (Kabeer, N: 1999: 435-464). She yeans so badly to be part of a ‘normal’ in a ‘normal’ society that she is willing to turn her back on her own family. In a deleted scene from Deathly Hallows: Part 1 (2010), Petunia tells Harry, “You didn’t just lose a mother that night in Godric’s Hollow, you know. I lost a sister” (2010). This is the only time we see her have compassion towards someone other than Dudley. The fact that Dudley is shown as her pride and joy and she refuses to associate with anyone of Harry’s ‘disposition’ says a lot about her identity.
Narcissa Malfoy Surprisingly, Narcissa Malfoy is not dissimilar to Petunia in that her family means the most to her; she only joined Voldemort’s army because her husband Lucius, was a Death Eater. But Narcissa cares mostly for her son, Draco’s safety. In Deathly Hallows: Part 2 (2011), Voldemort sends Narcissa to check Harry is dead. She notices instantly that he is still alive, but after asking him “Draco, is he alive?” (2011), she turns around and says, “Dead!” (2011). She knowingly lies to the most powerful dark wizard, but as a mother, she knows that she wouldn’t want anything to happen to her own son, so in a subtle way, she gives Lily her son back.
Figure 8: A still image showing Narcissa Malfoy lie to Lord Voldemort.
“It is our choices that show what we truly are, far more than our abilities”
Minerva McGonagall Minerva McGonagall is not a mother, but being an authority figure at Hogwarts, she has an adoptive motherhood with her students (especially Harry). She is the first adult female to show Harry any ongoing compassion. The idea that McGonagall is the compassionate ‘mother’ whilst Dumbledore is the ‘breadwinner’ follows the patriarchal order of society. However, McGonagall is a respected member of the teaching staff, and in the Wizarding Community as a whole. Dumbledore believes in her abilities and makes her his deputy head. Unlike others, she stands up to Dumbledore – a trait she shares with Harry. When Dumbledore suggests that they leave Harry with the Dursley’s she protests, saying “they are the worst sort of Muggles imaginable” (2001). Her ability to stand up to Dumbledore, and to still be respected, shows that she has confidence in her abilities. She never strays away from her goal as Yandoll states when he says that “some characters are all intelligent and driven such as Aunt Petunia and Professor McGonagall” (Yandoll: 2011). This comparison between ‘mothers’ comes into play again in Deathly Hallows: Part 2 (2011), where she is faced against certain peril in the Battle of Hogwarts; yet, she remains calm, brave and strong. However, at times she does play into society’s gender constructions that women need to be told what to believe by men. In Philosopher’s Stone (2001), she refuses to believe that Voldermort has murdered the Potters until Dumbledore tells her directly:
McGonagall: Are the rumours true, Albus?
Dumbledore: I’m afraid so, Professor. The good…and the bad.” (2001).
Figure 9: A still of Professor Dumbledore and Professor McGonagall with baby Harry Potter.
These rumours are unlikely to be falsified; however she believes Dumbledore is the only person who will know the truth. By accepting society’s construction, she is forming her own identity. “McGonagall is smart, but not wise, powerful or brave” (Mikulan, K: 2009: 289). Although she is a woman in charge, she still accepts the construction that women are subordinate to men, and she doesn’t question or reject it at any point.
Dolores Umbridge Dolores Umbridge follows society’s construction that women must like pink. As she gains more power, the pink in her costume gets stronger. This could go against the idea that strong women do not like pink. She stands up for the way females have been constructed and proves that, whilst she may not be the fairest judge, she is a capable leader.
Figure 10: Five of Professor Umbridge’s costumes.
In Order of the Phoenix (2007), she tries to usurp all powerful men. Firstly she grows close to Cornelius Fudge – perhaps to get his job as Minister for Magic; secondly she attempts, and succeeds to take Dumbledore’s job as Headmaster; and thirdly, even though she doesn’t want to take his place, she refuses to believe Voldemort is back, meaning one less powerful man she must usurp. She tends to portray traits not necessarily associated with the feminine, including: racism (Bowman, E; 2013) “You filthy half-breed!” (2007); and torture, “The Cruciatus Curse ought to loosen your tongue” (2007). These are traits historically linked to male leaders such as Hitler, and not very often reflected in female leaders. So, by doing this, Umbridge carves out an identity for herself that goes against society’s construction of how a woman should behave.
Bellatrix Lestrange
Bellatrix Lestrange refuses to accept society’s constructions of females in terms of her looks and behaviour. She has no interest in her appearance, focusing instead on her magic, power, and loyalty to Voldemort. She believes that this loyalty will make her Voldemort’s favourite, rather than having to rely on her looks and sexuality to make him notice her – not unlike how Hermione behaves. Bellatrix is similar to McGonagall in the sense that when she is in power, she is strong and likens herself to Voldermort. However, she quickly becomes defeatist when out-dominated, not only by Voldemort but also by Lucius Malfoy and Severus Snape. Not to the same extent, but Bellatrix could be compared to Umbridge as being a sadist (Bowman, E: 2013). There isn’t evidence suggesting Umbridge enjoys watching people in pain, but she is not against violence. Bellatrix on the other hand clearly gets pleasure as a result of inflicting pain, or receiving it. In Order of the Phoenix (2007), she portrays enjoyment in pain no less than three times in a single scene. She laughs at the memory of torturing Neville Longbottom’s parents, “Neville Longbottom, isn’t it? How’s mum and dad?” (2007); gloats about killing Sirius Black, “I killed Sirius Black!” (2007); and then pretends it’s a game when Harry attempts to curse her, “You coming to get me? He knows how to play. Itty-bitty-baby-Potter” (2007).
Figure 11: A still image of Bellatrix Lestrange faced with the Cruciatus Curse.
She has her own feminist identity, not affected by, or in effect, of any other character; an identity she has made for herself to help her live the life she has chosen.
J.K. Rowling Joanne Rowling one of the most powerful woman in Harry Potter, as a result of her writing the series. She had a challenging adulthood; losing her mother when she was twenty-four years old; her turbulent marriage with Jorge Arantas, a Portuguese Journalist ended in domestic violence, one miscarriage, one daughter and one divorce; her move to Edinburgh to live with her sister led to her developing depression and later contemplating suicide. Here she ended up impoverished and on benefits and often took her daughter to local cafes where she would write. Nevertheless, she refused to give up on her dream and worked through adversity to achieve it. Furthermore, in writing Harry Potter, she has placed her own traits and abilities in her female characters. ‘I’m a female writer, and, what’s interesting about the Wizarding World is, when you take physical strength out of the equation, a woman can fight just the same as a man can fight, a woman can do magic just as powerful as a man can do magic and I consider that I’ve written a lot of well-rounded female characters in these books.’ (Rowling, JK in Bowman, E: 2013).
Considering Rowling was so determined to have these well-rounded, independent women in her books, it was surprising when she was told to eradicate her gender and become J.K. Rowling, rather than Joanne, has publishers feared boys wouldn’t read a book written by a woman. (Yandoll, K: 2011).
“Saintlike…you see, I’m HOLEY, Fred, geddit?”
The series has presented links to religion – either intentional or subliminal – which have been perceived in a negative way by critics. One key issue is the link between Harry and Jesus, and Voldemort link to Satan. Neal supports the claim that Voldemort “represents Satan, in a struggle between good and evil that helps young readers make moral decisions” (cited in Person, J). However, she doesn’t necessarily denote that Voldemort being Satan is negative. Rather, she suggests that it helps children determine what is right and wrong. Foster believes that Rowling’s depictions of evil are comparable to characters in the Bible saying that “characters struggle within themselves. But no worthwhile book, the Bible included, has only plastic people” (Foster, J: 2001), so the evil characters portrayed in Harry Potter confront children with a strong moral drive about how to respond to evil. Foster does have a negative view on the extent of evil scenes shown in the series, suggesting it introduces children to “human sacrifice, the sucking of blood from dead animals and possessions by spirit beings” (Foster, J: 2001) she supports this by using a scene in Philosophers Stone (2001) where Harry witnesses Voldemort drinking the blood of a Unicorn to stop himself dying. This suggests that slaying innocent creatures is acceptable if done to save your own life. in doing so, “[Rowling] has introduced values that are contrary to the Biblical message” (Berit Kjos, cited in Mudhar: 2007). Abanes believes that whilst the series does “set up a clear opposition between good and evil (Blake, 96) [that] would be similar to that of The Lord of the Rings or the Narnia series”, in identifying with Harry, “we are supporting a hero who lies, cheats, and breaks school rules as and when he feels like it” (Blake, 97). Abanes, a self-proclaimed Christian, believes these actions are against God and the series promotes similar behaviour in children. However, Rowling has been compared to the “Inklings, a group that included C.S. Lewis, J.R.R. Tolkien and Charles Williams, who explored Christian themes and morality in a fantasy context” (Gudgel, M: 2005). Others disagree with this; “if anything, the magic in Rowling’s world is even more emphatically imaginary, even further removed from real world practices, than that of Tolkien or Lewis” (Greydanus, S). As a result, this makes it easier for children to differentiate between real behaviour and not. Some parents argued that the series is positive as a result of it teaching their children about religion. Colson plans to “use the Potter craze” to tap into what will “lead kids to the real thing” (Colson, C). Consequently, some parents may use the series as a springboard for other discussions about their faith; it also teaches children about how to live their lives. Gerson, described the subversive nature of the series in the answer it offers to death. Voldemort believes death must be beaten, whereas Harry accepts dying for the sake of love. Gerson suggests that men “believe – not in spite of their faith but because of it – that half-bloods, werewolves and others should be treated with kindness and fairness. Above all, believers are called to love, even at the highest cost” (Gerson). L’Osservatore Romano agrees that it teaches children how to determine between good and evil. “There is a clear line of demarcation between good and evil and [the film] makes clear that good is right. One understands as well that sometimes this requires hard work and sacrifice…the search for immortality epitomised by Lord Voldemort” is morally wrong (Cited in Squires, N: 2009). The love of the series appears to be universal however there are some who refuse to think of it as positive. 7% of Americans have a negative view on Harry Potter, 52% positive and 41% unsure (Jones, JM: 2000). This compares with 33% who identify themselves as Evangelical (Carroll, J and Newport, F: 2005) and 39% who take the Bible literally. However, there is no evidence that the negative views were a result of their religion; in fact, some argue that Harry Potter goes out of its way to avoid discussing religion at all (LaVaque-Manty, M: 2005), so this negativity could just be personal taste. Debate has occurred about whether Rowling consciously put religious connotations in the series, or whether they were merely evidence of her vast religious knowledge; for example, she chose the name Hedwig for Harry’s owl, which is the name of the patron saint of orphans (Nel, P: 2001/2002: 32-33). However, when approached about the reasons behind including religious ideas into her series, Rowling retaliated by saying:
“I absolutely did not start writing these books to encourage any child into witchcraft. I’m laughing slightly because to me, the idea is absurd. I have met thousands of children and not even one time has a child come up to me and said, ‘Ms Rowling, I’m so glad I’ve read these books because no I want to be a witch.’” (CNN).
“Where your treasure is, there will your heart be also”
A majority of criticism on the series is focused on how practicing witchcraft and worshipping the Occult goes against religious practices. “Most viewers of the Harry Potter series see them as harmless, adventurous, children’s tales. Others choose to portray them as stories that inspire children to become involved in the occult and serious witchcraft.” (Woodrum, E). Weiss believes that two quotes found on the tombstones at Godric’s Hollow “almost epitomise the whole series” (cited in Adler, S: 2007) as far as reflections on Christ go: “and the last enemy that shall be defeated is death” which is featured on Harry’s parents’ gravestones refers to Christ’s victory over death (2007).
Figure 12: A still image of Harry Potter and Hermione Granger at his parents’ gravestone.
The quotation on Dumbledore’s family tomb, “where your treasure is, there our heart will also be” is from Matthew 6:21 and refers to knowing which things in life are of true value (Brown, NC: 2007). The negative criticism tends to focus on the satanic subtexts – particularly via Voldemort. Mark Luney and Orlaith Graham-Wood believe that evil is the main fixation in the series through the excessive nods towards Voldemort and that “God is a non-person” (2001-2002: 21-22). They believe that these links to Satan overpower any mentions of God. This rejects earlier points that critics believe it is this fight between good and evil that gives young viewers a moral compass. Caryl Matrisciana, an occult expert and filmmaker, believes that some children may become attracted to the “magical world Harry lives in” and subsequently will attempt to create their own spells or turn to other books of witchcraft (cited in Foster, J: 2001). Abanes agrees that the stories could easily wake up a child’s yearning to know more about witchcraft. “Rowling seamlessly weaves into her [novel] countless references to ancient and modern occultism, sometimes hiding them in people’s names or disguising them in minor characters” (Abanes, R: 2001: 24). He admits that whilst he isn’t concerned about the type of witchcraft taught, he is concerned about “the allusions [that] could easily stir a child’s curiousity about occultism [?] perhaps enough for that child to one day dabble in it” (Abanes, R: 2001: 24). Jeremiah Films – a Christian production company – states that the messages in Harry Potter could harm young audiences; “Harry’s world says that drinking blood brings new life, demon possession is not spiritually dangerous, and that passing through fire, contacting the dead, and conversing with ghosts, others in the spirit world, and more, is normal and acceptable” (cited in Matrisciana, C). Others agree with these hidden subtexts, with some suggesting that Rowling deliberately added negative connotations to her stories.
‘Christian critics said that the 11-year old broomstick was a phallic symbol, the lightning bolt scar on his forehead a Nazi swastika (or the mark of the Antichrist), and the death of Harry’s mother in place of her son was a deliberate effort to turn the male-centred, Christian salvation story into a goddess-worshipping avenue to witchcraft.’ (Gibson, D: 2001).
It is these satanic messages that caused several priests to ban the movies being filmed at their churches. In 2000, the Dean of Canterbury Cathedral at the time – John Simpson – refused to allow his church to be filmed at Hogwarts, saying it was unfitting for a Christian church to be used to promote Pagan imagery (Unknown: 2004). In 2004, once it was confirmed that Stanislav Lanevski had been cast to play Viktor Krum in Goblet of Fire, the Bulgarian Orthodox Church handed out pamphlets that stated “magic is not a children’s game”, and notified citizens that the holy synod had advised that a church in Sofia hold special liturgies to cure those afflicted by spells or possessed by evil spirits. They claim that by reciting a Harry Potter spell, it “is as if you are praying to evil” and that “God hates magic” (Leviev-Sawyer, C: 2004).
Hetrick agrees that whilst “[they contain] some powerful and valuable lessons about love and courage…the positive messages are packaged in a medium – witchcraft – that is directly denounced in scripture” (cited in Kurtz, H: 1999). He believes that Rowling should have thought of a more acceptable way to show children this positive message rather than through witchcraft. Clearly, the message is that good triumphs over evil; however, “the distinctions between Potter’s good magic and Voldemort’s are not clearly defined at all. Both use incantations, spells and potions. The theme of vicarious sacrifice is undermined and overthrown” (Luney, M and Graham-Wood, 0: 2001-2002: 21-22).
It is clear, however, to the average viewer, that these distinctions are obvious as we know Harry is right, and Voldemort is wrong. However, they both use similar magic to reach their purpose so we cannot always decide on the outcome. The magic performed in the series is “purely mechanical, as opposed to occultic…[It’s not] the kind of real life witchcraft the Bible condemns” (Olsen, T: 2007). This suggests that the series does show the seriousness in which witchcraft should be taken; however, it is not to the same degree as is disapproved of in the Bible.
On the other hand, Walker believes the series does not “glorify violence, advance witchcraft, or promote anti-family sentiments” (Walker, W); instead, they are themes only in place to convey a story. John Granger believes that: ‘Harry Potter as ‘son of God’ is not a symbol of Jesus Christ, but of humanity pursuing its spiritual perfection in Christ. Harry Potter is everyman, hoping to live as God’s image and likeness, now and in joy for eternity. Harry certainly rises from the dead at the end of Deathly Hallows as a symbol or type of Christ and his Resurrection, but the parallel readers are meant to draw is less about Harry being an allegorical Christ stand in than examples of power of faith and love in overcoming interior and real world evils.’ (2004).
Cardinal George Pell agrees by saying that Harry Potter displayed values that are “deeply compatible with Christianity” (Pell, G: 2007). The then-Archbishop of Canterbury George Carey added a mention to Philosophers Stone in his New Year message for 2002, calling it “great fun and a film that asks some very real questions on moral issues” (Carey, G: 2001). Although some believe that the existence of God in the series was not clear, Harry in Deathly Hallows: Part 2 shows a prominent Christ-like ability when he comes back from the dead. Miller states that: ‘Harry dies and then comes back to life like Christ, to save mankind. When he is temporarily dead, it places Harry in a very Heaven-like setting where he talks to a father figure whose supernatural powers are accompanied by a profound message of love’ (2007).
Figure 13: A till image of Harry Potter and a deceased Professor Albus Dumbledore
It is these parallels that make it difficult to believe that the basis of the series is satanic. Granger (2002) created a table that referred to all the Christ related themes through the series:
Symbol
Meaning
Therefore
Philosopher’s Stone
Transforming Lead to Gold = immortality.
Fount of “Elixir of Life” = Communion
Christ
Red Lion
Life-giving alchemical elixir; Aslan
Revelations 5:5
Christ
Gryffindor (Golden Griffin)
Eagle/Lion = Kings of Heaven/Earth = God/Man = two natures of Christ
Christ
Unicorn
Biblical references: Numbers, Psalms, Job Christian tapestry & Literary tradition
Christ
Phoenix
Resurrection bird; immortal life
Medieval literature topos
Christ
Stag
Tradition: “Tree of Life” in antlers
Regeneration of Antlers = resurrection
Christ
Centaur
Perfect man in control of passions
Christ riding donkey into Jerusalem
Christ
Hippogriff
Eagle/Lion/Horse, Heaven/Earth, God/Man.
Two natures of Christ.
Christ
Figure 14: Granger (2002) table referring to all things related to Christ in the series Figure 14 shows that, whether intentionally or not, Rowling has littered the series with Christ connotations. It contradicts the majority of negative criticism by arguing; how the series can be negative if everything relates back to Christ. Harry’s resurrection represents the “Biblical myth of the second coming of Christ. Harry becomes stronger and determined in his quest of achieving peace for the wizarding community. In his struggle, he comes back from the gates of death” (Thanki, PH: 2011).
Blake believes that whilst there are some connotations to Christ in the series, it isn’t overly evident. He concludes that “Harry Potter isn’t anti-Christian – the faith just isn’t here” (cited in Blake, 98). He believes that children can enjoy Harry Potter along with the plethora of other children’s stories that avoid discussing religion. It is clear to see from the evidence above, that like critics, “Evangelical Christians are divided on the Potter issue. Some regard it as positive, others neutral, and others as evil” (Luney, M and Graham-Wood, 0: 2001-2002: 21-22).
“We are only as strong as we are united, as weak as we are divided”
Despite most criticism regarding the series being Christianity based, critics from other religions have also questioned the series. There does seem to be a balance between the negative and positive with other religions. A number of Islamic scholars have argued that the series’ magical themes conflict with Islamic teachings (Baig, K: 2003; Noah, U). A series of online Fatawa (an Islamic ruling) have been logged against Harry Potter, decrying it as un-Islamic. In addition, many Jewish people believe they are represented poorly; for example, they feel that Professor Snape is badly represented as a Jew; “Snape, another villainous sort, bears an unfortunate resemblance to the stereotype of the Jew: cunning, greasy-haired, and sallow skinned, he sputters with rage.” (Nel, P: 2001/2002: 34). However, some believe the series positively represents other religions. Peter Ciaccio believes “Harry Potter is the positive outcome of the encounter of the Jewish-Christian tradition with other important features of the Western cultural heritage (namely Celtic, Nordic and Classical)” (Cited in Helman, EE). Karen Lindell supports this by saying that Hogwarts is a multifaith school (2007) and represents characters that are Christian, Jew and Muslim, and it is this wide spread representation that has led many prominent Rabbis to describe Harry Potter as a ‘force for good’ (Cited in Holmes, KE: 2001).
“To the well-organised mind, death is but the next great adventure”
“J.K. Rowling stated that she made a conscious decision at the start of her writing that she wasn’t going to lie about evil. She said she couldn’t pretend that when dealing with evil no one gets hurt” (Woodrum, E). She knew she was writing a children’s book and said in Time magazine that “if you’re choosing to write about evil, you really have a moral obligation to show what it means” (Rowling, JK: 2000). Evil had to be part of the stories to show children what was worth saving. She decided to include the death of family and friends in her stories. “I very consciously wanted to show what is one of the great evils of war, which is that totally innocent people are slaughtered…another great evil of war is that children lose their families” (Rowling, JK). It is possible that Rowling might have got her inspiration for Harry by the loss of her own parents. At first glance it is clear to see that the series links to World War II, whether intentional or not. “Well, it is a political metaphor. But…I didn’t sit down and think, ‘I want to recreate Nazi Germany’, in the wizard world’ (Rowling, JK: 2007). This shows she intentionally but war links in, but she wanted her own spin on it. However, one link in the series is between the wizarding community and the European population before WWII; the wizards were reluctant to believe Voldemort had returned because it was still recovering from the last event fourteen years earlier. Similarly, Europe constantly appeased Hitler as they wanted to avoid another world war (Unknown: Yahoo). Also, during WWII, Hitler used the media to promote his ‘worthy cause’ and distorted what others said; this is similar to Rita Skeeter’s Quick-Quotes-Quill that fabricated everything for a specific agenda. Also, The Daily Prophet turned on Harry and Dumbledore to appease its new owners.
“Fear of a name increases fear of the thing itself”
The comparisons between Voldemort and Hitler have been cited by many academics. Hitler created concentration camps to imprison Jews, and other minority groups, before their untimely death; this is similar to the innocent lives lost in Azkaban prison in Harry Potter.
Figure 15: A still image of Azkaban Prison
Furthermore, Hitler suffered child abuse in a Jewish dominated area, which enhanced his hatred for Jews. Similarly, Voldemort grew up in a Muggle orphanage and grew to hate Muggles.
“Many of our oldest family trees become a little diseased over time…you must prune yours, must you not, to keep it healthy?” (Rowling, JK: 2007). Hitler believed Jewish people had contaminated blood, which is reflected in the racist term for muggle-born wizatds – “Mudblood…it’s a disgusting thing to call someone…dirty blood” (Rowling, JK: 1998: 89). The ‘pure bloods’ in both cases have similar appearances, much like the ‘dirty bloods’. The Aryan race and the Malfoys had blonde hair and blue eyes, whilst Hermione and ‘Mudbloods’ had mousy brown hair and brown eyes (Lyubansky, M).
