The Lord of the Rings' Interlace: The Adaptation to Film (Critical Essay) The Lord of the Rings' Interlace: The Adaptation to Film (Critical Essay)

The Lord of the Rings' Interlace: The Adaptation to Film (Critical Essay‪)‬

Mythlore 2011, Fall-Winter, 30, 1-2

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Publisher Description

J.R.R. Tolkien's The Lord of the Rings was rewritten as a film script by Peter Jackson, Fran Walsh, and Philippa Boyens and the film itself released in three parts that more or less coincide with the volume divisions of the original text: The Fellowship of the Ring ([FR] 2001), The Two Towers ([TT] 2002), and The Return of the King ([RK] 2003). (1) In the film, as in the text, interlace is used to amplify and expand upon the central "matter" of the narrative in a manner that dramatizes its status as myth. (2) This paper identifies the specifically filmic variations of Tolkien's interlace involving cross-cutting apparent in the extended DVD editions of the trilogy: the appendix is a list of the occasions of interlace and the paper itself is a discussion of how the interlace technique is applied in the development of particular aspects of the lives of Isildur, Gollum, and Elrond in the film relative to the text. All of the three types of narrative interlace found in Tolkien's The Lord of the Rings [LotR, to distinguish it from the movies] also characterize Alan Lee's illustrations for that text (Auger 2008). These types include structural interlace, which involves achronological order, such that events are placed out of natural time so as to enhance and draw out associations--similarities and dissimilarities--between characters, events, and themes; stylistic interlace, which refers to the repetition or restatement of a particular theme or other element as a way of both emphasizing it and exploring its potential implications; (3) and pictorial interlace, which refers to the manner in which the movements of characters and the obstacles and furtherances they encounter are imbricated with the environment itself such that all are "apprehended like an image" (Fein 232), or as if the environment itself were a projection of the inner state and will of the characters (Burlin). In both Tolkien's text and Lee's illustrations, structural interlace is frequently apparent in the moments dedicated to story, dream, and fortune-telling because they intertwine past, present, and probable future events; stylistic interlace appears in the frequent restating of such themes as love and loyalty, and kingship and stewardship; and pictorial interlace appears so continuously that the physical aspects of the environment appear as a direct manifestation of the motivations and will of the various characters with regard to the quest.

GENRE
Professional & Technical
RELEASED
2011
22 September
LANGUAGE
EN
English
LENGTH
36
Pages
PUBLISHER
Mythopoeic Society
SIZE
207.2
KB

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