Process of Transmedia | Lord of the Rings

Running head: FILM ANALYSIS
FILM ANALYSIS
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FILM ANALYSIS1
The aim of this paper is to discuss the process of transmedia storytelling the Lord of the
Rings: The Fellowship of the Ring and how the owner structure and funding had manipulated the
content of this film. Transmedia storytelling represents the process where all the integral
elements of the functions get dispersed across the multiple delivery channels for creating a
coordinated and unified entertainment experience (Freeman, 2016). Each of the medium makes
their own unique contribution for unfolding the story. in this respect the example of The Lord of
the Rings franchise can be mentioned where every bit of information are conveyed through the
channels like film, stage, radio, games and the fan made or unauthorised adaptations (Goh,
2014). Transmedia storytelling actually reflects the Economics of media consolidation and this
energy among the modern media companies which are horizontally integrated. in this current
situation the modern media companies hold interests across a variety of media industries
(Durham & Kellner, 2012). this in one hand increases popularity of the films and convince the
production house to disperse their investment to different channels (Ryan, 2017). In most of the
cases transmedia stories are not based on the individual characters for a specific plot but rather
than complicated fictional world just like the Lord of the Rings which can sustain multiple
connected characters as well as their own stories. this method of building world can encourage
the Encyclopaedia impulses among both the writers and the readers. Here through films or video
games a story can be known about the world that always keeps on expanding beyond the grasp of
the audience (Herman & Chomsky, 2012).
The story telling method in transmedia has been popularised because this provide insight
into the characters along with their motivations which connect the audience more gracefully than
having only one channel to inspire them. In the case of The Lord of the Rings it is not existed
only in the form of books but has been adopted in several media formats like movies, relation,

FILM ANALYSIS2
stage, radio, video games. among these the cinematic adaptation of this book ok is the most
popular one. this movie trilogy by Peter Jackson has attempted to bring the audience in search of
moral which they could have never experienced in books only. the first part was released in 2001
followed by the other two in 2002 and 2003. This film had won 17 Oscars and grossed more than
$3 billion that made it the highest earning Motion Picture in history (Young, 2016). Along with
the film version there are animated series published that could not attend same popularity as that
of the films (Stanton, 2015). Over the years this particular movie has been adapted in the musical
theatre and stage that where produced in in numerous big cities of the world like Illinois, Los
Angeles, Ohio, Chicago and Toronto.
Along with film and stage versions The Lord of the Rings was incredibly popular due to
its video game versions. transmedia story telling has gained immense popularity in this particular
channel because there were different formats of these games among which the most well-known
games were produced by Electronic Arts depending upon the actual film version of Peter
Jackson. on the other hand the video games published by Sierra Entertainments was completely
based on the book version. In addition to this there are other production houses who have
effectively adopted an amalgamated version of the book and the film (Sweeney, 2015). The first
segment of this trilogy The Fellowship of the Ring' gained popularity in the video games channel
making the story more diversifying and opening various facets of the characters that the writer
had actually intended to have in the minds of the readers.
In the case of The Lord of the Rings part 1 the director has used 5 narrative devices that
include world, language, magic, races, poetry and songs. all of these 5 narrative devices cannot
be adapted into one particular channel but are deciphered differently in different channels. for
example, the thoughts of the characters can be more elaborately seen in the book but the