Both dictators created a world where anyone with similar inferiorities would be eliminated. Hitler did not have blonde hair like the perfect Aryan, and it was thought Hitler had Jewish blood. Rowling stated; “Voldemort…takes his own inferiority, and turns it back on other people and attempts to exterminate in them what he hates in himself” (Rowling, JK: 2000).
Rowling compared the stark use of magic to the disastrous events that could happen when technology falls into the wrong hands. Voldemort is highly talented who chose to abuse his magical abilities; much like Hitler who was intelligent, but chose to use his abilities to create weapons of mass destruction, and wage war for selfish motifs. (Thanki, PH: 2011).
Hitler and Voldemort’s past also show similarities. Voldemort had a muggle father, and it was believed Hitler’s father was Jewish. As a result of Hitler hating Jews and Voldemort hating half-bloods, one can speculate that they both hated a part of themselves. (Unknown: Yahoo).
The swastika was first used as a decorative symbol in African tribes, and was also said to be a symbol of auspiciousness in Hinduism, Buddhism and Jainism (D’Alviella: 1894). This is similar to the Deathly Hallows symbol which was created to connect the three Hallows – Invisibility Cloak, Resurrection Stone, Elder Wand – but was adopted by dark wizard Gellert Grindelwald to promote himself and his dominance over Muggles “for the greater good” (Rowling, JK: 2007).
Just as Voldemort is compared to Hitler, Dumbledore could be compared to Churchill. He is an exemplar of social justice leadership by demonstrating extraordinary feasts; his example should be followed in training educators and leaders of the future (Quarter, S: 2012).Rowling admitted that this comparison was not intentional, instead it was the critics who had picked up on the connotations; both were strong British leaders who were respected, but because of their alarmist views, were shunned by the public. Churchill warned people of Hitler’s dangerous plans but he was ignored, whilst Dumbledore spend six films trying to convince the wizarding community that Voldemort had returned. (Unknown: Yahoo).
As well as WWII, Harry Potter can be compared to modern wars. “Harry Potter and the Half-Blood Prince has been compared to the War on Terror against Osama Bin Laden saying Voldemort takes up terrorism by destroying bridges, murdering innocents, and forcing children to kill their elders” (Turner, J: 2005). This tells children that war is not a piece of the past, but a piece of the present and the future. ‘By creating a fictional version of real historical events, Rowling makes them more tangible, and in many ways, more understandable for her younger readers. She shows her readers that these practices are not exclusive to Nazi Germany, but that they can happen in other societies as well in times of fear and war: prejudices like these are not a thing of a long-lost path.’ (Kaas, Y).
The link between Hitler and Voldemort shows that the moral dilemma between good and evil is apparent in fantasy and reality, and there will always be dictators. It can be argued that a young man like Riddle would admire [him], and see in Hitler’s madness a man casting away his boundaries and attempting to bring about his own personal ideals (Ahmed, FM: 2004).
It is clear to say that Voldemort created his own worst enemy in himself – much like Hitler. “Do you have any idea how many tyrants fear the people they oppress? All of them release that, one day, amongst their many victims, there is sure to be one who rises against them and strikes back” (Rowling, JK: 2006). For years, Voldemort created a powerful following that no-one wanted to go against – until Harry, Ron and Hermione came along.
“If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals” There is also critical analysis on the similarities between Death Eaters and Nazis. In The Goblet of Fire, the henchmen appear like the KKK at the Triwizard Tournament.
Figure 16: A still image of the Death Eaters entering the Quidditch World Cup
Many of Voldemort’s snatchers are “uneducated boys who suddenly find themselves with extraordinary amounts of power” (Brown, KA: 2008: 84) like the men who were brought into the Nazi programme. Similarly, the Death Eaters are all branded the Dark Mark on their left arm, whilst Nazi’s all wore the swastika armband, again on their left arm. Death Eaters began working their way into Hogwarts to persuade children to follow Lord Voldemort; attendance at Hogwarts became mandatory once Voldemort was in power, but students had to prove they were pure or half-blood before being granted entry (Chambers, DL). These rules compared to Nazi rules where only Aryan students could attend schools and that Jews had to register with the authorities, whom used pseudoscience to justify the inferiority of the Jewish race (Burleigh, M and Wippermann, W: 1991; Sax and Kuntz, D: 1992; Yehuda, B: 2001) From a moral perspective, people have debated about why so many ‘ordinary’ people supported (or did not actively oppose) Nazi activity; as well as why so many ‘ordinary’ wizards supported the Dark Lord, and why a handful of people “refused to do so that allowed them not to conform?” (Lyubansky, M). We reason with ourselves that those in charge must know better than us, and so, if anything goes wrong then they are responsible and so it doesn’t concern us directly. Death Eaters had various reasons for being bad; as varied as the Nazis’. Bellatrix and Lucius shared in Voldemort’s belief in pure-blood superiority. However, this didn’t stop Lucius turning his back on Voldemort when he forced his son into a homicidal mission.
Figure 17: A still image showing Lucius Malfoy running away from the Battle of Hogwarts.
In contrast, “for the psychologically insecure and vulnerable Severus Snape and Peter Pettigrew, the Death Eaters presented an opportunity to be part of something big and powerful” (Lyubansky, M). Draco seems attracted to the Death Eaters as a result of parental indoctrination and has a somewhat unrealistic fantasy of what membership entails; he believes this will make him ‘The Chosen One’ of the dark side. On the other hand, Fenrir Greyback knows all about the death toll related to the Death Eaters but he doesn’t care; like the sadists among the Nazis, he seems entirely motivated by pure blood-lust. Rowling said that a Death Eater related story arc was influenced by a real life story concerning Hitler: Sir Oswald Mosley (Lucius Malfoy) married to Diana Mitford (Narcissa Black), sister of Rowling’s own heroine, Jessica Mitford (Andromeda Black). Jessica never forgave Diana’s Nazi sympathies. Mosley and Diana married in 1936, in the Berlin home of Nazi chief Joseph Goebbels with Hitler (Voldemort) as a guest. (Rowling, JK: Telegraph). Andromeda Black married the Muggle born Ted Tonks against her family’s wishes – similar to how Jessica Mitford left her family and became Communist and married her cousin. ‘These parallels were noted in the American communist newspaper People’s Weekly World.’ (Albano, T: 2007). Valerie Frankel created a timeline documenting Hitler’s rise to power compared to Voldemorts’, showing once again that Rowling had conscious knowledge of the connotations she was creating in her series (APPENDIX C). “The world isn’t split into good people and Death Eaters” (Rowling, JK: 2003). More importantly is that good people can do bad things, and vice versa. “This ambiguity exists on several levels in Harry Potter including through the basic premise of the conflict itself as well as in the actions of individuals such as Dumbledore and Professor Snape’. (Chambers, DL).
“There is no good or evil: only power and those too weak to seek it”
While this dissertation has discussed ‘evil’ leaders to great lengths, it is evident that the ‘good’ has leaders. Rowling herself described Dumbledore as Machiavellian and says “I wanted you to question Dumbledore. It is right to question him, because he was treating people like puppets, and he was asking Harry to do a job that most men twice his age wouldn’t have been able to do” (Rowling, JK: 2007: MTV). Anderson, who believes that Dumbledore is a social justice leader for the ‘good side’, states that as “a role model, a principal who does not merely preside over the tidings of a school day but also empowers youth. A role model is anyone who is looked to for guidance and is worthy of imitation” (cited in Quartey, S: 2012). The books that followed Order of the Phoenix (2003) and the films that followed Chamber of Secrets (2002) all are part of a post 9/11 ideology. Rowling never consciously put any post 9/11 philosophies into her books but in response to this criticism she stated:
‘I’ve never thought, ‘it’s time for a post 9/11 Harry Potter book,’ no. But what Voldemort does, in many senses is, terrorism, and that was quite clear in my mind before 9/11 happened…but there are parallels, obviously…I always planned that these kind of things would happen, but these have been very powerful resonances, given that I believe, and many people believe, that there have been instances of persecution of people who did not deserve to be persecuted, even while we’re attempting to find the people who have committed utter atrocities. These things just happen, its human nature.’ (Cited in Anelli, M: 2005).
Regardless of these unintentional connotations, Entertainment Weekly noted that the post 9/11 generation’s ideas about war and leadership “have been shaped at least in part by Rowling” (Entertainment Weekly). Rowling is a self-confessed Labour supporter but had to write her first novel under a Conservative government. John Major (Conservative) resigned from office on May 2nd 1997, with Tony Blair (Labour) taking up the job on the same day. Her first novel was published on 26th June 1997 but by this point it was too late for her to make any political changes.
Throughout her Harry Potter career, Blair was in power so she wrote under a Labour government which may be reflected in her series; with negative connotations about Conservatives and Liberal Democrats more prominent in the later books. For example, her portrayal of the bureaucratised Ministry of Magic and the oppressive measures taken by the Ministry later in the series is seen an allegory criticising the state (Baron, B: 2006). However, Rowling always wanted the readers to bring their own political agenda to the stories, and to challenge the democracy she believed in and the democracy Harry believed in: “there is no certain amount of political stuff in [Harry Potter]. But I also feel that every reader will bring his own agenda to the book.” (Cited in Jensen, J: 2000). The political agendas bring the good vs. evil debate to the forefront. In Philosophers Stone, Voldemort states that “there is no good or evil, there is only power, and those too weak to seek it” (Rowling, JK: 1997). This links to Friedrich Nietzsche’s The Will to Power, in which Nietzsche argues that “[t]he aim of life is neither self-preservation nor moral and spiritual enlightenment but the increase of power and the pursuit of domination” (cited in Sprinks, L: 2003). Sprinks links this debate to the idea that defining what is ‘good’ and what is ‘evil’ can only come into existence after a power struggle. (Kaas, Y).
“We wizards have mistreated and abused our fellows for too long, and we are now reaping our reward”
Even though Harry Potter is completely fictional, it has application in the modern world. Rowling creates characters and situations that readers can relate to;
‘Whether Rowling integrated prejudice into the story in order to make a statement or just to help the audience delve into the story with the character, she has brought this topic to awareness so readers can evaluate their own mindsets and beliefs.’ (Dawson, CJ: 2009).
The prejudices apparent in the series are prejudices just as prominent in the viewers of the films, regardless of age, class or gender; by doing this, Rowling creates a flawed world that we can all imagine calling home. John Granger (2002: 36) created a table documenting examples of what was being prejudiced against, by whom and about whom:
Book
Prejudice Against
Origin
Object
1
Abnormal or magical folk
Non-magical folks (Muggles)
Poor
Clumsy, awkward, stupid
Dursleys
Slytherins
Malfoys
Draco
Harry and Hagrid
Muggles
Weasleys
Neville
2
Mudbloods (muggle parent)
Squibs (Magic-born muggle)
Ugly, unpopular
The Nearly Headless
Slytherins
Muggle Folk
Olive Hornby
Headless Ghosts
Hermione and others
Argus Filch
Moaning Myrtle
Nick
3
Prisoners
Werewolves
Hippogriffs
Intelligent Women
Everyone
Almost everyone
Ministry
Boys and teachers
Sirius Black
Remus Lupin
Buckbeak
Hermione
4
Young people
Giants
Foreigners
Non-Prejudiced
Fleur
Magic Folk
Hagrid
Death Eaters
Harry
Hagrid and Maxime
TwiWizard Guests
Albus and Weasleys
Figure 18: John Granger (2002:36) table documenting examples of prejudice in the series
Figure 18 shows that several magical characters feel they must prejudice against almost everyone; these tend to be the Slytherins, the Death Eaters and the Ministry –groups of characters who deem themselves above everyone else.
“No one asked your opinion, you filthy little Mudblood”
Philip Nel believes the series can be seen as “political novels that critique racism and racial superiority” (Nel, P: USA Today). However, when questioned about the racial affects her series might have, Rowling stated “my feeling would be that if someone were a committed racist, possibly Harry Potter is not going to have an effect” (Rowling, JK). It is clear that Rowling is not racist by including non-white characters such as Lee Jordan, Dean Thomas, Angelina Johnson, Padma and Parvati Patil, and Cho Chang (Mulholland, N: 2006).Their race is never mentioned; they are seen as characters in their own right rather than non-white characters. However, this could be seen negatively because Rowling seems to “treat race with far less attention than she does the Weasley’s hair colour. Neither race nor racial status are ever mentioned by any of the characters” (ibid). He believes that not tackling racial tensions is as bad as making racial suggestions. He adds that even though there is no evidence that the non-white characters suffer from poor self-esteem, there is no evidence to the contrary either; concluding that “because the stories are almost exclusively told through the eyes of white characters who don’t notice race, we really don’t know anything about the reality of the non-white characters” (ibid). Having said that, Draco is racist towards Hermione when he calls her a ‘Mudblood’. At first glance this could just be a boy making fun of a girl, however, “his taunt has the cultural shock of the world ‘nigger’ in contemporary America” (Whited, LA: 2002: 314). It isn’t just the human characters who are subject to racist treatment; there are magical creatures that are seen as unimportant; for example, house-elves and giants are seen as dim-witted creatures. Furthermore, despite house-elves possessing considerable power, they are servants to wizarding families (Dawson, CJ: 2009). House-elves seem to love serving their masters – as Dobby does the Malfoys. However, what disgusts most characters is how no-one seems to care about his mistreatment. They are required to stay loyal to their families even when the families are evil and cruel (ibid). Rowling seems to have chosen to focus on blood status and other characters rather than skin colour, in terms of race. “Through the hierarchy of magical blood and creatures Rowling creates an entire world of class and cast prejudices.” (Thanki, PH: 2011). Dumbledore refuses to believe that some wizards are inherently better because of how they were born. This is demonstrated through his actions; for example, he looks past what other wizards see as major flaws. ‘For example, Dumbledore places incredibly trust in Hagrid, even though Hagrid was both expelled from Hogwarts (Chamber of Secrets; 2002) and born a half-giant (Goblet of Fire; 2004). Hagrid is charged with both flying the baby Harry Potter to safety after the night of the attack on the Potter family and carrying the Philosophers Stone from Gringotts to Hogwarts.’ (Quartey, S: 2012).
Essentially, he cares for the individual, not the connotations that come with them. “Dumbledore expresses to youth and adults alike that what society perceives of them is of no matter as long as they are fighting for or doing what is right and good.” (Quartey, S: 2012).
“Someone let slip the nature of my condition”
Lycanthropy is a “rare psychiatric syndrome that involves a delusion that the affected person can transform into, has transformed into, or is a non-human animal.” (Garlipp; Godecke-Koch; Dietrich; Haltenhof: 2003). In Harry Potter, lycanthropy could be interpreted as a metaphor for the H.I.V virus; Rowling states; ‘I know that I’ve said publicly that Remus Lupin was supposed to be on the H.I.V. metaphor. It was someone who had been infected young, who suffered stigma, who had a fear of infecting others, who was terrified he would pass on his condition to his son. And it was also a way of examining why people might become embittered when they’re treated that unfairly.” (Rowling, JK: 2008: transcript)
Lupin is the Defence Against the Dark Arts teacher during the Prisoner of Azkaban; however, due to a bite he sustained by Fenrir Greyback he is now part werewolf. He is looked down on those in Slytherin house, especially Professor Snape. Werewolves tend to live outside of society due to their unwarranted prejudice; however, Lupin doesn’t conform to this as he’s come to realise that he didn’t have a choice in becoming a werewolf, but he can make the best of it, realising it doesn’t make him less of a wizard. (Dawson, CJ: 2009)
There are quite a few similarities between the H.I.V. virus and the lycanthropy Rowling writes into her series as shown in figure 19 below (Unknown: 2011).
LYCANTHROPY
H.I.V
Is chronic, and while incurable, can be mitigated by the Wolfsbane Potion.
Cannot be cured by medication can stall it becoming AIDs.
Thought to preclude having a family but Lupin marries Nymphadora Tonks and they have a non-werewolf child.
An HIV sufferer can have a child whom does not suffer from the condition.
An acquired disease, often acquired through negligence.
People must take proper cautions against contracting the virus.
It can be acquired non-negligently – the young Remus Lupin was not negligent.
Early AIDs sufferers contracting the HIV virus through blood transfusions – something they themselves were not negligent about.
Could have been mitigated by earlier government action – Fenrir Greyback was a known werewolf but remained at large until the Battle of Hogwarts.
A prevention found earlier (amongst the prejudice) would have prevented people from suffering from the virus.
Is associated with moral turpitude – implicit, but the tone with which most characters discuss werewolves is suggestive.
HIV sufferers are looked down upon.
Is thought to be much more communicable and dangerous to others than it actually is – parents of students rejected a werewolf teacher despite Lupin posing no threat.
HIV sufferers pose near to no threat to others and yet people fear them just the same.
Figure 19: Unknown (2011) table comparing the similarities between Lycanthropy and H.I.V
Rowling has presented the adult topic of HIV, in a way that children can understand; and, by giving a popular character the disease also shows children that no-one should be judged for something that is not their fault.
“It’s not much, but its home”
Harry faced prejudice in the series due to his social class. He was treated badly because he was different, poor, and an uninvited addition; “But when Harry began his attendance at Hogwarts, the only thing that changed was the presence of magic. Still, within the bounds of the wizarding world, prejudice abounds” (Dawson, CJ: 2009). These characters are just teenagers; however they suffer through prejudice, betrayal, and the tough times that comes with joining a new school. The Dursleys portray the biggest prejudice against the wizarding community; this is more prominent in the books than the films, yet it is clear to see that they have always had a certain level of disdain for those different from themselves. In Deathly Hallows: Part 2 we see Petunia referring to Lily and Severus as ‘freaks’ because they have magic and this is different to her.
Figure 20: A still image showing a young Lily Evans and Severus Snape
It is not just the Dursleys that are prejudiced; it is apparent between the Muggle world, the magic world, teachers, students and all those fighting between good and evil (Dawson, CJ: 2009). Another prejudice evident throughout the series is that of the treatment of Muggles, and those Muggle-born. The world ‘Muggle’ itself does not necessarily mean something negative; it all depends on the context of the statement. Having said that, some wizards believe that those with Muggle blood are of less importance; for example, Draco has been brought up in a pure-blood family and has been taught to look down on those who have not had the same upbringing. Also, because Draco has grown up believing he is the best, he gets jealous of people who have better things than him. For example, once he finds out Harry has made friends with Ron; he tries to talk him out of associating with Ron and to become his friend. “You’ll soon find out some wizarding families are much better than others, Potter. You don’t want to go making friends with the wrong sort. I can help you there.” (Philosophers Stone: 2001).
Figure 21: A montage of still images depicting Harry Potter and Draco Malfoy
However, not all pure-bloods are this prejudiced. The Weasley’s do not believe they are superior; they accept everyone regardless of social status. “This problem of the superiority complex is also common in our society. It is common for those that are born in the upper echelons to look down on those who weren’t necessarily born to such privileges” (Dawson, CJ: 2009). It is not just Muggle-borns that the Weasley’s respect; Arthur Weasley is fascinated by Muggles. “Now, Harry, you must know all about Muggles, tell me, what exactly is the function of a rubber duck?” (Chamber of Secrets: 2002). The series isn’t completely oblivious to class.
‘The [books] not only side with the poorer Weasley family and oppose the elitist Malfoy family but also display the effects that class-based privilege can have on the psyche. From the moment we first meet him, Ron Weasley is ashamed of his family’s poverty. When Harry sees the Weasley’s house in the next book, Ron’s first impulse is to apologise for it. Draco is too damaged by his own class position: his snobby behaviour develops from being raised by a family that believes its unearned privileges of wealth and status depend entirely on merit.’ (Nel, P: 2001/2002: 43).
The message this sends to young viewers is that whilst your upbringing and family may influence you, it is up to you how you treat others. There is a certain level of social segregation between the school houses and the characters she has placed in them. Slytherin are known to be sneaky and dishonest: “There’s not a single witch or wizard who went bad who wasn’t in Slytherin” (Philosophers Stone: 2001), but Severus Snape proved in Deathly Hallows: Part 2 that not all Slytherin’s are unable to love; “After all this time? Always.” (Deathly Hallows: Part 2: 2010). Gryffindor’s are brave and loyal; however Peter Pettigrew proved in Prisoner of Azkaban that not all Gryffindor’s are loyal; “Someone did betray your parents…Peter Pettigrew!” (Prisoner of Azkaban: 2004). Hufflepuff’s are meek and good-natured; however, Cedric Diggory proves he is strong in the Triwizard Tournament; “The Hogwarts champion is Cedric Diggory” (Goblet of Fire: 2005). Finally, those in Ravenclaw are supposed to be brilliant, witty and full of themselves, however Luna Lovegood proves that not all Ravenclaw’s are stuck up; “It’s like being with a friend” (Half-Blood Prince: 2009). (Dawson, CJ: 2009). Rowling said that these class distinctions were a conscious decision having got inspiration from authors such as Roddy Doyle and Jane Austen, saying “both…write about class distinction” (cited in Oprah Magazine). She decided it would be an important asset to have social prejudices in a children’s book because “kids are acutely aware of money – before they’re aware of class…kids can be mean, very mean. Having enough money to fit in is an important facet of life – and what is more conformist than a school” (ibid).
“I do love knitting patterns”
Although never mentioned in the books or films, Rowling told a group of reporters that she wrote Dumbledore as homosexual. “I always saw Dumbledore as gay…Dumbledore fell in love with Grindelwald…don’t forget, falling in love can blind us. [He] was very drawn to this brilliant person. This was Dumbledore’s tragedy” (cited in Barrett, A: 2007). Critics, religious leaders and parents began to criticise why Rowling decided to make this respected authority figure homosexual. Robert Combs, CEO of the Christian Coalition of America, believed that “it’s not a good example for our children, who really like the movies. It encourages homosexuality” (Combs, R). He believes that children are more likely to be homosexual if they watch movies, and this is negative. Linda Harvey agrees by relating homosexuality to what is rejected in the Bible: ‘Will we allow our kids to believe it would be perfectly appropriate for the headmaster of any school to be homosexual?...will some find ways to re-cast homosexuality into something different than the ‘abomination’ it’s called in scripture? Will it become something more like a sad disability, one that the ‘mean religious right’ target for nefarious purposes?’ (2007).
Harvey believes that having a homosexual headmaster will hinder upon his ability to perform the job. The audience still sees Dumbledore as a respected, trustworthy, brilliant man who tries to protect Harry; “I thought by distancing myself from you…he’d be less tempted and therefore you might be more protected” (Order of the Phoenix: 2007). Bill O’Reilly doesn’t see the issue with him bring homosexual per se, but has a problem with how Rowling teaches children they should be tolerant with homosexuals, and that homosexuals and heterosexuals should be treated equally. The majority of those against Dumbledore’s homosexuality were Christian fundamentalists who thought that homosexuality was a sin. Discussing the controversy, Rowling told the BBC that “Christian fundamentalists were never my base” and thought it ridiculous to question if a gay person could be a moral compass in the 21st Century (Rowling, JK, cited in the New Zealand Herald: 2007). In support of Rowling’s decision to ‘out’ Dumbledore, MSNBC –American current events channel – echoed the views of most fans that “by dubbing someone so respected, so talented and so kind, a someone who just happens to be also homosexual, she’s reinforcing the idea that a person’s gayness is not something of which they should be ashamed” (MSNBC).
“Age is foolish and forgetful when it underestimates youth”
Janet Seden believes that by enjoying fictional experiences as a child, this creates “empathy in the reader and enable us to confront the need for imagination as parents and practitioners” (Seden, J: 296). As we grow, we learn to understand the differences between reality and fantasy, however, the fascination with Harry Potter is that it creates this “longing got the mysterious, the wonderful and the otherworldly that our daily experiences does not supply” (Colson, C). It is his interaction with fantasy that helps children to grow. Whilst it provides an escape route for children, Rowling has created a good role model. Harry has the added ability of magic, but more often than not, he uses his own brain and friends to prevail over adversaries.
‘The stories are full of universal themes. Learning to face up to fears, standing up for what one believes in and realising that people with different backgrounds can work together and become friends are stills that everyone could use reminding of’. (Walker, W).
There are children who come to Harry Potter from various generations; some followed the books as if the adventures were their own; some grew up alongside the movie adaptations where they could visualise themselves as the characters; and there are some who are coming to it seventeen years after the first book was published, and yet there are still the same threats to each generation as there is in Harry Potter. “The kids who grew up on Harry Potter…are the kids who grew up with the pervasive threat of terrorism, and it’s inevitable that on some level that’ll make a connection between the two” (Grossman, L: 2005). Sir Jonathan Sacks claims that in “a society in which adolescents are precociously adult, and adults are permanently adolescent,” Harry Potter has “reclaimed the kingdom of childhood, proving that you don’t have to betray to enchant” (Sacks, J). This idea that children must be old before their time can create immature and pubescent-like adults, and through Harry Potter, Rowling has taught children that they can be children, and that they don’t have to conform to this ideology just yet.
“You’ll stay with me? Until the very end?”
Few Western children fail to identify Harry Potter the boy or the phenomenon. With this kind of impact, denial of the role of Dumbledore as a social justice leader in the minds of the Millennials is hard to find. The Millennials are posed to overwhelm the impression left by youth movements from previous generations (Quartey, S: 2012). Quartey also adds that Dumbledore is empowering youth. She believes that “an entire generation of empowered individuals will dismiss the myth that youth must be the leaders of tomorrow rather than the leaders of today (ibid). She praises Dumbledore and how he has changed children’s views for the better. ‘By refusing to associate rigorousness and sternness with justice, Dumbledore builds a tolerant community of individuals prepared to adjust to shades of grey. Everyone deserves a second change. In this case, Dumbledore has determined that sometimes, several chances are necessary…Dumbledore, as any social justice leader should, teaches youth that equality, fairness, and justice are not achieved through rigid laws but by looking at the situation and the people involved: their needs, motivations, concerns and backgrounds.’ (Quartey, S: 2012).
It is this lesson that young fans of the series will take away to their adult years, and pass on to their children, who in turn may pick up the book or the film, and witness this great leader teaching them the same lesson.
Figure 22: Children of all ages dressed in Harry Potter costumes
As stated in this dissertation, it has been almost seventeen years since the first book was published and nearly thirteen since the first film was released, and yet new generations are discovering Harry’s world for the first time. It is because of this that the Harry Potter brand has become an icon, there is no evidence that the power of this brand will diminish in the near future. Rowling’s creation has “become an important part of literary history, as well as an important part of business and marketing history to be studied and emulated for many decades to come.” (Gunelius, S: 2008: 121).
Conclusion
In conclusion, this dissertation has shown a literary analysis on the topics of prominence in the Harry Potter series that may have impacted upon the series’ cultural identity and legacy.
I did not set out to prove a point or to gain a right or wrong definitive conclusion from this analysis; this dissertation shows that the wealth of pre-existing literature on the series tells a story of a phenomenon with a legacy that will continue to resonate. Of the four topics presented, it is the feminism section presents the strongest case when concerned with cultural identity within the series. Rowling created a world which represents a huge spectrum of feminist characters, to which all female readers and viewers can relate to. This dissertation looked into other characters such as Dolores Umbridge and Petunia Dursley; comparing their feminist qualities to those more prominent characters such as Hermione Granger and Ginny Weasley. A main reflection of the cultural identity of the series is the section about religion; both inside of the series and viewpoints on it. The main point that came out of it is that the majority of prominent religious writers and believers stated that the Harry Potter series is damnation and is against all that is stated in the Bible. However, fans of the series believe that it does not relay any negative religious connotations; it merely leaves any religious debates out of prominence. Even though the war and prejudice sections are reflected in how the British are perceived by others, and how we perceive ourselves. It is the prejudice section particular – in my opinion - that reflects the cultural identity that J.K. Rowling was setting out to create when she first started penning the series, twenty-four years ago. This dissertation could have resonances in different sectors such as the academic, professional and fandom. It could also benefit writers and filmmakers who wish to gain an insight into how to present a cultural identity in their stories in tune to the envious success of J.K. Rowling’s Harry Potter. On the academic side, it could be of use to those studying cultural identity within films, or within generalised circumstances. These are particular resonances that my dissertation could be related to, however, this is only linked with the pre-existing literature I have chosen to discuss. If a personal study was carried out, or different literature was studied, then perhaps other people would be interested in studying it, and other conclusions could be drawn. Having said that, there is one finding that could be bought out of this dissertation, and those academic studies on the series; and that is that the Harry Potter phenomenon will rise in popularity. As each generation comes to the series afresh, so do another set of thoughts and conclusions. I have throughout this dissertation that this is a phenomenon that will grow and grow until “there won’t be a child in our world who doesn’t know his name” (Philosophers Stone: 2001). When Rowling wrote that Professor Minerva McGonagall predicts Harry will be a ‘legend’ (Nel, P: 2001/2002: 7), little did she know that this would be truth in terms of the ‘legend’ of the series as well as the ‘legend’ of the boy.
APPENDIX A
Definitions of terms apparent in the Harry Potter book and film series:
Hogwarts – Full name: Hogwarts School of Witchcraft and Wizardry is a British School of Magic for students aged between eleven and eighteen. The name originated from the ‘Hogwort plant’ JK Rowling saw at the time of writing the books (Abel, K: 1999)
Muggles – To mean a person without magical powers. The word Muggle originated from the idea that they are a person who does not have a particular skill.
Muggle-Born – a witch or wizard (of which Hermione Granger is an example) who is born to non-magical parents.
Devil Snare – a poisonous tropical weed, first seen in Harry Potter and the Philosopher’ Stone; known for often trapping people in its grasp.
The Time Turner – a device that resembles an hourglass on a necklace that is capable of making the wearer travel in time.
Quidditch – a rough and semi-contact sport where two teams play against each other to gain the highest amount of points.
Dumbledore’s Army (DA) – A student organisation founded by Harry Potter, Hermione Granger and Ronald Weasley, to stand up against the regime of Hogwarts’ High Inquisitor Dolores Umbridge.
Gryffindor – one of the four Hogwarts houses that Potter, Weasley and Granger belong to; the other being, Slytherin, Ravenclaw, and Hufflepuff.
Death Eaters – Wizards and Witches led by the dark wizard Lord Voldemort, who seek to purify the Wizarding community by eliminating Muggle-Borns.
Veela – Semi-human, semi-magical humans with a magical ability to seduce men.
The Triwizard Tournament – a magical contest between three schools where a student from each school competes for the Triwizard Cup and a monetary prize. The contest consists of three tasks as follows: retrieve a golden egg from a dragon’s lair; find a treasure hidden at the bottom of the Black Lake; survive a shape shifting maze and reach the Cup.
Beauxbatons – Full name: Beauxbatons Academy of Magic is a witch’s only school located near Cannes.
Durmstrang – Full name: Durmstrang Institute is a wizard’s only school located near Norway.
Veritaserum – a truth telling potion.
Battle of Hogwarts – a war between Voldemort and the Death Eaters against Harry Potter and the inhabitants of the school.
The Great Hall – a vast room in Hogwarts where all meals and major events take place.
Grindylows – Small, horned, green water demons that live in the Black Lake.
The Hogwarts Express – The train that takes students to Hogwarts leaves from Platform 9 ¾ at Kings Cross Station, London and terminates at Hogsmeade Station.
Ministry of Magic (MOM) – The government headed by Cornelius Fudge, followed by Rufus Scrimgeour – not unlike Downing Street.
Levicorpus – A spell where the object or person is suspended into the air.
Inquisitorial Squad – A society put together by Dolores Umbridge; extra credit is given in exchange for information about Harry Potter and Dumbledore’s Army.
The Cruciatus Curse – The Torture Curse; one of the three Unforgivable curses, the other two being; The Imperius Curse which puts people under a spell so they must do his/her bidding; and The Killing Curse, which murders the object.
The Prophecy – A prophecy created by Sybill Trelawney that states there will be a boy born at the end of July who has the power to kill Lord Voldemort.
Appendix B
Explanations of characters mentioned in the Harry Potter book and film series:
Harry Potter – Harry is the title character. His parents are murdered when he was a baby and therefore is bought up by his aunt and uncle. On his eleventh birthday he finds out he is a wizard. He marries Ginny Weasley. Portrayed by Daniel Jacob Radcliffe.
Lord Voldemort – Born as Tom Marvolo Riddle, he is the main villain who attempts, and fails, to kill Harry throughout the series. He is killed my Harry Potter. Portrayed by Richard Bremmer, Christian Coulson and Ralph Nathaniel Twisleton-Wykeham-Fiennes.
Hermione Granger –Hermione is the main female protagonist, and the ‘brains’ of the trio. She marries Ron Weasley. Portrayed by Emma Charlotte Duerre Watson.
Ginny Weasley – Ginny is the youngest, and only, girl of the Weasley family. She becomes the love interest of Harry Potter and eventually marries him. Portrayed by Bonnie Francesca Wright.
Professor Minerva McGonagall – McGonagall is the deputy head, and transfiguration teacher at Hogwarts. She is an animagus which means she can transform into a cat. Portrayed by Dame Margaret Natalie Smith.
Professor Dolores Umbridge – Umbridge is the Undersecretary at the Ministry of Magic and the Defence Against the Dark Arts in Order of the Phoenix. She becomes the Hogwarts High Inquisitor and then the Headmistresses during this film. She is powerful, controlling and torturous. Portrayed by Imelda May Philomena Bernadette Staunton.
Bellatrix Lestrange – Bellatrix is a pure-blood witch, and also a loyal Death Eater to Lord Voldemort. She escaped from Azkaban prison with the purpose of murdering anyone linked with the Order of the Phoenix. She was killed by Molly Weasley. Portrayed by Helena Bonham Carter.
Narcissa Malfoy – Narcissa is Bellatrix’s sister, wife to Lucius Malfoy and mother to Draco Malfoy. She was never officially a Death Eater but supported her husband’s Death Eater actions. Along with her husband and son, they fled Hogwarts during the final battle. Portrayed by Helen Elizabeth McCrory.
Molly Weasley – Molly is the mother of seven children and a housewife. She participated in the Battle of Hogwarts where she killed Bellatrix Lestrange. Portrayed by Julia Mary Walters.
Lily Potter – Lily was Harry’s mother. She was murdered, alongside her husband, by Lord Voldemort. As a child she was best friends with Severus Snape, who eventually turned against her at school. Portrayed by Geraldine Margaret Agnew-Somerville.
Sirius Black – Otherwise known as the Prisoner of Azkaban, Sirius was incarcerated for twelve years for a crime he didn’t commit. He escaped by transforming himself into his animagus; a dog. He was killed by his cousin Bellatrix Lestrange. Portrayed by Gary Leonard Oldman.
Ron Weasley – Ron is Harry’s best friend and the first person he meets on his trip to Hogwarts. He marries Hermione Granger. Portrayed by Rupert Alexander Lloyd Grint.
Rose Weasley – Rose is Hermione and Ron’s first born child. Portrayed by Helena Barlow.
Hugo Weasley – Hugo is Hermione and Ron’s second born child. Portrayed by Ryan Turner.
Albus Severus Potter – Albus is the second born son of Harry and Ginny, named in memory of Professor Dumbledore and Professor Snape. Albus speaks the last line of the film series; “Ready!” Portrayed by Arthur Bowen.
James Sirius Potter – James is the first born son of Harry and Ginny, named in memory of James Potter and Sirius Black. Portrayed by Will Dunn.
Lily Luna Potter – Lily is the youngest, and only, daughter of Harry and Ginny, named in memory of Lily Potter, and after Luna Lovegood. Portrayed by Daphne de Beistegui.
Fleur DeLacour – Fleur is the Triwizard Tournament competitor for Beauxbatons Academy. She is part Veela which means she has an erotic hold over men. She marries Bill Weasley and has three children. Portrayed by Clémence Poésy.
Bill Weasley – Bill is the eldest child of Molly and Arthur Weasley. He was attacked by werewolf Fenrir Greyback and, even though he is not full werewolf, he does have werewolf tendencies. He marries Fleur DeLacour and has three children. Portrayed by Domhnall Gleeson.
Victoire Weasley – Victoire is the eldest child of Fleur and Bill Weasley. She is not shown in the movies.
Dominique Weasley – Dominique is the second born child of Fleur and Bill Weasley. She is not shown in the movies.
Louis Weasley – Louis is the youngest, and only, son of Fleur and Bill Weasley. He is the only known male with Veela blood. He is not shown in the movies.
Viktor Krum – Viktor is the Triwizard Tournament competitor for Durmstrang Academy. He is also the Seeker for the Bulgarian National Quidditch Team. He had romantic liaisons with Hermione Granger in Goblet of Fire. Portrayed by Stanislav Ianevski.
Cho Chang – Cho was a love interest for Harry in Goblet of Fire, Order of the Phoenix and Half-Blood Prince. She dated Cedric Diggory before his untimely death. She betrayed Dumbledore’s Army after being plied with Veritaserum, and so lost Harry’s trust and friendship. She married a Muggle. Portrayed by Katie Liu Leung.
Cedric Diggory – Cedric is the official Triwizard Tournament competitor for Hogwarts. During the third task of the tournament, Cedric was murdered by Peter Pettigrew on orders from Lord Voldemort. Portrayed by Robert Douglas Thomas Pattinson.
Colin Creevey – Colin was a muggle-born wizard who we first meet in Chamber of Secrets where he is petrified by the Basilisk. He is expelled from Hogwarts in Half-Blood Prince when Voldemort refuses muggle-born students admittance. He is killed by the Death Eaters during the Battle of Hogwarts after sneaking into the school. Portrayed by Hugh Mitchell.
Professor Albus Dumbledore – Dumbledore was the transfiguration teacher and later headmaster of Hogwarts. He was considered the most powerful wizard of his time. Dumbledore speaks the first line of the film series; “I should have known that you would be here, Professor McGonagall”. He was killed by Professor Snape; which we find out in Deathly Hallows: Part 2 was planned. Portrayed by Richard St John Harris and Sir Michael John Gambon.
Petunia Dursley – Petunia is Harry’s aunt; Lily Potter’s sister. She is a Muggle and despises anyone ‘different’. She, along with her husband and son, fled their house in Deathly Hallows: Part 1. Portrayed by Fiona Mary Shaw.
Arthur Weasley – Arthur is Molly’s husband, and the Weasley’s father. He works in the Misuse of Muggle Artefacts office at the Ministry of Magic, and is obsessed with anything Muggle-related. During his time there he was attacked by Voldemort’s snake Nagini. Portrayed by Mark Williams.
Dudley Dursley – Dudley is Harry’s Muggle cousin. He is obese, insolent and a bully. He was spoiled by his parents. He was nicer to Harry after he saved him from a Dementor attack. After he fled his house, he married and had two children; staying in contact with Harry and his children. Portrayed by Harry Edward Melling.
Draco Malfoy – Draco was a pure-blood wizard, and only child of Lucius and Narcissa Malfoy. He became rivals with Harry and joined the Death Eaters. Along with his parents, he fled the Battle of Hogwarts and married Astoria Greengrass and had at least one child, Scorpius Malfoy. Portrayed by Thomas Andrew Felton.
Cornelius Fudge – Cornelius was the Minister for Magic, but resigned at the end of Order of the Phoenix, after being proved wrong about Voldemort’s return. Portrayed by Robert Hardy.
Lucius Malfoy – Lucius is Draco’s father, and Narcissa’s husband. He is a Death Eater. Lucius fled the Battle of Hogwarts. Portrayed by Jason Isaacs.
Professor Severus Snape – Snape was the Potions and Defence Against the Dark Arts teacher at Hogwarts, followed by a stint as Headmaster. He fell in love with Lily as a child and never stopped loving her as an adult. He joined the Death Eaters but was still loyal to Dumbledore. He was killed by Lord Voldemort. Portrayed by Alan Sidney Patrick Rickman.
Neville Longbottom – Neville was a school friend of Harry’s. His parents were tortured by Bellatrix Lestrange when he was a baby resulting in him being brought up by his grandmother. He was a clumsy and shy boy throughout the movies, until Deathly Hallows: Part 2 where he stood up to Lord Voldemort in memory of Harry when they believed him to be dead. Neville eventually became Herbology professor at Hogwarts and married Hannah Abbott. Portrayed by Matthew David Lewis.
Peter Pettigrew – Peter was a school friend of James Potter, Remus Lupin and Sirius Black. He was in the Order of the Phoenix before becoming a Death Eater. He betrayed his friends by telling Voldemort where James and Lily were hiding, resulting in their deaths. He spent twelve years living as a rat in the Weasley’s household. Peter was killed by his own hand. Portrayed by Timothy Leonard Spall.
Hedwig – Hedwig was Harry’s snowy owl. She was killed by Harry’s own wand. Portrayed by Gizmo, Ook and Sprout.
Gellert Grindelwald – Grindelwald was known as the second darkest wizard of all time, after Voldemort. He was best friends, with romantic tendencies, with Dumbledore. He was imprisoned in his own prison – Nurmengard – by Dumbledore where he was killed by Voldemort. Portrayed by James Metcalfe Campbell Bower and Michael Byrne.
Ted Tonks – Ted was the only child of Remus Lupin and Nymphadora Tonks. He was not shown in the movies.
Fenrir Greyback – Fenrir was a werewolf and Death Eater. He was the werewolf that turned Remus Lupin and attacked Bill Weasley. It is unknown whether he was imprisoned or killed after the Battle of Hogwarts. Portrayed by David Legeno.
Andromeda Black – Andromeda was the sister of Bellatrix and Narcissa. She married Nymphadora Tonk’s father Ted (whose grandson was named after him). When her husband, daughter and son-in-law were killed, she raised her grandson alongside Harry Potter. She was not shown in the movies.
Lee Jordan – Lee was a student, and school friend of Harry’s. His life after Hogwarts is unknown. Portrayed by Luke Youngblood.
Dean Thomas – Dean was a student, and school friend of Harry’s. He was a love interest for Ginny. He was unable to prove he had any wizarding heritage and so went on the run, only to return to participate in the Battle of Hogwarts. It is unknown what happened to him after the Battle. Portrayed by Alfred Lewis Enoch.
Angelina Johnson – Angelina was a school friend of the Weasley’s. After the Battle of Hogwarts she married George Weasley and had two children. Portrayed by Danielle Tabor and Tiana Benjamin.
Padma Patil – Padma was a witch of Indian heritage who attended the Yule Ball with Ron Weasley. It is unknown what happened to her after the Battle of Hogwarts. Portrayed by Sharon Sandhu and Afshan Azad.
Pavarti Patil – Pavarti is the twin sister of Padma Patil; also a witch of Indian heritage. She attended the Yule Ball with Harry Potter. It is unknown if she survived the Battle of Hogwarts. Portrayed by Sitara Shah and Shefali Chowdhury.
Rubeus Hagrid – Hagrid was a half-giant wizard. He attended Hogwarts as a student but was quickly expelled; a case of mistaken identity. He then trained as Gamekeeper of Hogwarts and became Professor of Care of Magical Creatures. He survived the Battle of Hogwarts and stayed as gamekeeper. Portrayed by Robbie Coltrane.
Dobby – Dobby was a house-elf that served the Malfoy family until Harry set him free in Chamber of Secrets. Dobby continued to help Harry and his friends throughout the series until he was killed by Bellatrix Lestrange. Voiced by Toby Edward Heslewood Jones.
Professor Remus Lupin – Remus was the Defence Against the Dark Arts professor in Prisoner of Azkaban. He is a werewolf thanks to an attack by Fenrir Greyback. He married Nympadora Tonks and had a son, Ted. He was killed by a Death Eater, Antonin Dolohov in the Battle of Hogwarts. Portrayed by David Thewlis.
Luna Lovegood – Luna was a school friend of Harry’s. Her mother died when she was nine and so was bought up by her father. She is known as ditsy and weird, but fiercely loyal to her friends. She married Rolf Scamander and had two sons. Portrayed by Evanna Patricia Lynch.
APPENDIX C
Nazi Timeline
Voldemort Timeline
WWI ended a generation before, in 1918.
War against Voldemort ended one generation before.
Hitler arrested and jailed in 1924. In jail, he solidifies his policies.
Voldemort is a “shadows of his former self”. He schemes to regain power.
He writes Mein Kampf.
Voldemort’s diary appears.
Depression 1929-1933.
Depression in wizarding and muggle worlds
Nuremberg Race Laws of 1935 deprived Jews of their citizenship rights. They analysed how much ‘blood’ made someone Jewish.
Issue of Mudbloods in Chamber of Secrets. Treatment of house-elves. Muggle-borns must register in brutal trials, facing wand confiscation and imprisonment.
Aug 1 1936 – Olympics; a show of good relations.
Death Eater demonstration at the World Cup.
1936 – Hitler remilitarizes the Rhineland, unopposed.
Voldemort returns in Goblet of Fire, but the world doesn’t unite against him.
1936-1939 – Spanish Civil War. Hitler stands back.
Fudge and Dumbledore conflict. Voldemort stays hidden.
Churchill attempts appeasement because he can’t face another world war.
Fudge denies Voldemort’s return because he can’t face another wizarding war.
Chamberlain replaced by Churchill
Fudge replaced by Scrimgeour.
1933 – Law for the protection of people and state. Civil liberties suspended.
Voldemort takes over the ministry and newspapers. Makes a more totalitarian regime.
1933 – At a gathering of high ranking Nazi officials, Hitler declares the success of the Nazi revolution.
Voldemort summons the Death Eaters and announces his return. He intends to kill Harry to commemorate this.
1937- Jews are banned from many occupations including teaching Germans.
Muggle borns are forbidden to attend Hogwarts and their wands are confiscated.
1938 – Nazi’s order Jews to register. Jewish pupils are expelled from all non-Jewish German schools.
Muggle Registration Act. Muggle Borns are expelled from Hogwarts.
Holocaust.
Random murders of Muggles.
1939 – Hitler invades Poland, begins WWII.
Voldemort kills Scrimgeour and starts the wizarding war.
1939 – Churchill’s speech at political uncertainty.
Dumbledore’s speech at end of Goblet of Fire – “Dark and Difficult times lie ahead”.
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FILMOGRAPHY
Harry Potter and the Philosophers Stone. (2001) Dir: Chris COLUMBUS. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Chamber of Secrets (2002) Dir: Chris COLUMBUS. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Prisoner of Azkaban. (2004) Dir. Alfonso CUARON. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Goblet of Fire (2005) Dir: Mike NEWELL. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Order of the Phoenix. (2007) Dir: David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Half-Blood Prince. (2009) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Deathly Hallows: Part 1. (2010) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Deathly Hallow: Part 2. (2011) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Illustration Sources
Figure 1: A still image of Hermione Granger erasing her parents’ memories of her in Harry Potter and the Deathly Hallows: Part One. [Online] available: http://lauraview.blogspot.co.uk/2011/07/harry-potter-best-and-worst-book-to.html. Last accessed: 18/03/2014
Figure 2: A picture timeline illustrating Ginny Weasley’s transformation throughout the series. [Online] available: http://untitledoddsandends.tumblr.com/post/4701300992 Last accessed: 18/03/2014
Figure 3: A still image of Harry Potter rescuing Ginny Weasley in Harry Potter and the Chamber of Secrets. [online] available: http://www.fanpop.com/clubs/ginevra-ginny-weasley/images/868314/title/chamber-secrets-photo Last accessed: 18/03/2014
Figure 4: A still image of Harry Potter and Ginny Weasley at Quidditch tryouts in Harry Potter and the Half-Blood Prince. [online] available: http://thetwilightsaga.com/photo/with-harry-during-quidditch Last accessed: 18/03/2014
Figure 5: A still image of the Beauxbatons’ ladies entering the Great Hall in Harry Potter and the Goblet of Fire. [online] available: http://www.pinterest.com/pin/467389267549586487/ Last accessed: 18/03/2014
Figure 6: A still image taken from a gif of Ronald Weasley and Hermione Granger in Harry Potter and the Order of the Phoenix. [online] available: http://sarahsaysread.com/2013/03/29/harry-potter-readalong-hem-hem/ Last accessed: 18/03/2014
Figure 7: Molly Weasley killing Bellatrix Lestrange in Harry Potter and the Deathly Hallows: Part 2. A screen capture. [online] available: http://www.youtube.com/watch?v=o3nY3D1X4R8 Last accessed: 18/03/2014
Figure 8: A still image of Narcissa Malfoy lying to Lord Voldemort in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://phoenixfeatherbird.wordpress.com/page/6/ Last accessed: 18/03/2014
Figure 9: A still image of Professor Dumbledore and Professor McGonagall bringing baby Harry to the Dursley’s house in Harry Potter and the Philosophers Stone. [online] available: http://harrypotter.wikia.com/wiki/Minerva_McGonagall Last accessed: 18/03/2014
Figure 10: Five of Professor Umbridge’s costumes. [online] available: http://studentz.squidoo.com/professor-umbridge-costume-ideas-womens-villain-fancy-dress-for-halloween Last accessed: 18/03/2014
Figure 11: Bellatrix faced with the Cruciatus Curse in Harry Potter and the Order of the Phoenix. A screen capture. [online] available: http://www.youtube.com/watch?v=TiD1s-Tn0SM Last accessed: 18/03/2014
Figure 12: A still image of Hermione Granger and Harry Potter at his parents’ grave in Harry Potter and the Deathly Hallows: Part 1. [online] available: http://phoenixweasley.wordpress.com/category/the-lord-of-the-hallows/page/2/ Last accessed: 18/03/2014
Figure 13: A still image of Harry Potter and a deceased Professor Dumbledore in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://harrypotter.wikia.com/wiki/Limbo Last accessed: 18/03/2014
Figure 15: A still image of Azkaban Prison from Harry Potter and the Order of the Phoenix. [online] available: http://m.sfx.co.uk/2012/04/20/14-freaky-sci-fi-and-fantasy-prisons/ Last accessed: 18/03/2014
Figure 16: A still image of the Death Eaters entering the Quidditch World Cup in Harry Potter and the Goblet of Fire. [online] available: http://harrypotter.wikia.com/wiki/Riot_at_the_1994_Quidditch_World_Cup Last accessed: 18/03/2014
Figure 17: A still from a gif of Lucius Malfoy fleeing the Battle of Hogwarts in Harry Potter and the Deathly Hallows: Part 2. A screen capture. [online] available: http://lucius-malfoy-fans.deviantart.com/art/Family-Malfoy-running-away-256544543 (screen grab) Last accessed: 18/03/2014
Figure 20: A still image of a young Lily Potter nee Evans and Severus Snape in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://harrypotter.wikia.com/wiki/Severus_Snape Last accessed: 18/03/2014
Figure 21: A montage of stills of Draco Malfoy and Harry Potter in Harry Potter and the Philosophers Stone. [online] available: http://seomundodehpexistisse.tumblr.com/page/1698 Last accessed: 18/03/2014
Figure 22: An image of young children of all ages dressed up in Harry Potter costumes. [online] available: http://www.dawn.com/news/645225/harry-potter-finale-shatters-us-box-office-record Last accessed: 18/03/2014
VICTORIA BUCKNELL
DISSERTATION SUBMITTED IN PARTIAL FULFILMENT FOR THE DEGREE OF BACHELOR OF ARTS IN FILM AND SCREEN STUDIES
SCHOOL OF HUMANITIES AND CULTURAL INDUSTRIES
BATH SPA UNIVERSITY
WORD COUNT: 13,133
Abstract
Cultural Identity in the Harry Potter Films is a non-empirical evaluation of the topics of interest in the movie series that have had an impact or influence either on, or because of, British Cultural Identity. Emphasis is directed towards Feminism, Religion, War and Prejudice and how these topics have impacted upon the British legacy of the series. This dissertation does not set out to find a definitive conclusion; rather, it reflects on pre-existing literature to present a coherent analysis of the influences of Cultural Identity and Harry Potter. Drawing on a plethora of non-empirical research, this dissertation is an evaluation on what makes the Harry Potter series innately British and how these topics may have an influence on the series’ legacy and the young audiences viewing it.
Acknowledgements
Firstly, I would like to thank my teachers and my supervisor Terrence Rogers for getting me through the past seven months in one piece, and for coping with the daily emails. Secondly, I would like to thank my Dyslexia tutor Anna Croxson for spending tireless hours reading through my work and helping improve it. Thirdly, I would like to thank my family and friends for coping with a whole summer of “should I do this question? What about this one? I’ve thought of another question!” and my stress levels when I eventually settled on the first question I had thought of. Fourthly, I would like to thank my housemates who have helped me and comforted me when the stress got too much, even when their own dissertation work beckoned. Fifthly (and I think most importantly) I would like to thank Dairy Milk and Southern Comfort for always being there for me when I needed you. And finally, I would like to thank J.K. Rowling, who without her ingenious invention of this magical world, my childhood would not have been the same. An entire generation owe their childhood to her and to this skinny, shaggy black haired, bespectacled boy we have grown to know and love; Harry Potter.
Contents
Declaration…………………………………………………………………………………………………………………………..8
List of Illustrations………….…………………………………………………………………………………………………….9
List of Tables………………………………………………………………………………………………………….……………12
Introduction……………………………………………………………………………………………………………………….13
Chapter 1
National Identity
“If you must minister, but now I think I’ll have a nice cup of tea” ……………………………………….15
Chapter 2
Feminism
“The truth is you don’t think a girl would have been clever enough”…………………………………..19
Chapter 2:1
The Good
“You really are the brightest witch of your age”………………………………………………………………….21
Chapter 2:2
The Useless
“You know how I like it when they walk”……………………………………………………………………………27
Chapter 2:3
The Mothers
“Not my daughter you bitch”………………………………………………………………………………………………31
Chapter 2:4
Women of Power
“It is our choices that show what we truly are, far more than our abilities” ……………………….33
Chapter 3
Religion
“Saintlike…you see, I’m HOLEY, Fred, geddit?”……………………………………………………………………38
Chapter 3:1
Christianity vs. Witchcraft and the Occult
“Where your treasure is, there will your heart be also”……………………………………………………….41
Chapter 3:2
Representations and Reactions of other Religions
“We are only as strong as we are united, as weak as we are divided”…………………………………46
Chapter 4
War
“To the well-organised mind, death is but the next great adventure”…………………………………48
Chapter 4:1
Links to Adolf Hitler
“Fear of a name increases fear of the thing itself”………………………………………………………………49
Chapter 4:2
Death Eaters vs. Nazis
“If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals”………………………………………………………………………………………………………………………….52
Chapter 4:3
Power and Politics
“There is no good or evil: only power and those too weak to seek it”………………………………….55
Chapter 5
Prejudice
“We wizards have mistreated and abused our fellows for too long, and we are not reaping our reward”………………………………………………………………………………………………………………………..57
Chapter 5:1
Race
“No one asked your opinion, you filthy little Mudblood”……………………………………………………58
Chapter 5:2
Lycanthropy
“Someone let slip the nature of my condition”……………………………………………………………………60
Chapter 5:3
Social Class
“It’s not much, but its home”………………………………………………………………………………………………62
Chapter 5:4
Sexuality
“I do love knitting patterns”………………………………………………………………………………………………66
Chapter 6
Youth Audience
“Age is foolish and forgetful when it underestimates youth”………………………………………………68
Chapter 7
Legacy
“You’ll stay with me? Until the very end”……………………………………………………………………………70
Conclusion………………………………………………………………………………………………………………………….72
Appendices…………………………………………………………………………………………………………………………74
Bibliography……………………………………………………………………………………………………………………….86
Filmography ………………………………………………………………………………………………………………….…101
Illustration Sources…………………………………………………………………………………………………………..102
Declaration
I hereby declare that this dissertation is my own original work and that it has not been submitted for assessment at any other institution. Where other sources of information have been used they have been acknowledged.
Signed: Victoria Bucknell
Date:
List of Illustrations
Feminism
Figure 1: A still of Hermione Granger (Emma Watson) erasing her parents’ memories of her in Harry Potter and the Deathly Hallows: Part One…………………………………………………………….21
Figure 2: A picture timeline illustrating Ginny Weasley’s (Bonnie Wright) transformation through the Harry Potter series………………………………………………………………………………………….24
Figure 3: A still image of Harry Potter (Daniel Radcliffe) rescuing Ginny Weasley (Bonnie Wright) in Harry Potter and the Chamber of Secrets……………………………………………………………24
Figure 4: A still image of Harry Potter (Daniel Radcliffe) and Ginny Weasley (Bonnie Wright) at Quidditch tryouts…………………………………………………………………………………………………………..25
Figure 5: A still image of the Beauxbatons’ Ladies entering the Great Hall in Harry Potter and the Goblet of Fire………………………………………………………………………………………………………………27
Figure 6: A still of Ronald Weasley (Rupert Grint) and Hermione Granger (Emma Watson) in Harry Potter and the Order of the Phoenix………………………………………………………………………….29
Figure 7: A Still showing Molly Weasley (Julie Walters) duelling with Bellatrix Lestrange (Helena Bonham Carter) in Harry Potter and the Deathly Hallows: Part Two………………………31
Figure 8: A still showing Narcissa Malfoy (Helen McCrory) telling Lord Voldemort (Ralph Fiennes) that Harry Potter (Daniel Radcliffe) is dead in Harry Potter and the Deathly Hallows: Part Two…………………………………………………………………………………………………………………………….32
Figure 9: Professor Albus Dumbledore (Richard Harris) and Professor Minerva McGonagall (Dame Maggie Smith) leaving a baby Harry Potter on the Dursley’s doorstep in Harry Potter and the Philosophers Stone…………………………………………………………………………………………………34
Figure 10: A photograph of Dolores Umbridge’s (Imelda Staunton) costumes throughout the series…………………………………………………………………………………………………………………………………34
Figure 11: A still of Bellatrix Lestrange (Helena Bonham Carter) faced with the Cruciatus Curse in Harry Potter and the Order of the Phoenix…………………………………………………………….36
Religion
Figure 12: A still of Harry Potter (Daniel Radcliffe) and Hermione Granger (Emma Watson) at his parents’ gravestone in Harry Potter and the Deathly Hallows: Part One……………………….41
Figure 13: A still of Harry Potter (Daniel Radcliffe) and a deceased Albus Dumbledore (Sir
Michael Gambon) in Harry Potter and the Deathly Hallows: Part Two………………………………44
War
Figure 15: A still image of Azkaban Prison during the breakout as seen in Harry Potter and the Order of the Phoenix…………………………………………………………………………………………………..48
Figure 16: The Death Eaters entering the Quidditch World Cup in Harry Potter and the Goblet of Fire…………………………………………………………………………………………………………..………..51
Figure 17: A still showing Lucius Malfoy (Jason Isaacs) running away from the Battle of Hogwarts in Harry Potter and the Deathly Hallows: Part Two……………………………………………52
Prejudice
Figure 20: A still showing a young Lily Potter (Ellie Darcey-Alden) and a young Severus Snape (Benedict Clarke) in Harry Potter and the Deathly Hallows: Part Two…………………………………61
Figure 21: A montage of stills depicting Harry Potter (Daniel Radcliffe) and Draco Malfoy (Tom Felton) in Harry Potter and the Philosophers Stone………………………………………………….62
Legacy
Figure 22: Children of all ages dressed in Harry Potter costumes at a convention………………68
List of Tables
Figure 14: Table referring to all things related to Christ throughout the entire series as created by John Granger (2002)………………………………………………………………………………………………………………………45
Figure 18: Table documenting examples of prejudice; what is being prejudiced against; by whom and about whom, as created by John Granger (2002: 36)……………………………………………………………………….57
Table 19: Table comparing the similarities between Lycanthropy and the H.I.V Virus as created by an Unknown Source (2011) available at: http://www.quora.com/Harry-Potter-books-movies-and-creative-franchise/In-Harry-Potter-books-movies-and-creative-franchise-does-J-K-Rowling-use-lycanthropy-as-a-metaphor-for-HIV-AIDS............................................................................................61
As this dissertation covers a fictional topic, there is some Harry Potter terminology used throughout which can be referenced to in APPENDIX A. Also, there is a list of Harry Potter characters shown in APPENDIX B.
Introduction
Harry Potter is a phenomenon that shows no sign of disappearing. For my generation in particular – the first book published when I was four, and the first film when I was eight – saying goodbye to the series, means saying goodbye to their childhood.
Despite my generation’s protective nature of the series, other generations have come along and become fans of it, with the likelihood of more following. In a scholarly sense, it is important to study the series as it contains topics that are of concern in society; “Rowling’s work speaks directly to a number of problems we face in the non-magical world”. (Sheltrown, N: 2009: 47).
Academics, including John Granger, Richard Abanes, and Pratiksha Thanki have closely studied the series, choosing to predominantly focus on Feminism, Religion and War. My dissertation will look at those three topics, amongst others.
All of these issues will be bought back to what they say about our cultural identity and the series’ legacy. Through these issues, it is questionable what gives Harry the ability to prevail against Voldemort; was it just the love shown by his mother, his friendships or something else? Julie Foster believes that, contrary to challengers’ claims, “Potter promotes through their characters, love, bravery, self-reliance, the importance of family, and tolerance of those different from us” (Foster, J: 2001), as the main way Harry is different to Voldemort, and ultimately how he manages to destroy him.
This dissertation shall be a non-empirical discussion, using pre-existing literature, plus scenes from the series, to explore how those topics could potentially have an impact upon young audiences, our cultural identity, and the series’ legacy.
“If you must Minister, but now I think I’ll have a nice cup of tea”
There is debate concerning how Harry Potter fits in with the definition of ‘Englishness’:
“Englishness is our cultural identity. To say that Englishness is a culture is effectively the same thing as saying that England is a nation. And a nation is not simply a piece of land, a political construct or even random collection of people dwelling in the same place. A nation is a people who feel they are bound together by a culture, a history, a language, a homeland (in most cases) – in other words, a shared sense of self.” (Kingsnorth, P: 2009). As stated above, the idea of being ‘English’ suggest feeling connected to the ‘culture…history…homeland’ (ibid: 2009); something that is felt by a generation about Harry Potter. Generations feel connected to how Britain is represented, and how it reflects a mix of traditional and modernity in its exploration of Britain, as otherwise stated by Higson; “National identity is…about the experience of belonging to such a community, being steeped in its traditions, its rituals and its characteristic modes of discourse.” (Higson, A cited in Hjort, M and MacKenzie, S: 2000: 63). In film, ‘cultural identity’ can be explained in a more aesthetic way by focusing on the production, distribution and exhibition side of the movie (Campbell, D: 2002).
The 2006 Finance Act created a tax relief for British films which encouraged ‘inward investment’. For a film to qualify for said tax relief they must be certified British. This can be done through:
“being set in the UK, lead characters are British citizens or residents; a film based on British subject matter or underlying material; original dialogue recorded mainly in the English language…film represents/reflects a diverse British culture, heritage or creativity…studio and/or location [set in Britain]…and director, scriptwriter, producer, composer, lead actors” (Street, S: 2009) must be of British origin.
When we think of ‘national cinema’, we tend to think about how the medium reflects the ‘British Ideal’; however, it can also be defined as how that medium may impact upon audiences and could contribute to their watching of the film. “The parameters of a national cinema should be drawn at the site of consumption as much as at the site of production of films…the activity of national audiences and the conditions under which they make sense of and use the films they watch.” (Higson, A: 1989: 36-47). Higson argues that it is the audience’s identification with the film that truly defines ‘national cinema’.
Without the concept of ‘cultural identity’, individuals become “without an anchor, without horizons, colourless, stateless, rootless” (Hall, S cited in Baker, HA, Diawara, M, Lindeborg, RH: 1996: 176). Hall argues that without a ‘cultural identity’, one struggles to identity with a community. However, “cultural identity is not a fixed essence at all…it is not some universal and transcendental spirit inside us on which history has made no fundamental mark.” (Ibid: 1996).
Harry Potter is a quintessentially British creation; British author, British sets, locations, crew, culture and ideology. J.K. Rowling stated herself that being British means “a welfare state of which we should be fiercely proud and a tradition of tolerance and free speech we should defend to our last collective breath” (Rowling, J.K: 2009: online).
All the characters are fiercely proud of their beliefs and will defend this ideology to the death – as Lord Voldemort did and as Harry was prepared to do. Even though this dissertation has clearly defined the series as British, Aviva Chomsky has suggested that Harry Potter is a parable on US immigration rights, stating that:
“immigration, citizenship and naturalisation laws are based explicitly on discrimination on the basis of national origin. Where you were born, and what passport your carry, determine whether you have to right to come here, to visit, to work, or to live here.” (Chomsky, A: 2007).
The ‘cultural identity’ seen in the series is overall positive; however, critics have stated that it is “essentially patronising, very conservative, highly derivative, dispiritingly nostalgic for a bygone Britain” (Holden, A: 2000: online). This debate is about whether the series focuses too much on tradition than modernity; however it is this nostalgic view of Britain that foreigners look for. Luke Harding stated that Russians were buying into the Hogwarts feeling that British boarding schools have; the magical feeling. “Harry Potter…is extremely popular in Russia…Like the Roman Empire, Britain has an assimilating Culture” (Harding, L: 2013: online). To them, Britain has a tradition that is very different which appeals to their culture. In the movies, “it’s England they see in the [films]” (Ibid). The emigration of Russians to Britain brings up the issue of experiencing a culture outside of one’s own – especially in Rowling’s stories. Her employment at Amnesty International made Rowling realise that:
“imagination is what allows us to empathise with people who have suffered horribly and to act on their behalf...the danger of inaction comes from people who prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are.” (Rowling, JK: 2008: online).
When Rowling visited Harvard University in 2008, she told those graduating that “the majority of you belong to the world’s only remaining superpower…the pressure you bring to bear on your government, has an impact way beyond your borders.” (Rowling, JK: 2008: online). What she meant by this, was that our generation has the power to achieve anything, even if that means standing up to those in charge. Rowling puts powerful young people into her series to show her young audiences that anyone can save the world. When compared to their American counterparts, “British films have often come across as ‘restrictive and shifting subservient to middle-class artistic models and to middle-and upper-class values’” (Hill, H cited in Petrie, D: 1992/2008: 152). Rowling writes characters that range on the social class spectrum; all who have achieved greatness, but all have flaws. However, even though we have focused on the series’ ‘cultural identity’, it is important to note that Harry Potter isn’t mere escapism and “shows a world in which happiness can be achieved, villains can be defeated, and the means of success can be learned.” (Durante, D: 2004). These are values that make our ‘cultural identity’ what it is.
“The truth is you don’t think a girl would have been clever enough”
Female characters are of significant interest throughout the Harry Potter series despite the main characters being men. “J.K. Rowling gave the women of the wizarding world a range of characteristics, instead of pigeonholing them into the stereotype of independent, loud and smart.” (Yandoll, K: 2011) and it is this “representation of female characters in the series [that] is critical to the feminist understanding that women are all different.” (ibid). So, because of this apparent gender equality, audiences can understand the movies as a “metaphor for current societal feminist consciousness…that only masks a deeply entrenched patriarchal structure in the collective unconscious”. (Yeo, M: 2004: 2). The series contains many different female characters from students (Hermione Granger, Ginny Weasley), teachers (Professor McGonagall, Dolores Umbridge), villains (Bellatrix Lestrange, Narcissa Malfoy), to the mothers (Molly Weasley, Lily Potter). “All the woman in the series are strong, but in different ways and for different reasons…these women are so unique; and even in a fantasy series, in a world that is not ours, they feel incredibly real.” (Bowman, E: 2013).
The inclusion of such a wide range of female and male characters creates a cross-gendered setting at Hogwarts. This cross-gendered setting “appears to be both a fantastically post-feminist world where sexism no longer undermines women’s power and agency and one in which a post-feminist façade merely camouflages the [movies] rather traditional gender roles and its erasure of sexual orientation difference.” (Modleski, T: 1991).
Modleski states there are two ways of looking at this story; having a multitude of characters shows that you cannot stereotype a female as one thing, and a male as another. Although, she also states that it could be a way of disguising stereotypical female gender roles.
However, even though this exploration of female characters presents the idea that there is no female stereotype, the idea of “heteronormative heroism ultimately squelches gender equality and sexual diversity in favour of the ideological status quo.” (Mendlesohn, F: 2006). Even though the females are very important to the series’ progression, the end result always had to come from a male to male battle. It is this idea that links to the “alpha-male model of masculinity” (Pugh, T and Wallace, D: 2006) that men must be the ones to finish a fight.
This idea that men must be the ones to succeed has been picked up on by scholars such as Christine Schoefer who criticised the series as sexist, saying “the series presents a patriarchal world filled with stereotypes and adherence to the conventional assumption that men do and should run the world.” (Schoefer, C: 2000).
Another viewpoint put forward by Gallardo and Smith, states that they believe Harry himself could be seen as a female character. Harry moves from being the passive subject at home (Cinderella as servant) to being active at Hogwarts (Cinderella at the ball). This leads to the hero ‘blooming’. This link to female tales allows female readers to identify with a male protagonist. Also, Harry tends to prefer the feminine symbols such as caves, instead of phallic symbols such as the sword. Thirdly, his obsession with ‘otherness’ such as giants and house-elves opens the narrative to gender critique. Fourthly “though the…series does not support radical feminism, it is radical as children’s literature and therefore has ample material to support feminist readings” (Cited in Anatol, FL: 2003).
This dissertation will now move onto looking at some of the female characters in detail.
“You really are the brightest witch of your age”
Hermione Granger
Hermione Jean Granger is a Muggle-born witch and the main female protagonist. She was born in 1979 to dentist parents. After their adventures ended, she returned to Hogwarts to finish studying. She married Ron Weasley and had a daughter named Rose and a son, Hugo. Emma Watson portrayed Hermione in all eight films. (imdb. Online).
Hermione is a role model for young girls due to her feminist traits. She relies on her intellect rather than her looks to help herself and her friends. She is outspoken and will do anything in order to save her loved ones; in Deathly Hallows: Part 1 she removes all memory of her from her parents’ mind so they would be safe.
Figure 1: A still image of Hermione Granger erasing her parents’ memories of her
“Hermione is repeatedly the truth-sleuth, comfortable in the library, who finds the clue that makes sense of the mystery at hand. She is always the one standing at a crossroads pointing the way”. (Grynbaum, GA: 2011: 8). Without Hermione, the trio are unlikely to have survived the series: examples ranged from her getting past the Devil Snare trap in Philosophers Stone (2001); discovering the Basilisk is using the pipes in Chamber of Secrets (2002) and using the Time-Turner to save Sirius Black in Prisoner of Azkaban (2004). “Where else in cinema or a big film franchise is there a female character that is not just supplementary or additional or the pretty face. She’s a breakthrough, I think. She’s like the brains behind the whole operation. And she’s so integral to that trio and to Harry’s success. I think she’s a very important figure.” (Watson, E; online)
Being Muggle-born (seen as a disadvantage) is a respectable trait for fans as it “makes her an even more accessibly heroine” (Hibbard, L: 2011). Removing her magic, she is almost relatable. Her time is spent studying so she is well learned; and so, young girls believe that if they work hard then they can achieve greatness. Doyle explains why this ‘disadvantage’ actually comes to be the most important quality of the characters:
“Hermione is not chosen. That’s the best thing about her. Hermione is a hero because she decides to be a hero; she’s brave, she’s principled, she works hard, and she never apologises for the fact that her goal is to be very, extremely good at this whole ‘wizard’ deal…Hermione is never comfortable with relying on her ‘gifts’ to get by. There’s no prophecy assuring her importance; the only way for Hermione to have the life she wants is to work for it…Hermione saves the day, over and over; in every book, there is a moment where her classmates need to be saved, and they need a plan that is going to save them, and they inevitably turn to Hermione, ‘the brightest witch of her age’, Hermione always comes through; she has the plans, she saves them all.” (Doyle, S: 2011).
Doyle backs up what other scholars think of Hermione. She doesn’t let her background stop her from saving the day. She has faith in herself and has abilities as a witch. (Mayes-Elma: RE: 2003); it is this intellect that creates a positive character; “she is a perfect example that possessing information and knowledge leads to power” (Dresang, ET: 2002: 211-242). Hermione “throws a wrench in the ‘men-and-women-can’t-really-be-just-friends theory’ (Hibbard, L: 2011: online). She works intelligently alongside Harry, platonically. For women wanting to be appreciated for their talents and work in tandem with men, the fictional friendship is empowering” (ibid). In creating a character who stands up for herself, “Rowling has succeeded in developing the character of a child who transforms herself into a young woman…[who] does not ‘lose her voice’” (Dresang, ET: 2002: 211-242). Having said that, some critics believe Hermione is the stereotypical feminine character – in the most negative way. Mayes-Elma believes that because Hermione is studious and participates voluntarily in class, she is mirroring society’s constructions of girls (2003). For most, this studious feel is encouraging for young girls. However, Yeo picked up on that even though Hermione’s intelligence does save the trio several times, she is often the passive character. In Chamber of Secrets, she is transformed into a cat – which is associated with the feminine – and then she spends the rest of the film petrified, and therefore silenced. (2004: 1-10). Cherland picked up on the idea that “Hermione often serves as a foil for Harry” (2008-2009: 273-282). This means that Rowling has created a character that cries or runs away when stressed, and always refers back to books for help. In comparison to Harry, he appears “cool, calm, and capable of acting independently” (ibid). However, even though Hermione expresses these ‘feminine’ traits of emotion – Harry’s reactions are not picked up on. Although he doesn’t cry or run away, but he shouts “you think I don’t know how this feels” (Deathly Hallows: Part 1: 2010); swears; “You’re a right foul git” (Goblet of Fire: 2005), and isolates himself; “perhaps it’s best to go it alone” (Half-Blood Prince: 2009); as a result, the comparison between Harry and Hermione demonstrates it is her who appears ‘cool, calm and capable of acting independently’.
Ginny Weasley
Ginevra ‘Ginny’ Weasley is the youngest and only girl of the Weasley family. She is feisty and stubborn, with a sarcastic sense of humour, and unwavering popularity. She starts her Hogwarts journey by being manipulated by Lord Voldemort before becoming a hero in her own right. She marries Harry and has two sons, Albus Severus and James Sirius, and one daughter Lily Luna. Bonnie Wright portrays Ginny in all eight films. (imdb: online).
Ginny begins the series as a “giggly Harry Potter fan” (Harry Potter Philosophy: online), before turning into a mature young lady. In Order of the Phoenix she is described as a girl with a “long mane of red hair” (Rowling, JK: 2003: 66) rather than a “small and red-haired girl” (Rowling, JK: 2000: 51).
Figure 2: A picture timeline of Ginny Weasley’s transformation throughout the series
She is often seen as weak and bait, which is why Voldemort used her in Chamber of Secrets as he knew Harry would rescue her.
Figure 3: A still image of Harry Potter rescuing Ginny Weasley from the Chamber of Secrets.
However, she doesn’t move away from this subordinate behaviour; instead becoming a woman who is not afraid to challenge the establishment when she joins Harry to learn the dark arts. (Harry Potter Philosophy: online).
It is often seen as negative that all of her actions seem to revolve around Harry. On the website Harry Philosophy Potter, they state that Ginny remains calm when Harry is immune to her romantic advantages “like the strong, independent and mature girl she has become” (ibid: online). However, Ginny never becomes fully independent away from Harry. ‘I believe it took her courage to move one, but she still got into problems where she needed Harry’s assistance …having said that, once Harry leaves to hunt down Horcruxes , she is left with the task of running Dumbledore’s Army’ (Bowman, E: 2013)
Running Dumbledore’s Army could result in expulsion or imprisonment, which does that her loyalties lie with the right side. With seven brothers, Ginny has been surrounded by masculinity forever, and this includes ‘masculine’ hobbies such as sport – in this case, Quidditch. “She never ever allows her brothers’ superior masculine attitude to prevent her from being an ace player in a sport she loves” (Harry Philosophy Potter: online). Harry picks Ginny to be his vice-captain on the Gryffindor team, while Ron has to try out for a place. This love of sports suggests a masculine quality behind her feminine exterior.
Figure 4: A still image of Harry Potter and Ginny Weasley at Quidditch try-outs
Ginny has previously portrayed non-feminine characteristics such as arguing with her best friend. In Half-Blood Prince (2009), she stands up to Hermione regardless (or in fact of) their strong friendship – this shows she is not afraid to stand up for what she believes is right. (Rowling, JK: 2005).
Similarly with Hermione, some academics are negative about Ginny: “[In today’s] time of third-wave feminism that celebrates ‘girl power’ (Aapola, Gonick and Harris, 2005; Gonick, 2006), other newer discourses are circulating…girls like Ginny Weasley may be positioned as immoral or impure, but they can speak themselves into another existence by taking up different subject positions”. (Cherland, M: 2008-2009: 273-282).
Ginny could be seen as ‘impure’ because her focus tends to be on pleasing Harry. However, she proves she is intelligent and strong and independent. Having said that, whenever Ginny gets into trouble, it is always Harry who rescues her; “another example in a lone line of texts where girls and women were included [as] typecasts. They…watched boys, cried, needed help” (Sadker, M and Sadker, D: 1994: 71). A lot of the existing academia about Ginny revolves around her need to please Harry. There is no prominent focus on her achievements away from him, which range from getting into Gryffindor house, performing advanced spells and surviving in the face of death. There needs to be more focus in future research on Ginny as an independent character, rather than just focusing on her as someone always one step behind Harry.
“You know how I like it when they walk”
Fleur DeLacour
Fleur Isabelle Delacour is a French witch from Beauxbatons Academy. She is part Veela and uses her power to entice men to her advantage. She is picked as one of the Triwizard Tournament competitors. She marries Bill Weasley and has three children; Victoire, Dominique, and Louis. Clemence Poesy portrays Fleur in four films (imdb: online).
Fleur’s beauty plays a major part in her storyline; this is evident through the names. Beauxbatons itself references beauty (Beaux in French means beautiful), likewise, the name Durmstrang references strength and violence. (Cherland, M: 2008-2009: 273-282). Fleur translates to ‘flower’, Isabelle is a play on the translation for ‘beauty’, and Delacour means ‘of the court’.
The Beauxbatons’ ladies’ figures are of significant focus. When first entering the Great Hall, the camera pans to show the audience what the boys are looking at – their moving buttocks. Their tight dresses show off their figures, and we see that all pupils are beautiful.
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Figure 5: A still image of the Beauxbatons’ ladies entering the Great Hall.
In Goblet of Fire, Fleur rewards Ron and Harry with two kisses each for rescuing her sister – an act of gratitude playing on her sexuality. In the movie, Ron is shown to fancy Fleur, with him stating he “likes it when they walk” (Rowling, JK: 2005), which is another statement concerning her physical appearance.
Veelas are famous for having seductive magic (unknown: Harry Potter Wiki: online), which poses questions as to whether men are actually attracted to Fleur, or just to her Veela quality. “It is the understanding that female people are different from normal people. Girls and women are sexual beings with dangerous power over men.” (Cherland, M: 2008-2009: 273-282).
The obsession with her beauty could create a negative aspiration for young girls. “I think it is important to note that Fleur’s beauty is mentioned frequently, and this may make the subject position she occupies (as the weak and irrational one) more desirable for girls to take up”. (Cherland, M: 2008-2009: 273-282). The appeal of being beautiful is always of great interest, and the fact that Rowling wrote a prominent character whose sole purpose is to be the ‘eye-candy’, creates an un-feminist outlook on how women need to be beautiful.
Having said that, Fleur is talented enough to participate in the Triwizard Tournament – however she doesn’t achieve much. In the movie version of Goblet of Fire, we don’t see her finish task one, but in the book we see that her clothes get set on fire before almost failing the task (Rowling, JK: 2000: 308). In the second task, she is attacked by Grindylows and fails to save her sister, relying on Ron and Harry to save her (Rowling, JK: 2000: 437).
Finally, in the third task, she is overpowered by Viktor Krum, before Harry saves her (Rowling, JK: 2000: 542). This shows that Fleur is portrayed as the useless, weak woman who must rely on the help of men to get her through dangerous tasks.
Cho Chang
Cho Chang is Harry’s first love when they meet in Goblet of Fire (2005). In the space of two movies, they go from being crushes, to friends, to partners, and back to friends. She marries a Muggle after Hogwarts – it is unknown if they had any children.
Cho is a two-dimensional character, her only capability being attracting men. In Goblet of Fire, she turns down Harry, and then dates Cedric; later accepting Harry after Cedric’s death. There is very little focus on her magical ability or strength as an individual. Dealing with dilemmas over the opposite sex is traditionally a feminine trait.
“Hermione: Don’t you understand how she must be feeling? Well, obviously she’s feeling sad about Cedric, and therefore confused about liking Harry, guilty about kissing him, conflicted because Umbridge is pressing to sack her mum from the Ministry, and frightened about failing her OWLs because she’s so busy worry about everything else.
Ron: One person couldn’t feel all that. They’d explode!
Hermione: Just because you’ve got the emotional range of a teaspoon.” (2007)
Figure 6: A still image of Ronald Weasley and Hermione Granger.
Figure 6 in Order of the Phoenix (2007) coincides with the patriarchal theory of how different genders deal with emotions. We assume Cho is talented –, but, her crush on Harry threatens herself and others. Whilst performing the Levicorpus spell in a Dumbledore’s Army session, she is distracted by Harry resulting in Colin Creevey crashing to the floor. Other characters also view Cho as weak. The Inquisitorial Squad take Cho from Dumbledore’s Army and ply her with Veritaserum in order to get the truth from her. They choose Cho for reasons two-fold: 1) she can be easily manipulated, and 2) similarly to Ginny, Harry will always rescue her. So therefore, she is just another character whose weakness is her ability to love.
“Not my daughter you bitch”
‘Motherhood is an important motif; Petunia Dursley, Molly Weasley and Narcissa Malfoy – even Lily Potter is felt throughout the series. Ultimately it was his mother’s love what saved Harry from Voldemort’ (Yandoll, K: 2011).
Molly Weasley
Molly Weasley is the mother of seven children, but takes in Harry and Hermione as her own. She is married to Arthur Weasley and is a housewife.
Molly is a loving mother and wife who cares deeply for her family, however her children are embarrassed by her expressions of love, especially when she knits Ron ugly sweaters. However, it is this love that means she chooses to face Bellatrix single handed. This could be an unwise decision given that Bellatrix is in Voldemort’s upper echelon which means she is a very powerful witch. It is Molly’s unexpected strength that saves her.
She is known throughout the series as an overprotective housewife, but this final duel shows her breaking out of her “usual role of tending to the home front…to kill her murderous adversary while shouting an utterly satisfying expletive” (Pugh and Wallace; 2006). It is this utterance of “not my daughter you bitch” (Deathly Hallows Part 2: 2011) that gives Molly a sense of power that mothers can relate to; when a child is threatened, said mother is willing to stare death in the face to protect them.
Figure 7: A still image of Molly Weasley during the Battle of Hogwarts.
Petunia Dursley Despite her Muggle status, Petunia Dursley doesn’t differ far from her sister in terms of the love they have for their sons. Dudley is the only character we see that is treated with respect by Petunia. She showed the “ability to define one’s own goals” (Kabeer, N: 1999: 435-464). She yeans so badly to be part of a ‘normal’ in a ‘normal’ society that she is willing to turn her back on her own family. In a deleted scene from Deathly Hallows: Part 1 (2010), Petunia tells Harry, “You didn’t just lose a mother that night in Godric’s Hollow, you know. I lost a sister” (2010). This is the only time we see her have compassion towards someone other than Dudley. The fact that Dudley is shown as her pride and joy and she refuses to associate with anyone of Harry’s ‘disposition’ says a lot about her identity.
Narcissa Malfoy Surprisingly, Narcissa Malfoy is not dissimilar to Petunia in that her family means the most to her; she only joined Voldemort’s army because her husband Lucius, was a Death Eater. But Narcissa cares mostly for her son, Draco’s safety. In Deathly Hallows: Part 2 (2011), Voldemort sends Narcissa to check Harry is dead. She notices instantly that he is still alive, but after asking him “Draco, is he alive?” (2011), she turns around and says, “Dead!” (2011). She knowingly lies to the most powerful dark wizard, but as a mother, she knows that she wouldn’t want anything to happen to her own son, so in a subtle way, she gives Lily her son back.
Figure 8: A still image showing Narcissa Malfoy lie to Lord Voldemort.
“It is our choices that show what we truly are, far more than our abilities”
Minerva McGonagall Minerva McGonagall is not a mother, but being an authority figure at Hogwarts, she has an adoptive motherhood with her students (especially Harry). She is the first adult female to show Harry any ongoing compassion. The idea that McGonagall is the compassionate ‘mother’ whilst Dumbledore is the ‘breadwinner’ follows the patriarchal order of society. However, McGonagall is a respected member of the teaching staff, and in the Wizarding Community as a whole. Dumbledore believes in her abilities and makes her his deputy head. Unlike others, she stands up to Dumbledore – a trait she shares with Harry. When Dumbledore suggests that they leave Harry with the Dursley’s she protests, saying “they are the worst sort of Muggles imaginable” (2001). Her ability to stand up to Dumbledore, and to still be respected, shows that she has confidence in her abilities. She never strays away from her goal as Yandoll states when he says that “some characters are all intelligent and driven such as Aunt Petunia and Professor McGonagall” (Yandoll: 2011). This comparison between ‘mothers’ comes into play again in Deathly Hallows: Part 2 (2011), where she is faced against certain peril in the Battle of Hogwarts; yet, she remains calm, brave and strong. However, at times she does play into society’s gender constructions that women need to be told what to believe by men. In Philosopher’s Stone (2001), she refuses to believe that Voldermort has murdered the Potters until Dumbledore tells her directly:
McGonagall: Are the rumours true, Albus?
Dumbledore: I’m afraid so, Professor. The good…and the bad.” (2001).
Figure 9: A still of Professor Dumbledore and Professor McGonagall with baby Harry Potter.
These rumours are unlikely to be falsified; however she believes Dumbledore is the only person who will know the truth. By accepting society’s construction, she is forming her own identity. “McGonagall is smart, but not wise, powerful or brave” (Mikulan, K: 2009: 289). Although she is a woman in charge, she still accepts the construction that women are subordinate to men, and she doesn’t question or reject it at any point.
Dolores Umbridge Dolores Umbridge follows society’s construction that women must like pink. As she gains more power, the pink in her costume gets stronger. This could go against the idea that strong women do not like pink. She stands up for the way females have been constructed and proves that, whilst she may not be the fairest judge, she is a capable leader.
Figure 10: Five of Professor Umbridge’s costumes.
In Order of the Phoenix (2007), she tries to usurp all powerful men. Firstly she grows close to Cornelius Fudge – perhaps to get his job as Minister for Magic; secondly she attempts, and succeeds to take Dumbledore’s job as Headmaster; and thirdly, even though she doesn’t want to take his place, she refuses to believe Voldemort is back, meaning one less powerful man she must usurp. She tends to portray traits not necessarily associated with the feminine, including: racism (Bowman, E; 2013) “You filthy half-breed!” (2007); and torture, “The Cruciatus Curse ought to loosen your tongue” (2007). These are traits historically linked to male leaders such as Hitler, and not very often reflected in female leaders. So, by doing this, Umbridge carves out an identity for herself that goes against society’s construction of how a woman should behave.
Bellatrix Lestrange
Bellatrix Lestrange refuses to accept society’s constructions of females in terms of her looks and behaviour. She has no interest in her appearance, focusing instead on her magic, power, and loyalty to Voldemort. She believes that this loyalty will make her Voldemort’s favourite, rather than having to rely on her looks and sexuality to make him notice her – not unlike how Hermione behaves. Bellatrix is similar to McGonagall in the sense that when she is in power, she is strong and likens herself to Voldermort. However, she quickly becomes defeatist when out-dominated, not only by Voldemort but also by Lucius Malfoy and Severus Snape. Not to the same extent, but Bellatrix could be compared to Umbridge as being a sadist (Bowman, E: 2013). There isn’t evidence suggesting Umbridge enjoys watching people in pain, but she is not against violence. Bellatrix on the other hand clearly gets pleasure as a result of inflicting pain, or receiving it. In Order of the Phoenix (2007), she portrays enjoyment in pain no less than three times in a single scene. She laughs at the memory of torturing Neville Longbottom’s parents, “Neville Longbottom, isn’t it? How’s mum and dad?” (2007); gloats about killing Sirius Black, “I killed Sirius Black!” (2007); and then pretends it’s a game when Harry attempts to curse her, “You coming to get me? He knows how to play. Itty-bitty-baby-Potter” (2007).
Figure 11: A still image of Bellatrix Lestrange faced with the Cruciatus Curse.
She has her own feminist identity, not affected by, or in effect, of any other character; an identity she has made for herself to help her live the life she has chosen.
J.K. Rowling Joanne Rowling one of the most powerful woman in Harry Potter, as a result of her writing the series. She had a challenging adulthood; losing her mother when she was twenty-four years old; her turbulent marriage with Jorge Arantas, a Portuguese Journalist ended in domestic violence, one miscarriage, one daughter and one divorce; her move to Edinburgh to live with her sister led to her developing depression and later contemplating suicide. Here she ended up impoverished and on benefits and often took her daughter to local cafes where she would write. Nevertheless, she refused to give up on her dream and worked through adversity to achieve it. Furthermore, in writing Harry Potter, she has placed her own traits and abilities in her female characters. ‘I’m a female writer, and, what’s interesting about the Wizarding World is, when you take physical strength out of the equation, a woman can fight just the same as a man can fight, a woman can do magic just as powerful as a man can do magic and I consider that I’ve written a lot of well-rounded female characters in these books.’ (Rowling, JK in Bowman, E: 2013).
Considering Rowling was so determined to have these well-rounded, independent women in her books, it was surprising when she was told to eradicate her gender and become J.K. Rowling, rather than Joanne, has publishers feared boys wouldn’t read a book written by a woman. (Yandoll, K: 2011).
“Saintlike…you see, I’m HOLEY, Fred, geddit?”
The series has presented links to religion – either intentional or subliminal – which have been perceived in a negative way by critics. One key issue is the link between Harry and Jesus, and Voldemort link to Satan. Neal supports the claim that Voldemort “represents Satan, in a struggle between good and evil that helps young readers make moral decisions” (cited in Person, J). However, she doesn’t necessarily denote that Voldemort being Satan is negative. Rather, she suggests that it helps children determine what is right and wrong. Foster believes that Rowling’s depictions of evil are comparable to characters in the Bible saying that “characters struggle within themselves. But no worthwhile book, the Bible included, has only plastic people” (Foster, J: 2001), so the evil characters portrayed in Harry Potter confront children with a strong moral drive about how to respond to evil. Foster does have a negative view on the extent of evil scenes shown in the series, suggesting it introduces children to “human sacrifice, the sucking of blood from dead animals and possessions by spirit beings” (Foster, J: 2001) she supports this by using a scene in Philosophers Stone (2001) where Harry witnesses Voldemort drinking the blood of a Unicorn to stop himself dying. This suggests that slaying innocent creatures is acceptable if done to save your own life. in doing so, “[Rowling] has introduced values that are contrary to the Biblical message” (Berit Kjos, cited in Mudhar: 2007). Abanes believes that whilst the series does “set up a clear opposition between good and evil (Blake, 96) [that] would be similar to that of The Lord of the Rings or the Narnia series”, in identifying with Harry, “we are supporting a hero who lies, cheats, and breaks school rules as and when he feels like it” (Blake, 97). Abanes, a self-proclaimed Christian, believes these actions are against God and the series promotes similar behaviour in children. However, Rowling has been compared to the “Inklings, a group that included C.S. Lewis, J.R.R. Tolkien and Charles Williams, who explored Christian themes and morality in a fantasy context” (Gudgel, M: 2005). Others disagree with this; “if anything, the magic in Rowling’s world is even more emphatically imaginary, even further removed from real world practices, than that of Tolkien or Lewis” (Greydanus, S). As a result, this makes it easier for children to differentiate between real behaviour and not. Some parents argued that the series is positive as a result of it teaching their children about religion. Colson plans to “use the Potter craze” to tap into what will “lead kids to the real thing” (Colson, C). Consequently, some parents may use the series as a springboard for other discussions about their faith; it also teaches children about how to live their lives. Gerson, described the subversive nature of the series in the answer it offers to death. Voldemort believes death must be beaten, whereas Harry accepts dying for the sake of love. Gerson suggests that men “believe – not in spite of their faith but because of it – that half-bloods, werewolves and others should be treated with kindness and fairness. Above all, believers are called to love, even at the highest cost” (Gerson). L’Osservatore Romano agrees that it teaches children how to determine between good and evil. “There is a clear line of demarcation between good and evil and [the film] makes clear that good is right. One understands as well that sometimes this requires hard work and sacrifice…the search for immortality epitomised by Lord Voldemort” is morally wrong (Cited in Squires, N: 2009). The love of the series appears to be universal however there are some who refuse to think of it as positive. 7% of Americans have a negative view on Harry Potter, 52% positive and 41% unsure (Jones, JM: 2000). This compares with 33% who identify themselves as Evangelical (Carroll, J and Newport, F: 2005) and 39% who take the Bible literally. However, there is no evidence that the negative views were a result of their religion; in fact, some argue that Harry Potter goes out of its way to avoid discussing religion at all (LaVaque-Manty, M: 2005), so this negativity could just be personal taste. Debate has occurred about whether Rowling consciously put religious connotations in the series, or whether they were merely evidence of her vast religious knowledge; for example, she chose the name Hedwig for Harry’s owl, which is the name of the patron saint of orphans (Nel, P: 2001/2002: 32-33). However, when approached about the reasons behind including religious ideas into her series, Rowling retaliated by saying:
“I absolutely did not start writing these books to encourage any child into witchcraft. I’m laughing slightly because to me, the idea is absurd. I have met thousands of children and not even one time has a child come up to me and said, ‘Ms Rowling, I’m so glad I’ve read these books because no I want to be a witch.’” (CNN).
“Where your treasure is, there will your heart be also”
A majority of criticism on the series is focused on how practicing witchcraft and worshipping the Occult goes against religious practices. “Most viewers of the Harry Potter series see them as harmless, adventurous, children’s tales. Others choose to portray them as stories that inspire children to become involved in the occult and serious witchcraft.” (Woodrum, E). Weiss believes that two quotes found on the tombstones at Godric’s Hollow “almost epitomise the whole series” (cited in Adler, S: 2007) as far as reflections on Christ go: “and the last enemy that shall be defeated is death” which is featured on Harry’s parents’ gravestones refers to Christ’s victory over death (2007).
Figure 12: A still image of Harry Potter and Hermione Granger at his parents’ gravestone.
The quotation on Dumbledore’s family tomb, “where your treasure is, there our heart will also be” is from Matthew 6:21 and refers to knowing which things in life are of true value (Brown, NC: 2007). The negative criticism tends to focus on the satanic subtexts – particularly via Voldemort. Mark Luney and Orlaith Graham-Wood believe that evil is the main fixation in the series through the excessive nods towards Voldemort and that “God is a non-person” (2001-2002: 21-22). They believe that these links to Satan overpower any mentions of God. This rejects earlier points that critics believe it is this fight between good and evil that gives young viewers a moral compass. Caryl Matrisciana, an occult expert and filmmaker, believes that some children may become attracted to the “magical world Harry lives in” and subsequently will attempt to create their own spells or turn to other books of witchcraft (cited in Foster, J: 2001). Abanes agrees that the stories could easily wake up a child’s yearning to know more about witchcraft. “Rowling seamlessly weaves into her [novel] countless references to ancient and modern occultism, sometimes hiding them in people’s names or disguising them in minor characters” (Abanes, R: 2001: 24). He admits that whilst he isn’t concerned about the type of witchcraft taught, he is concerned about “the allusions [that] could easily stir a child’s curiousity about occultism [?] perhaps enough for that child to one day dabble in it” (Abanes, R: 2001: 24). Jeremiah Films – a Christian production company – states that the messages in Harry Potter could harm young audiences; “Harry’s world says that drinking blood brings new life, demon possession is not spiritually dangerous, and that passing through fire, contacting the dead, and conversing with ghosts, others in the spirit world, and more, is normal and acceptable” (cited in Matrisciana, C). Others agree with these hidden subtexts, with some suggesting that Rowling deliberately added negative connotations to her stories.
‘Christian critics said that the 11-year old broomstick was a phallic symbol, the lightning bolt scar on his forehead a Nazi swastika (or the mark of the Antichrist), and the death of Harry’s mother in place of her son was a deliberate effort to turn the male-centred, Christian salvation story into a goddess-worshipping avenue to witchcraft.’ (Gibson, D: 2001).
It is these satanic messages that caused several priests to ban the movies being filmed at their churches. In 2000, the Dean of Canterbury Cathedral at the time – John Simpson – refused to allow his church to be filmed at Hogwarts, saying it was unfitting for a Christian church to be used to promote Pagan imagery (Unknown: 2004). In 2004, once it was confirmed that Stanislav Lanevski had been cast to play Viktor Krum in Goblet of Fire, the Bulgarian Orthodox Church handed out pamphlets that stated “magic is not a children’s game”, and notified citizens that the holy synod had advised that a church in Sofia hold special liturgies to cure those afflicted by spells or possessed by evil spirits. They claim that by reciting a Harry Potter spell, it “is as if you are praying to evil” and that “God hates magic” (Leviev-Sawyer, C: 2004).
Hetrick agrees that whilst “[they contain] some powerful and valuable lessons about love and courage…the positive messages are packaged in a medium – witchcraft – that is directly denounced in scripture” (cited in Kurtz, H: 1999). He believes that Rowling should have thought of a more acceptable way to show children this positive message rather than through witchcraft. Clearly, the message is that good triumphs over evil; however, “the distinctions between Potter’s good magic and Voldemort’s are not clearly defined at all. Both use incantations, spells and potions. The theme of vicarious sacrifice is undermined and overthrown” (Luney, M and Graham-Wood, 0: 2001-2002: 21-22).
It is clear, however, to the average viewer, that these distinctions are obvious as we know Harry is right, and Voldemort is wrong. However, they both use similar magic to reach their purpose so we cannot always decide on the outcome. The magic performed in the series is “purely mechanical, as opposed to occultic…[It’s not] the kind of real life witchcraft the Bible condemns” (Olsen, T: 2007). This suggests that the series does show the seriousness in which witchcraft should be taken; however, it is not to the same degree as is disapproved of in the Bible.
On the other hand, Walker believes the series does not “glorify violence, advance witchcraft, or promote anti-family sentiments” (Walker, W); instead, they are themes only in place to convey a story. John Granger believes that: ‘Harry Potter as ‘son of God’ is not a symbol of Jesus Christ, but of humanity pursuing its spiritual perfection in Christ. Harry Potter is everyman, hoping to live as God’s image and likeness, now and in joy for eternity. Harry certainly rises from the dead at the end of Deathly Hallows as a symbol or type of Christ and his Resurrection, but the parallel readers are meant to draw is less about Harry being an allegorical Christ stand in than examples of power of faith and love in overcoming interior and real world evils.’ (2004).
Cardinal George Pell agrees by saying that Harry Potter displayed values that are “deeply compatible with Christianity” (Pell, G: 2007). The then-Archbishop of Canterbury George Carey added a mention to Philosophers Stone in his New Year message for 2002, calling it “great fun and a film that asks some very real questions on moral issues” (Carey, G: 2001). Although some believe that the existence of God in the series was not clear, Harry in Deathly Hallows: Part 2 shows a prominent Christ-like ability when he comes back from the dead. Miller states that: ‘Harry dies and then comes back to life like Christ, to save mankind. When he is temporarily dead, it places Harry in a very Heaven-like setting where he talks to a father figure whose supernatural powers are accompanied by a profound message of love’ (2007).
Figure 13: A till image of Harry Potter and a deceased Professor Albus Dumbledore
It is these parallels that make it difficult to believe that the basis of the series is satanic. Granger (2002) created a table that referred to all the Christ related themes through the series:
Symbol
Meaning
Therefore
Philosopher’s Stone
Transforming Lead to Gold = immortality.
Fount of “Elixir of Life” = Communion
Christ
Red Lion
Life-giving alchemical elixir; Aslan
Revelations 5:5
Christ
Gryffindor (Golden Griffin)
Eagle/Lion = Kings of Heaven/Earth = God/Man = two natures of Christ
Christ
Unicorn
Biblical references: Numbers, Psalms, Job Christian tapestry & Literary tradition
Christ
Phoenix
Resurrection bird; immortal life
Medieval literature topos
Christ
Stag
Tradition: “Tree of Life” in antlers
Regeneration of Antlers = resurrection
Christ
Centaur
Perfect man in control of passions
Christ riding donkey into Jerusalem
Christ
Hippogriff
Eagle/Lion/Horse, Heaven/Earth, God/Man.
Two natures of Christ.
Christ
Figure 14: Granger (2002) table referring to all things related to Christ in the series Figure 14 shows that, whether intentionally or not, Rowling has littered the series with Christ connotations. It contradicts the majority of negative criticism by arguing; how the series can be negative if everything relates back to Christ. Harry’s resurrection represents the “Biblical myth of the second coming of Christ. Harry becomes stronger and determined in his quest of achieving peace for the wizarding community. In his struggle, he comes back from the gates of death” (Thanki, PH: 2011).
Blake believes that whilst there are some connotations to Christ in the series, it isn’t overly evident. He concludes that “Harry Potter isn’t anti-Christian – the faith just isn’t here” (cited in Blake, 98). He believes that children can enjoy Harry Potter along with the plethora of other children’s stories that avoid discussing religion. It is clear to see from the evidence above, that like critics, “Evangelical Christians are divided on the Potter issue. Some regard it as positive, others neutral, and others as evil” (Luney, M and Graham-Wood, 0: 2001-2002: 21-22).
“We are only as strong as we are united, as weak as we are divided”
Despite most criticism regarding the series being Christianity based, critics from other religions have also questioned the series. There does seem to be a balance between the negative and positive with other religions. A number of Islamic scholars have argued that the series’ magical themes conflict with Islamic teachings (Baig, K: 2003; Noah, U). A series of online Fatawa (an Islamic ruling) have been logged against Harry Potter, decrying it as un-Islamic. In addition, many Jewish people believe they are represented poorly; for example, they feel that Professor Snape is badly represented as a Jew; “Snape, another villainous sort, bears an unfortunate resemblance to the stereotype of the Jew: cunning, greasy-haired, and sallow skinned, he sputters with rage.” (Nel, P: 2001/2002: 34). However, some believe the series positively represents other religions. Peter Ciaccio believes “Harry Potter is the positive outcome of the encounter of the Jewish-Christian tradition with other important features of the Western cultural heritage (namely Celtic, Nordic and Classical)” (Cited in Helman, EE). Karen Lindell supports this by saying that Hogwarts is a multifaith school (2007) and represents characters that are Christian, Jew and Muslim, and it is this wide spread representation that has led many prominent Rabbis to describe Harry Potter as a ‘force for good’ (Cited in Holmes, KE: 2001).
“To the well-organised mind, death is but the next great adventure”
“J.K. Rowling stated that she made a conscious decision at the start of her writing that she wasn’t going to lie about evil. She said she couldn’t pretend that when dealing with evil no one gets hurt” (Woodrum, E). She knew she was writing a children’s book and said in Time magazine that “if you’re choosing to write about evil, you really have a moral obligation to show what it means” (Rowling, JK: 2000). Evil had to be part of the stories to show children what was worth saving. She decided to include the death of family and friends in her stories. “I very consciously wanted to show what is one of the great evils of war, which is that totally innocent people are slaughtered…another great evil of war is that children lose their families” (Rowling, JK). It is possible that Rowling might have got her inspiration for Harry by the loss of her own parents. At first glance it is clear to see that the series links to World War II, whether intentional or not. “Well, it is a political metaphor. But…I didn’t sit down and think, ‘I want to recreate Nazi Germany’, in the wizard world’ (Rowling, JK: 2007). This shows she intentionally but war links in, but she wanted her own spin on it. However, one link in the series is between the wizarding community and the European population before WWII; the wizards were reluctant to believe Voldemort had returned because it was still recovering from the last event fourteen years earlier. Similarly, Europe constantly appeased Hitler as they wanted to avoid another world war (Unknown: Yahoo). Also, during WWII, Hitler used the media to promote his ‘worthy cause’ and distorted what others said; this is similar to Rita Skeeter’s Quick-Quotes-Quill that fabricated everything for a specific agenda. Also, The Daily Prophet turned on Harry and Dumbledore to appease its new owners.
“Fear of a name increases fear of the thing itself”
The comparisons between Voldemort and Hitler have been cited by many academics. Hitler created concentration camps to imprison Jews, and other minority groups, before their untimely death; this is similar to the innocent lives lost in Azkaban prison in Harry Potter.
Figure 15: A still image of Azkaban Prison
Furthermore, Hitler suffered child abuse in a Jewish dominated area, which enhanced his hatred for Jews. Similarly, Voldemort grew up in a Muggle orphanage and grew to hate Muggles.
“Many of our oldest family trees become a little diseased over time…you must prune yours, must you not, to keep it healthy?” (Rowling, JK: 2007). Hitler believed Jewish people had contaminated blood, which is reflected in the racist term for muggle-born wizatds – “Mudblood…it’s a disgusting thing to call someone…dirty blood” (Rowling, JK: 1998: 89). The ‘pure bloods’ in both cases have similar appearances, much like the ‘dirty bloods’. The Aryan race and the Malfoys had blonde hair and blue eyes, whilst Hermione and ‘Mudbloods’ had mousy brown hair and brown eyes (Lyubansky, M).
Both dictators created a world where anyone with similar inferiorities would be eliminated. Hitler did not have blonde hair like the perfect Aryan, and it was thought Hitler had Jewish blood. Rowling stated; “Voldemort…takes his own inferiority, and turns it back on other people and attempts to exterminate in them what he hates in himself” (Rowling, JK: 2000).
Rowling compared the stark use of magic to the disastrous events that could happen when technology falls into the wrong hands. Voldemort is highly talented who chose to abuse his magical abilities; much like Hitler who was intelligent, but chose to use his abilities to create weapons of mass destruction, and wage war for selfish motifs. (Thanki, PH: 2011).
Hitler and Voldemort’s past also show similarities. Voldemort had a muggle father, and it was believed Hitler’s father was Jewish. As a result of Hitler hating Jews and Voldemort hating half-bloods, one can speculate that they both hated a part of themselves. (Unknown: Yahoo).
The swastika was first used as a decorative symbol in African tribes, and was also said to be a symbol of auspiciousness in Hinduism, Buddhism and Jainism (D’Alviella: 1894). This is similar to the Deathly Hallows symbol which was created to connect the three Hallows – Invisibility Cloak, Resurrection Stone, Elder Wand – but was adopted by dark wizard Gellert Grindelwald to promote himself and his dominance over Muggles “for the greater good” (Rowling, JK: 2007).
Just as Voldemort is compared to Hitler, Dumbledore could be compared to Churchill. He is an exemplar of social justice leadership by demonstrating extraordinary feasts; his example should be followed in training educators and leaders of the future (Quarter, S: 2012).Rowling admitted that this comparison was not intentional, instead it was the critics who had picked up on the connotations; both were strong British leaders who were respected, but because of their alarmist views, were shunned by the public. Churchill warned people of Hitler’s dangerous plans but he was ignored, whilst Dumbledore spend six films trying to convince the wizarding community that Voldemort had returned. (Unknown: Yahoo).
As well as WWII, Harry Potter can be compared to modern wars. “Harry Potter and the Half-Blood Prince has been compared to the War on Terror against Osama Bin Laden saying Voldemort takes up terrorism by destroying bridges, murdering innocents, and forcing children to kill their elders” (Turner, J: 2005). This tells children that war is not a piece of the past, but a piece of the present and the future. ‘By creating a fictional version of real historical events, Rowling makes them more tangible, and in many ways, more understandable for her younger readers. She shows her readers that these practices are not exclusive to Nazi Germany, but that they can happen in other societies as well in times of fear and war: prejudices like these are not a thing of a long-lost path.’ (Kaas, Y).
The link between Hitler and Voldemort shows that the moral dilemma between good and evil is apparent in fantasy and reality, and there will always be dictators. It can be argued that a young man like Riddle would admire [him], and see in Hitler’s madness a man casting away his boundaries and attempting to bring about his own personal ideals (Ahmed, FM: 2004).
It is clear to say that Voldemort created his own worst enemy in himself – much like Hitler. “Do you have any idea how many tyrants fear the people they oppress? All of them release that, one day, amongst their many victims, there is sure to be one who rises against them and strikes back” (Rowling, JK: 2006). For years, Voldemort created a powerful following that no-one wanted to go against – until Harry, Ron and Hermione came along.
“If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals” There is also critical analysis on the similarities between Death Eaters and Nazis. In The Goblet of Fire, the henchmen appear like the KKK at the Triwizard Tournament.
Figure 16: A still image of the Death Eaters entering the Quidditch World Cup
Many of Voldemort’s snatchers are “uneducated boys who suddenly find themselves with extraordinary amounts of power” (Brown, KA: 2008: 84) like the men who were brought into the Nazi programme. Similarly, the Death Eaters are all branded the Dark Mark on their left arm, whilst Nazi’s all wore the swastika armband, again on their left arm. Death Eaters began working their way into Hogwarts to persuade children to follow Lord Voldemort; attendance at Hogwarts became mandatory once Voldemort was in power, but students had to prove they were pure or half-blood before being granted entry (Chambers, DL). These rules compared to Nazi rules where only Aryan students could attend schools and that Jews had to register with the authorities, whom used pseudoscience to justify the inferiority of the Jewish race (Burleigh, M and Wippermann, W: 1991; Sax and Kuntz, D: 1992; Yehuda, B: 2001) From a moral perspective, people have debated about why so many ‘ordinary’ people supported (or did not actively oppose) Nazi activity; as well as why so many ‘ordinary’ wizards supported the Dark Lord, and why a handful of people “refused to do so that allowed them not to conform?” (Lyubansky, M). We reason with ourselves that those in charge must know better than us, and so, if anything goes wrong then they are responsible and so it doesn’t concern us directly. Death Eaters had various reasons for being bad; as varied as the Nazis’. Bellatrix and Lucius shared in Voldemort’s belief in pure-blood superiority. However, this didn’t stop Lucius turning his back on Voldemort when he forced his son into a homicidal mission.
Figure 17: A still image showing Lucius Malfoy running away from the Battle of Hogwarts.
In contrast, “for the psychologically insecure and vulnerable Severus Snape and Peter Pettigrew, the Death Eaters presented an opportunity to be part of something big and powerful” (Lyubansky, M). Draco seems attracted to the Death Eaters as a result of parental indoctrination and has a somewhat unrealistic fantasy of what membership entails; he believes this will make him ‘The Chosen One’ of the dark side. On the other hand, Fenrir Greyback knows all about the death toll related to the Death Eaters but he doesn’t care; like the sadists among the Nazis, he seems entirely motivated by pure blood-lust. Rowling said that a Death Eater related story arc was influenced by a real life story concerning Hitler: Sir Oswald Mosley (Lucius Malfoy) married to Diana Mitford (Narcissa Black), sister of Rowling’s own heroine, Jessica Mitford (Andromeda Black). Jessica never forgave Diana’s Nazi sympathies. Mosley and Diana married in 1936, in the Berlin home of Nazi chief Joseph Goebbels with Hitler (Voldemort) as a guest. (Rowling, JK: Telegraph). Andromeda Black married the Muggle born Ted Tonks against her family’s wishes – similar to how Jessica Mitford left her family and became Communist and married her cousin. ‘These parallels were noted in the American communist newspaper People’s Weekly World.’ (Albano, T: 2007). Valerie Frankel created a timeline documenting Hitler’s rise to power compared to Voldemorts’, showing once again that Rowling had conscious knowledge of the connotations she was creating in her series (APPENDIX C). “The world isn’t split into good people and Death Eaters” (Rowling, JK: 2003). More importantly is that good people can do bad things, and vice versa. “This ambiguity exists on several levels in Harry Potter including through the basic premise of the conflict itself as well as in the actions of individuals such as Dumbledore and Professor Snape’. (Chambers, DL).
“There is no good or evil: only power and those too weak to seek it”
While this dissertation has discussed ‘evil’ leaders to great lengths, it is evident that the ‘good’ has leaders. Rowling herself described Dumbledore as Machiavellian and says “I wanted you to question Dumbledore. It is right to question him, because he was treating people like puppets, and he was asking Harry to do a job that most men twice his age wouldn’t have been able to do” (Rowling, JK: 2007: MTV). Anderson, who believes that Dumbledore is a social justice leader for the ‘good side’, states that as “a role model, a principal who does not merely preside over the tidings of a school day but also empowers youth. A role model is anyone who is looked to for guidance and is worthy of imitation” (cited in Quartey, S: 2012). The books that followed Order of the Phoenix (2003) and the films that followed Chamber of Secrets (2002) all are part of a post 9/11 ideology. Rowling never consciously put any post 9/11 philosophies into her books but in response to this criticism she stated:
‘I’ve never thought, ‘it’s time for a post 9/11 Harry Potter book,’ no. But what Voldemort does, in many senses is, terrorism, and that was quite clear in my mind before 9/11 happened…but there are parallels, obviously…I always planned that these kind of things would happen, but these have been very powerful resonances, given that I believe, and many people believe, that there have been instances of persecution of people who did not deserve to be persecuted, even while we’re attempting to find the people who have committed utter atrocities. These things just happen, its human nature.’ (Cited in Anelli, M: 2005).
Regardless of these unintentional connotations, Entertainment Weekly noted that the post 9/11 generation’s ideas about war and leadership “have been shaped at least in part by Rowling” (Entertainment Weekly). Rowling is a self-confessed Labour supporter but had to write her first novel under a Conservative government. John Major (Conservative) resigned from office on May 2nd 1997, with Tony Blair (Labour) taking up the job on the same day. Her first novel was published on 26th June 1997 but by this point it was too late for her to make any political changes.
Throughout her Harry Potter career, Blair was in power so she wrote under a Labour government which may be reflected in her series; with negative connotations about Conservatives and Liberal Democrats more prominent in the later books. For example, her portrayal of the bureaucratised Ministry of Magic and the oppressive measures taken by the Ministry later in the series is seen an allegory criticising the state (Baron, B: 2006). However, Rowling always wanted the readers to bring their own political agenda to the stories, and to challenge the democracy she believed in and the democracy Harry believed in: “there is no certain amount of political stuff in [Harry Potter]. But I also feel that every reader will bring his own agenda to the book.” (Cited in Jensen, J: 2000). The political agendas bring the good vs. evil debate to the forefront. In Philosophers Stone, Voldemort states that “there is no good or evil, there is only power, and those too weak to seek it” (Rowling, JK: 1997). This links to Friedrich Nietzsche’s The Will to Power, in which Nietzsche argues that “[t]he aim of life is neither self-preservation nor moral and spiritual enlightenment but the increase of power and the pursuit of domination” (cited in Sprinks, L: 2003). Sprinks links this debate to the idea that defining what is ‘good’ and what is ‘evil’ can only come into existence after a power struggle. (Kaas, Y).
“We wizards have mistreated and abused our fellows for too long, and we are now reaping our reward”
Even though Harry Potter is completely fictional, it has application in the modern world. Rowling creates characters and situations that readers can relate to;
‘Whether Rowling integrated prejudice into the story in order to make a statement or just to help the audience delve into the story with the character, she has brought this topic to awareness so readers can evaluate their own mindsets and beliefs.’ (Dawson, CJ: 2009).
The prejudices apparent in the series are prejudices just as prominent in the viewers of the films, regardless of age, class or gender; by doing this, Rowling creates a flawed world that we can all imagine calling home. John Granger (2002: 36) created a table documenting examples of what was being prejudiced against, by whom and about whom:
Book
Prejudice Against
Origin
Object
1
Abnormal or magical folk
Non-magical folks (Muggles)
Poor
Clumsy, awkward, stupid
Dursleys
Slytherins
Malfoys
Draco
Harry and Hagrid
Muggles
Weasleys
Neville
2
Mudbloods (muggle parent)
Squibs (Magic-born muggle)
Ugly, unpopular
The Nearly Headless
Slytherins
Muggle Folk
Olive Hornby
Headless Ghosts
Hermione and others
Argus Filch
Moaning Myrtle
Nick
3
Prisoners
Werewolves
Hippogriffs
Intelligent Women
Everyone
Almost everyone
Ministry
Boys and teachers
Sirius Black
Remus Lupin
Buckbeak
Hermione
4
Young people
Giants
Foreigners
Non-Prejudiced
Fleur
Magic Folk
Hagrid
Death Eaters
Harry
Hagrid and Maxime
TwiWizard Guests
Albus and Weasleys
Figure 18: John Granger (2002:36) table documenting examples of prejudice in the series
Figure 18 shows that several magical characters feel they must prejudice against almost everyone; these tend to be the Slytherins, the Death Eaters and the Ministry –groups of characters who deem themselves above everyone else.
“No one asked your opinion, you filthy little Mudblood”
Philip Nel believes the series can be seen as “political novels that critique racism and racial superiority” (Nel, P: USA Today). However, when questioned about the racial affects her series might have, Rowling stated “my feeling would be that if someone were a committed racist, possibly Harry Potter is not going to have an effect” (Rowling, JK). It is clear that Rowling is not racist by including non-white characters such as Lee Jordan, Dean Thomas, Angelina Johnson, Padma and Parvati Patil, and Cho Chang (Mulholland, N: 2006).Their race is never mentioned; they are seen as characters in their own right rather than non-white characters. However, this could be seen negatively because Rowling seems to “treat race with far less attention than she does the Weasley’s hair colour. Neither race nor racial status are ever mentioned by any of the characters” (ibid). He believes that not tackling racial tensions is as bad as making racial suggestions. He adds that even though there is no evidence that the non-white characters suffer from poor self-esteem, there is no evidence to the contrary either; concluding that “because the stories are almost exclusively told through the eyes of white characters who don’t notice race, we really don’t know anything about the reality of the non-white characters” (ibid). Having said that, Draco is racist towards Hermione when he calls her a ‘Mudblood’. At first glance this could just be a boy making fun of a girl, however, “his taunt has the cultural shock of the world ‘nigger’ in contemporary America” (Whited, LA: 2002: 314). It isn’t just the human characters who are subject to racist treatment; there are magical creatures that are seen as unimportant; for example, house-elves and giants are seen as dim-witted creatures. Furthermore, despite house-elves possessing considerable power, they are servants to wizarding families (Dawson, CJ: 2009). House-elves seem to love serving their masters – as Dobby does the Malfoys. However, what disgusts most characters is how no-one seems to care about his mistreatment. They are required to stay loyal to their families even when the families are evil and cruel (ibid). Rowling seems to have chosen to focus on blood status and other characters rather than skin colour, in terms of race. “Through the hierarchy of magical blood and creatures Rowling creates an entire world of class and cast prejudices.” (Thanki, PH: 2011). Dumbledore refuses to believe that some wizards are inherently better because of how they were born. This is demonstrated through his actions; for example, he looks past what other wizards see as major flaws. ‘For example, Dumbledore places incredibly trust in Hagrid, even though Hagrid was both expelled from Hogwarts (Chamber of Secrets; 2002) and born a half-giant (Goblet of Fire; 2004). Hagrid is charged with both flying the baby Harry Potter to safety after the night of the attack on the Potter family and carrying the Philosophers Stone from Gringotts to Hogwarts.’ (Quartey, S: 2012).
Essentially, he cares for the individual, not the connotations that come with them. “Dumbledore expresses to youth and adults alike that what society perceives of them is of no matter as long as they are fighting for or doing what is right and good.” (Quartey, S: 2012).
“Someone let slip the nature of my condition”
Lycanthropy is a “rare psychiatric syndrome that involves a delusion that the affected person can transform into, has transformed into, or is a non-human animal.” (Garlipp; Godecke-Koch; Dietrich; Haltenhof: 2003). In Harry Potter, lycanthropy could be interpreted as a metaphor for the H.I.V virus; Rowling states; ‘I know that I’ve said publicly that Remus Lupin was supposed to be on the H.I.V. metaphor. It was someone who had been infected young, who suffered stigma, who had a fear of infecting others, who was terrified he would pass on his condition to his son. And it was also a way of examining why people might become embittered when they’re treated that unfairly.” (Rowling, JK: 2008: transcript)
Lupin is the Defence Against the Dark Arts teacher during the Prisoner of Azkaban; however, due to a bite he sustained by Fenrir Greyback he is now part werewolf. He is looked down on those in Slytherin house, especially Professor Snape. Werewolves tend to live outside of society due to their unwarranted prejudice; however, Lupin doesn’t conform to this as he’s come to realise that he didn’t have a choice in becoming a werewolf, but he can make the best of it, realising it doesn’t make him less of a wizard. (Dawson, CJ: 2009)
There are quite a few similarities between the H.I.V. virus and the lycanthropy Rowling writes into her series as shown in figure 19 below (Unknown: 2011).
LYCANTHROPY
H.I.V
Is chronic, and while incurable, can be mitigated by the Wolfsbane Potion.
Cannot be cured by medication can stall it becoming AIDs.
Thought to preclude having a family but Lupin marries Nymphadora Tonks and they have a non-werewolf child.
An HIV sufferer can have a child whom does not suffer from the condition.
An acquired disease, often acquired through negligence.
People must take proper cautions against contracting the virus.
It can be acquired non-negligently – the young Remus Lupin was not negligent.
Early AIDs sufferers contracting the HIV virus through blood transfusions – something they themselves were not negligent about.
Could have been mitigated by earlier government action – Fenrir Greyback was a known werewolf but remained at large until the Battle of Hogwarts.
A prevention found earlier (amongst the prejudice) would have prevented people from suffering from the virus.
Is associated with moral turpitude – implicit, but the tone with which most characters discuss werewolves is suggestive.
HIV sufferers are looked down upon.
Is thought to be much more communicable and dangerous to others than it actually is – parents of students rejected a werewolf teacher despite Lupin posing no threat.
HIV sufferers pose near to no threat to others and yet people fear them just the same.
Figure 19: Unknown (2011) table comparing the similarities between Lycanthropy and H.I.V
Rowling has presented the adult topic of HIV, in a way that children can understand; and, by giving a popular character the disease also shows children that no-one should be judged for something that is not their fault.
“It’s not much, but its home”
Harry faced prejudice in the series due to his social class. He was treated badly because he was different, poor, and an uninvited addition; “But when Harry began his attendance at Hogwarts, the only thing that changed was the presence of magic. Still, within the bounds of the wizarding world, prejudice abounds” (Dawson, CJ: 2009). These characters are just teenagers; however they suffer through prejudice, betrayal, and the tough times that comes with joining a new school. The Dursleys portray the biggest prejudice against the wizarding community; this is more prominent in the books than the films, yet it is clear to see that they have always had a certain level of disdain for those different from themselves. In Deathly Hallows: Part 2 we see Petunia referring to Lily and Severus as ‘freaks’ because they have magic and this is different to her.
Figure 20: A still image showing a young Lily Evans and Severus Snape
It is not just the Dursleys that are prejudiced; it is apparent between the Muggle world, the magic world, teachers, students and all those fighting between good and evil (Dawson, CJ: 2009). Another prejudice evident throughout the series is that of the treatment of Muggles, and those Muggle-born. The world ‘Muggle’ itself does not necessarily mean something negative; it all depends on the context of the statement. Having said that, some wizards believe that those with Muggle blood are of less importance; for example, Draco has been brought up in a pure-blood family and has been taught to look down on those who have not had the same upbringing. Also, because Draco has grown up believing he is the best, he gets jealous of people who have better things than him. For example, once he finds out Harry has made friends with Ron; he tries to talk him out of associating with Ron and to become his friend. “You’ll soon find out some wizarding families are much better than others, Potter. You don’t want to go making friends with the wrong sort. I can help you there.” (Philosophers Stone: 2001).
Figure 21: A montage of still images depicting Harry Potter and Draco Malfoy
However, not all pure-bloods are this prejudiced. The Weasley’s do not believe they are superior; they accept everyone regardless of social status. “This problem of the superiority complex is also common in our society. It is common for those that are born in the upper echelons to look down on those who weren’t necessarily born to such privileges” (Dawson, CJ: 2009). It is not just Muggle-borns that the Weasley’s respect; Arthur Weasley is fascinated by Muggles. “Now, Harry, you must know all about Muggles, tell me, what exactly is the function of a rubber duck?” (Chamber of Secrets: 2002). The series isn’t completely oblivious to class.
‘The [books] not only side with the poorer Weasley family and oppose the elitist Malfoy family but also display the effects that class-based privilege can have on the psyche. From the moment we first meet him, Ron Weasley is ashamed of his family’s poverty. When Harry sees the Weasley’s house in the next book, Ron’s first impulse is to apologise for it. Draco is too damaged by his own class position: his snobby behaviour develops from being raised by a family that believes its unearned privileges of wealth and status depend entirely on merit.’ (Nel, P: 2001/2002: 43).
The message this sends to young viewers is that whilst your upbringing and family may influence you, it is up to you how you treat others. There is a certain level of social segregation between the school houses and the characters she has placed in them. Slytherin are known to be sneaky and dishonest: “There’s not a single witch or wizard who went bad who wasn’t in Slytherin” (Philosophers Stone: 2001), but Severus Snape proved in Deathly Hallows: Part 2 that not all Slytherin’s are unable to love; “After all this time? Always.” (Deathly Hallows: Part 2: 2010). Gryffindor’s are brave and loyal; however Peter Pettigrew proved in Prisoner of Azkaban that not all Gryffindor’s are loyal; “Someone did betray your parents…Peter Pettigrew!” (Prisoner of Azkaban: 2004). Hufflepuff’s are meek and good-natured; however, Cedric Diggory proves he is strong in the Triwizard Tournament; “The Hogwarts champion is Cedric Diggory” (Goblet of Fire: 2005). Finally, those in Ravenclaw are supposed to be brilliant, witty and full of themselves, however Luna Lovegood proves that not all Ravenclaw’s are stuck up; “It’s like being with a friend” (Half-Blood Prince: 2009). (Dawson, CJ: 2009). Rowling said that these class distinctions were a conscious decision having got inspiration from authors such as Roddy Doyle and Jane Austen, saying “both…write about class distinction” (cited in Oprah Magazine). She decided it would be an important asset to have social prejudices in a children’s book because “kids are acutely aware of money – before they’re aware of class…kids can be mean, very mean. Having enough money to fit in is an important facet of life – and what is more conformist than a school” (ibid).
“I do love knitting patterns”
Although never mentioned in the books or films, Rowling told a group of reporters that she wrote Dumbledore as homosexual. “I always saw Dumbledore as gay…Dumbledore fell in love with Grindelwald…don’t forget, falling in love can blind us. [He] was very drawn to this brilliant person. This was Dumbledore’s tragedy” (cited in Barrett, A: 2007). Critics, religious leaders and parents began to criticise why Rowling decided to make this respected authority figure homosexual. Robert Combs, CEO of the Christian Coalition of America, believed that “it’s not a good example for our children, who really like the movies. It encourages homosexuality” (Combs, R). He believes that children are more likely to be homosexual if they watch movies, and this is negative. Linda Harvey agrees by relating homosexuality to what is rejected in the Bible: ‘Will we allow our kids to believe it would be perfectly appropriate for the headmaster of any school to be homosexual?...will some find ways to re-cast homosexuality into something different than the ‘abomination’ it’s called in scripture? Will it become something more like a sad disability, one that the ‘mean religious right’ target for nefarious purposes?’ (2007).
Harvey believes that having a homosexual headmaster will hinder upon his ability to perform the job. The audience still sees Dumbledore as a respected, trustworthy, brilliant man who tries to protect Harry; “I thought by distancing myself from you…he’d be less tempted and therefore you might be more protected” (Order of the Phoenix: 2007). Bill O’Reilly doesn’t see the issue with him bring homosexual per se, but has a problem with how Rowling teaches children they should be tolerant with homosexuals, and that homosexuals and heterosexuals should be treated equally. The majority of those against Dumbledore’s homosexuality were Christian fundamentalists who thought that homosexuality was a sin. Discussing the controversy, Rowling told the BBC that “Christian fundamentalists were never my base” and thought it ridiculous to question if a gay person could be a moral compass in the 21st Century (Rowling, JK, cited in the New Zealand Herald: 2007). In support of Rowling’s decision to ‘out’ Dumbledore, MSNBC –American current events channel – echoed the views of most fans that “by dubbing someone so respected, so talented and so kind, a someone who just happens to be also homosexual, she’s reinforcing the idea that a person’s gayness is not something of which they should be ashamed” (MSNBC).
“Age is foolish and forgetful when it underestimates youth”
Janet Seden believes that by enjoying fictional experiences as a child, this creates “empathy in the reader and enable us to confront the need for imagination as parents and practitioners” (Seden, J: 296). As we grow, we learn to understand the differences between reality and fantasy, however, the fascination with Harry Potter is that it creates this “longing got the mysterious, the wonderful and the otherworldly that our daily experiences does not supply” (Colson, C). It is his interaction with fantasy that helps children to grow. Whilst it provides an escape route for children, Rowling has created a good role model. Harry has the added ability of magic, but more often than not, he uses his own brain and friends to prevail over adversaries.
‘The stories are full of universal themes. Learning to face up to fears, standing up for what one believes in and realising that people with different backgrounds can work together and become friends are stills that everyone could use reminding of’. (Walker, W).
There are children who come to Harry Potter from various generations; some followed the books as if the adventures were their own; some grew up alongside the movie adaptations where they could visualise themselves as the characters; and there are some who are coming to it seventeen years after the first book was published, and yet there are still the same threats to each generation as there is in Harry Potter. “The kids who grew up on Harry Potter…are the kids who grew up with the pervasive threat of terrorism, and it’s inevitable that on some level that’ll make a connection between the two” (Grossman, L: 2005). Sir Jonathan Sacks claims that in “a society in which adolescents are precociously adult, and adults are permanently adolescent,” Harry Potter has “reclaimed the kingdom of childhood, proving that you don’t have to betray to enchant” (Sacks, J). This idea that children must be old before their time can create immature and pubescent-like adults, and through Harry Potter, Rowling has taught children that they can be children, and that they don’t have to conform to this ideology just yet.
“You’ll stay with me? Until the very end?”
Few Western children fail to identify Harry Potter the boy or the phenomenon. With this kind of impact, denial of the role of Dumbledore as a social justice leader in the minds of the Millennials is hard to find. The Millennials are posed to overwhelm the impression left by youth movements from previous generations (Quartey, S: 2012). Quartey also adds that Dumbledore is empowering youth. She believes that “an entire generation of empowered individuals will dismiss the myth that youth must be the leaders of tomorrow rather than the leaders of today (ibid). She praises Dumbledore and how he has changed children’s views for the better. ‘By refusing to associate rigorousness and sternness with justice, Dumbledore builds a tolerant community of individuals prepared to adjust to shades of grey. Everyone deserves a second change. In this case, Dumbledore has determined that sometimes, several chances are necessary…Dumbledore, as any social justice leader should, teaches youth that equality, fairness, and justice are not achieved through rigid laws but by looking at the situation and the people involved: their needs, motivations, concerns and backgrounds.’ (Quartey, S: 2012).
It is this lesson that young fans of the series will take away to their adult years, and pass on to their children, who in turn may pick up the book or the film, and witness this great leader teaching them the same lesson.
Figure 22: Children of all ages dressed in Harry Potter costumes
As stated in this dissertation, it has been almost seventeen years since the first book was published and nearly thirteen since the first film was released, and yet new generations are discovering Harry’s world for the first time. It is because of this that the Harry Potter brand has become an icon, there is no evidence that the power of this brand will diminish in the near future. Rowling’s creation has “become an important part of literary history, as well as an important part of business and marketing history to be studied and emulated for many decades to come.” (Gunelius, S: 2008: 121).
Conclusion
In conclusion, this dissertation has shown a literary analysis on the topics of prominence in the Harry Potter series that may have impacted upon the series’ cultural identity and legacy.
I did not set out to prove a point or to gain a right or wrong definitive conclusion from this analysis; this dissertation shows that the wealth of pre-existing literature on the series tells a story of a phenomenon with a legacy that will continue to resonate. Of the four topics presented, it is the feminism section presents the strongest case when concerned with cultural identity within the series. Rowling created a world which represents a huge spectrum of feminist characters, to which all female readers and viewers can relate to. This dissertation looked into other characters such as Dolores Umbridge and Petunia Dursley; comparing their feminist qualities to those more prominent characters such as Hermione Granger and Ginny Weasley. A main reflection of the cultural identity of the series is the section about religion; both inside of the series and viewpoints on it. The main point that came out of it is that the majority of prominent religious writers and believers stated that the Harry Potter series is damnation and is against all that is stated in the Bible. However, fans of the series believe that it does not relay any negative religious connotations; it merely leaves any religious debates out of prominence. Even though the war and prejudice sections are reflected in how the British are perceived by others, and how we perceive ourselves. It is the prejudice section particular – in my opinion - that reflects the cultural identity that J.K. Rowling was setting out to create when she first started penning the series, twenty-four years ago. This dissertation could have resonances in different sectors such as the academic, professional and fandom. It could also benefit writers and filmmakers who wish to gain an insight into how to present a cultural identity in their stories in tune to the envious success of J.K. Rowling’s Harry Potter. On the academic side, it could be of use to those studying cultural identity within films, or within generalised circumstances. These are particular resonances that my dissertation could be related to, however, this is only linked with the pre-existing literature I have chosen to discuss. If a personal study was carried out, or different literature was studied, then perhaps other people would be interested in studying it, and other conclusions could be drawn. Having said that, there is one finding that could be bought out of this dissertation, and those academic studies on the series; and that is that the Harry Potter phenomenon will rise in popularity. As each generation comes to the series afresh, so do another set of thoughts and conclusions. I have throughout this dissertation that this is a phenomenon that will grow and grow until “there won’t be a child in our world who doesn’t know his name” (Philosophers Stone: 2001). When Rowling wrote that Professor Minerva McGonagall predicts Harry will be a ‘legend’ (Nel, P: 2001/2002: 7), little did she know that this would be truth in terms of the ‘legend’ of the series as well as the ‘legend’ of the boy.
APPENDIX A
Definitions of terms apparent in the Harry Potter book and film series:
Hogwarts – Full name: Hogwarts School of Witchcraft and Wizardry is a British School of Magic for students aged between eleven and eighteen. The name originated from the ‘Hogwort plant’ JK Rowling saw at the time of writing the books (Abel, K: 1999)
Muggles – To mean a person without magical powers. The word Muggle originated from the idea that they are a person who does not have a particular skill.
Muggle-Born – a witch or wizard (of which Hermione Granger is an example) who is born to non-magical parents.
Devil Snare – a poisonous tropical weed, first seen in Harry Potter and the Philosopher’ Stone; known for often trapping people in its grasp.
The Time Turner – a device that resembles an hourglass on a necklace that is capable of making the wearer travel in time.
Quidditch – a rough and semi-contact sport where two teams play against each other to gain the highest amount of points.
Dumbledore’s Army (DA) – A student organisation founded by Harry Potter, Hermione Granger and Ronald Weasley, to stand up against the regime of Hogwarts’ High Inquisitor Dolores Umbridge.
Gryffindor – one of the four Hogwarts houses that Potter, Weasley and Granger belong to; the other being, Slytherin, Ravenclaw, and Hufflepuff.
Death Eaters – Wizards and Witches led by the dark wizard Lord Voldemort, who seek to purify the Wizarding community by eliminating Muggle-Borns.
Veela – Semi-human, semi-magical humans with a magical ability to seduce men.
The Triwizard Tournament – a magical contest between three schools where a student from each school competes for the Triwizard Cup and a monetary prize. The contest consists of three tasks as follows: retrieve a golden egg from a dragon’s lair; find a treasure hidden at the bottom of the Black Lake; survive a shape shifting maze and reach the Cup.
Beauxbatons – Full name: Beauxbatons Academy of Magic is a witch’s only school located near Cannes.
Durmstrang – Full name: Durmstrang Institute is a wizard’s only school located near Norway.
Veritaserum – a truth telling potion.
Battle of Hogwarts – a war between Voldemort and the Death Eaters against Harry Potter and the inhabitants of the school.
The Great Hall – a vast room in Hogwarts where all meals and major events take place.
Grindylows – Small, horned, green water demons that live in the Black Lake.
The Hogwarts Express – The train that takes students to Hogwarts leaves from Platform 9 ¾ at Kings Cross Station, London and terminates at Hogsmeade Station.
Ministry of Magic (MOM) – The government headed by Cornelius Fudge, followed by Rufus Scrimgeour – not unlike Downing Street.
Levicorpus – A spell where the object or person is suspended into the air.
Inquisitorial Squad – A society put together by Dolores Umbridge; extra credit is given in exchange for information about Harry Potter and Dumbledore’s Army.
The Cruciatus Curse – The Torture Curse; one of the three Unforgivable curses, the other two being; The Imperius Curse which puts people under a spell so they must do his/her bidding; and The Killing Curse, which murders the object.
The Prophecy – A prophecy created by Sybill Trelawney that states there will be a boy born at the end of July who has the power to kill Lord Voldemort.
Appendix B
Explanations of characters mentioned in the Harry Potter book and film series:
Harry Potter – Harry is the title character. His parents are murdered when he was a baby and therefore is bought up by his aunt and uncle. On his eleventh birthday he finds out he is a wizard. He marries Ginny Weasley. Portrayed by Daniel Jacob Radcliffe.
Lord Voldemort – Born as Tom Marvolo Riddle, he is the main villain who attempts, and fails, to kill Harry throughout the series. He is killed my Harry Potter. Portrayed by Richard Bremmer, Christian Coulson and Ralph Nathaniel Twisleton-Wykeham-Fiennes.
Hermione Granger –Hermione is the main female protagonist, and the ‘brains’ of the trio. She marries Ron Weasley. Portrayed by Emma Charlotte Duerre Watson.
Ginny Weasley – Ginny is the youngest, and only, girl of the Weasley family. She becomes the love interest of Harry Potter and eventually marries him. Portrayed by Bonnie Francesca Wright.
Professor Minerva McGonagall – McGonagall is the deputy head, and transfiguration teacher at Hogwarts. She is an animagus which means she can transform into a cat. Portrayed by Dame Margaret Natalie Smith.
Professor Dolores Umbridge – Umbridge is the Undersecretary at the Ministry of Magic and the Defence Against the Dark Arts in Order of the Phoenix. She becomes the Hogwarts High Inquisitor and then the Headmistresses during this film. She is powerful, controlling and torturous. Portrayed by Imelda May Philomena Bernadette Staunton.
Bellatrix Lestrange – Bellatrix is a pure-blood witch, and also a loyal Death Eater to Lord Voldemort. She escaped from Azkaban prison with the purpose of murdering anyone linked with the Order of the Phoenix. She was killed by Molly Weasley. Portrayed by Helena Bonham Carter.
Narcissa Malfoy – Narcissa is Bellatrix’s sister, wife to Lucius Malfoy and mother to Draco Malfoy. She was never officially a Death Eater but supported her husband’s Death Eater actions. Along with her husband and son, they fled Hogwarts during the final battle. Portrayed by Helen Elizabeth McCrory.
Molly Weasley – Molly is the mother of seven children and a housewife. She participated in the Battle of Hogwarts where she killed Bellatrix Lestrange. Portrayed by Julia Mary Walters.
Lily Potter – Lily was Harry’s mother. She was murdered, alongside her husband, by Lord Voldemort. As a child she was best friends with Severus Snape, who eventually turned against her at school. Portrayed by Geraldine Margaret Agnew-Somerville.
Sirius Black – Otherwise known as the Prisoner of Azkaban, Sirius was incarcerated for twelve years for a crime he didn’t commit. He escaped by transforming himself into his animagus; a dog. He was killed by his cousin Bellatrix Lestrange. Portrayed by Gary Leonard Oldman.
Ron Weasley – Ron is Harry’s best friend and the first person he meets on his trip to Hogwarts. He marries Hermione Granger. Portrayed by Rupert Alexander Lloyd Grint.
Rose Weasley – Rose is Hermione and Ron’s first born child. Portrayed by Helena Barlow.
Hugo Weasley – Hugo is Hermione and Ron’s second born child. Portrayed by Ryan Turner.
Albus Severus Potter – Albus is the second born son of Harry and Ginny, named in memory of Professor Dumbledore and Professor Snape. Albus speaks the last line of the film series; “Ready!” Portrayed by Arthur Bowen.
James Sirius Potter – James is the first born son of Harry and Ginny, named in memory of James Potter and Sirius Black. Portrayed by Will Dunn.
Lily Luna Potter – Lily is the youngest, and only, daughter of Harry and Ginny, named in memory of Lily Potter, and after Luna Lovegood. Portrayed by Daphne de Beistegui.
Fleur DeLacour – Fleur is the Triwizard Tournament competitor for Beauxbatons Academy. She is part Veela which means she has an erotic hold over men. She marries Bill Weasley and has three children. Portrayed by Clémence Poésy.
Bill Weasley – Bill is the eldest child of Molly and Arthur Weasley. He was attacked by werewolf Fenrir Greyback and, even though he is not full werewolf, he does have werewolf tendencies. He marries Fleur DeLacour and has three children. Portrayed by Domhnall Gleeson.
Victoire Weasley – Victoire is the eldest child of Fleur and Bill Weasley. She is not shown in the movies.
Dominique Weasley – Dominique is the second born child of Fleur and Bill Weasley. She is not shown in the movies.
Louis Weasley – Louis is the youngest, and only, son of Fleur and Bill Weasley. He is the only known male with Veela blood. He is not shown in the movies.
Viktor Krum – Viktor is the Triwizard Tournament competitor for Durmstrang Academy. He is also the Seeker for the Bulgarian National Quidditch Team. He had romantic liaisons with Hermione Granger in Goblet of Fire. Portrayed by Stanislav Ianevski.
Cho Chang – Cho was a love interest for Harry in Goblet of Fire, Order of the Phoenix and Half-Blood Prince. She dated Cedric Diggory before his untimely death. She betrayed Dumbledore’s Army after being plied with Veritaserum, and so lost Harry’s trust and friendship. She married a Muggle. Portrayed by Katie Liu Leung.
Cedric Diggory – Cedric is the official Triwizard Tournament competitor for Hogwarts. During the third task of the tournament, Cedric was murdered by Peter Pettigrew on orders from Lord Voldemort. Portrayed by Robert Douglas Thomas Pattinson.
Colin Creevey – Colin was a muggle-born wizard who we first meet in Chamber of Secrets where he is petrified by the Basilisk. He is expelled from Hogwarts in Half-Blood Prince when Voldemort refuses muggle-born students admittance. He is killed by the Death Eaters during the Battle of Hogwarts after sneaking into the school. Portrayed by Hugh Mitchell.
Professor Albus Dumbledore – Dumbledore was the transfiguration teacher and later headmaster of Hogwarts. He was considered the most powerful wizard of his time. Dumbledore speaks the first line of the film series; “I should have known that you would be here, Professor McGonagall”. He was killed by Professor Snape; which we find out in Deathly Hallows: Part 2 was planned. Portrayed by Richard St John Harris and Sir Michael John Gambon.
Petunia Dursley – Petunia is Harry’s aunt; Lily Potter’s sister. She is a Muggle and despises anyone ‘different’. She, along with her husband and son, fled their house in Deathly Hallows: Part 1. Portrayed by Fiona Mary Shaw.
Arthur Weasley – Arthur is Molly’s husband, and the Weasley’s father. He works in the Misuse of Muggle Artefacts office at the Ministry of Magic, and is obsessed with anything Muggle-related. During his time there he was attacked by Voldemort’s snake Nagini. Portrayed by Mark Williams.
Dudley Dursley – Dudley is Harry’s Muggle cousin. He is obese, insolent and a bully. He was spoiled by his parents. He was nicer to Harry after he saved him from a Dementor attack. After he fled his house, he married and had two children; staying in contact with Harry and his children. Portrayed by Harry Edward Melling.
Draco Malfoy – Draco was a pure-blood wizard, and only child of Lucius and Narcissa Malfoy. He became rivals with Harry and joined the Death Eaters. Along with his parents, he fled the Battle of Hogwarts and married Astoria Greengrass and had at least one child, Scorpius Malfoy. Portrayed by Thomas Andrew Felton.
Cornelius Fudge – Cornelius was the Minister for Magic, but resigned at the end of Order of the Phoenix, after being proved wrong about Voldemort’s return. Portrayed by Robert Hardy.
Lucius Malfoy – Lucius is Draco’s father, and Narcissa’s husband. He is a Death Eater. Lucius fled the Battle of Hogwarts. Portrayed by Jason Isaacs.
Professor Severus Snape – Snape was the Potions and Defence Against the Dark Arts teacher at Hogwarts, followed by a stint as Headmaster. He fell in love with Lily as a child and never stopped loving her as an adult. He joined the Death Eaters but was still loyal to Dumbledore. He was killed by Lord Voldemort. Portrayed by Alan Sidney Patrick Rickman.
Neville Longbottom – Neville was a school friend of Harry’s. His parents were tortured by Bellatrix Lestrange when he was a baby resulting in him being brought up by his grandmother. He was a clumsy and shy boy throughout the movies, until Deathly Hallows: Part 2 where he stood up to Lord Voldemort in memory of Harry when they believed him to be dead. Neville eventually became Herbology professor at Hogwarts and married Hannah Abbott. Portrayed by Matthew David Lewis.
Peter Pettigrew – Peter was a school friend of James Potter, Remus Lupin and Sirius Black. He was in the Order of the Phoenix before becoming a Death Eater. He betrayed his friends by telling Voldemort where James and Lily were hiding, resulting in their deaths. He spent twelve years living as a rat in the Weasley’s household. Peter was killed by his own hand. Portrayed by Timothy Leonard Spall.
Hedwig – Hedwig was Harry’s snowy owl. She was killed by Harry’s own wand. Portrayed by Gizmo, Ook and Sprout.
Gellert Grindelwald – Grindelwald was known as the second darkest wizard of all time, after Voldemort. He was best friends, with romantic tendencies, with Dumbledore. He was imprisoned in his own prison – Nurmengard – by Dumbledore where he was killed by Voldemort. Portrayed by James Metcalfe Campbell Bower and Michael Byrne.
Ted Tonks – Ted was the only child of Remus Lupin and Nymphadora Tonks. He was not shown in the movies.
Fenrir Greyback – Fenrir was a werewolf and Death Eater. He was the werewolf that turned Remus Lupin and attacked Bill Weasley. It is unknown whether he was imprisoned or killed after the Battle of Hogwarts. Portrayed by David Legeno.
Andromeda Black – Andromeda was the sister of Bellatrix and Narcissa. She married Nymphadora Tonk’s father Ted (whose grandson was named after him). When her husband, daughter and son-in-law were killed, she raised her grandson alongside Harry Potter. She was not shown in the movies.
Lee Jordan – Lee was a student, and school friend of Harry’s. His life after Hogwarts is unknown. Portrayed by Luke Youngblood.
Dean Thomas – Dean was a student, and school friend of Harry’s. He was a love interest for Ginny. He was unable to prove he had any wizarding heritage and so went on the run, only to return to participate in the Battle of Hogwarts. It is unknown what happened to him after the Battle. Portrayed by Alfred Lewis Enoch.
Angelina Johnson – Angelina was a school friend of the Weasley’s. After the Battle of Hogwarts she married George Weasley and had two children. Portrayed by Danielle Tabor and Tiana Benjamin.
Padma Patil – Padma was a witch of Indian heritage who attended the Yule Ball with Ron Weasley. It is unknown what happened to her after the Battle of Hogwarts. Portrayed by Sharon Sandhu and Afshan Azad.
Pavarti Patil – Pavarti is the twin sister of Padma Patil; also a witch of Indian heritage. She attended the Yule Ball with Harry Potter. It is unknown if she survived the Battle of Hogwarts. Portrayed by Sitara Shah and Shefali Chowdhury.
Rubeus Hagrid – Hagrid was a half-giant wizard. He attended Hogwarts as a student but was quickly expelled; a case of mistaken identity. He then trained as Gamekeeper of Hogwarts and became Professor of Care of Magical Creatures. He survived the Battle of Hogwarts and stayed as gamekeeper. Portrayed by Robbie Coltrane.
Dobby – Dobby was a house-elf that served the Malfoy family until Harry set him free in Chamber of Secrets. Dobby continued to help Harry and his friends throughout the series until he was killed by Bellatrix Lestrange. Voiced by Toby Edward Heslewood Jones.
Professor Remus Lupin – Remus was the Defence Against the Dark Arts professor in Prisoner of Azkaban. He is a werewolf thanks to an attack by Fenrir Greyback. He married Nympadora Tonks and had a son, Ted. He was killed by a Death Eater, Antonin Dolohov in the Battle of Hogwarts. Portrayed by David Thewlis.
Luna Lovegood – Luna was a school friend of Harry’s. Her mother died when she was nine and so was bought up by her father. She is known as ditsy and weird, but fiercely loyal to her friends. She married Rolf Scamander and had two sons. Portrayed by Evanna Patricia Lynch.
APPENDIX C
Nazi Timeline
Voldemort Timeline
WWI ended a generation before, in 1918.
War against Voldemort ended one generation before.
Hitler arrested and jailed in 1924. In jail, he solidifies his policies.
Voldemort is a “shadows of his former self”. He schemes to regain power.
He writes Mein Kampf.
Voldemort’s diary appears.
Depression 1929-1933.
Depression in wizarding and muggle worlds
Nuremberg Race Laws of 1935 deprived Jews of their citizenship rights. They analysed how much ‘blood’ made someone Jewish.
Issue of Mudbloods in Chamber of Secrets. Treatment of house-elves. Muggle-borns must register in brutal trials, facing wand confiscation and imprisonment.
Aug 1 1936 – Olympics; a show of good relations.
Death Eater demonstration at the World Cup.
1936 – Hitler remilitarizes the Rhineland, unopposed.
Voldemort returns in Goblet of Fire, but the world doesn’t unite against him.
1936-1939 – Spanish Civil War. Hitler stands back.
Fudge and Dumbledore conflict. Voldemort stays hidden.
Churchill attempts appeasement because he can’t face another world war.
Fudge denies Voldemort’s return because he can’t face another wizarding war.
Chamberlain replaced by Churchill
Fudge replaced by Scrimgeour.
1933 – Law for the protection of people and state. Civil liberties suspended.
Voldemort takes over the ministry and newspapers. Makes a more totalitarian regime.
1933 – At a gathering of high ranking Nazi officials, Hitler declares the success of the Nazi revolution.
Voldemort summons the Death Eaters and announces his return. He intends to kill Harry to commemorate this.
1937- Jews are banned from many occupations including teaching Germans.
Muggle borns are forbidden to attend Hogwarts and their wands are confiscated.
1938 – Nazi’s order Jews to register. Jewish pupils are expelled from all non-Jewish German schools.
Muggle Registration Act. Muggle Borns are expelled from Hogwarts.
Holocaust.
Random murders of Muggles.
1939 – Hitler invades Poland, begins WWII.
Voldemort kills Scrimgeour and starts the wizarding war.
1939 – Churchill’s speech at political uncertainty.
Dumbledore’s speech at end of Goblet of Fire – “Dark and Difficult times lie ahead”.
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FILMOGRAPHY
Harry Potter and the Philosophers Stone. (2001) Dir: Chris COLUMBUS. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Chamber of Secrets (2002) Dir: Chris COLUMBUS. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Prisoner of Azkaban. (2004) Dir. Alfonso CUARON. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Goblet of Fire (2005) Dir: Mike NEWELL. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Order of the Phoenix. (2007) Dir: David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Half-Blood Prince. (2009) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Deathly Hallows: Part 1. (2010) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Harry Potter and the Deathly Hallow: Part 2. (2011) David YATES. Perf: Daniel RADCLIFFE, Emma WATSON, Rupert GRINT. Warner Bros: London.
Illustration Sources
Figure 1: A still image of Hermione Granger erasing her parents’ memories of her in Harry Potter and the Deathly Hallows: Part One. [Online] available: http://lauraview.blogspot.co.uk/2011/07/harry-potter-best-and-worst-book-to.html. Last accessed: 18/03/2014
Figure 2: A picture timeline illustrating Ginny Weasley’s transformation throughout the series. [Online] available: http://untitledoddsandends.tumblr.com/post/4701300992 Last accessed: 18/03/2014
Figure 3: A still image of Harry Potter rescuing Ginny Weasley in Harry Potter and the Chamber of Secrets. [online] available: http://www.fanpop.com/clubs/ginevra-ginny-weasley/images/868314/title/chamber-secrets-photo Last accessed: 18/03/2014
Figure 4: A still image of Harry Potter and Ginny Weasley at Quidditch tryouts in Harry Potter and the Half-Blood Prince. [online] available: http://thetwilightsaga.com/photo/with-harry-during-quidditch Last accessed: 18/03/2014
Figure 5: A still image of the Beauxbatons’ ladies entering the Great Hall in Harry Potter and the Goblet of Fire. [online] available: http://www.pinterest.com/pin/467389267549586487/ Last accessed: 18/03/2014
Figure 6: A still image taken from a gif of Ronald Weasley and Hermione Granger in Harry Potter and the Order of the Phoenix. [online] available: http://sarahsaysread.com/2013/03/29/harry-potter-readalong-hem-hem/ Last accessed: 18/03/2014
Figure 7: Molly Weasley killing Bellatrix Lestrange in Harry Potter and the Deathly Hallows: Part 2. A screen capture. [online] available: http://www.youtube.com/watch?v=o3nY3D1X4R8 Last accessed: 18/03/2014
Figure 8: A still image of Narcissa Malfoy lying to Lord Voldemort in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://phoenixfeatherbird.wordpress.com/page/6/ Last accessed: 18/03/2014
Figure 9: A still image of Professor Dumbledore and Professor McGonagall bringing baby Harry to the Dursley’s house in Harry Potter and the Philosophers Stone. [online] available: http://harrypotter.wikia.com/wiki/Minerva_McGonagall Last accessed: 18/03/2014
Figure 10: Five of Professor Umbridge’s costumes. [online] available: http://studentz.squidoo.com/professor-umbridge-costume-ideas-womens-villain-fancy-dress-for-halloween Last accessed: 18/03/2014
Figure 11: Bellatrix faced with the Cruciatus Curse in Harry Potter and the Order of the Phoenix. A screen capture. [online] available: http://www.youtube.com/watch?v=TiD1s-Tn0SM Last accessed: 18/03/2014
Figure 12: A still image of Hermione Granger and Harry Potter at his parents’ grave in Harry Potter and the Deathly Hallows: Part 1. [online] available: http://phoenixweasley.wordpress.com/category/the-lord-of-the-hallows/page/2/ Last accessed: 18/03/2014
Figure 13: A still image of Harry Potter and a deceased Professor Dumbledore in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://harrypotter.wikia.com/wiki/Limbo Last accessed: 18/03/2014
Figure 15: A still image of Azkaban Prison from Harry Potter and the Order of the Phoenix. [online] available: http://m.sfx.co.uk/2012/04/20/14-freaky-sci-fi-and-fantasy-prisons/ Last accessed: 18/03/2014
Figure 16: A still image of the Death Eaters entering the Quidditch World Cup in Harry Potter and the Goblet of Fire. [online] available: http://harrypotter.wikia.com/wiki/Riot_at_the_1994_Quidditch_World_Cup Last accessed: 18/03/2014
Figure 17: A still from a gif of Lucius Malfoy fleeing the Battle of Hogwarts in Harry Potter and the Deathly Hallows: Part 2. A screen capture. [online] available: http://lucius-malfoy-fans.deviantart.com/art/Family-Malfoy-running-away-256544543 (screen grab) Last accessed: 18/03/2014
Figure 20: A still image of a young Lily Potter nee Evans and Severus Snape in Harry Potter and the Deathly Hallows: Part 2. [online] available: http://harrypotter.wikia.com/wiki/Severus_Snape Last accessed: 18/03/2014
Figure 21: A montage of stills of Draco Malfoy and Harry Potter in Harry Potter and the Philosophers Stone. [online] available: http://seomundodehpexistisse.tumblr.com/page/1698 Last accessed: 18/03/2014
Figure 22: An image of young children of all ages dressed up in Harry Potter costumes. [online] available: http://www.dawn.com/news/645225/harry-potter-finale-shatters-us-box-office-record Last accessed: 18/03/2014
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