1178:"how many of Tolkien's protagonists shift amongst the modes", indeed climbing steadily and heroically up "the ladder of Frye's modes". In short, they argue, Jackson effectively "flatten Tolkien's heroes into one mode, thereby demoralizing and humiliating Tolkien's creation." Alongside this disastrous flattening of character, Burdge and Burke comment that by making the One Ring the incarnation of evil, its destruction means the end of all evil. Tolkien, they note, never implied anything so crude: Jackson and his team thus failed to grasp "the nuances and profundity of Tolkien's creation." The anti-heroes Saruman and Denethor are equally mishandled, and for the same reason, the subtlety of their intelligences and characters flattened, replaced by devices like "creating a pathetic need for tension between Denethor and Gandalf", while by elevating Saruman and lowering Gandalf, Jackson breaks Tolkien's careful balance of forces.
1493:. Greydanus noted that Jackson and his team were aware of Tolkien's faith, while not sharing it, and intended to honour the themes of his book. He gave as one of many examples of this willingness the death and return of Gandalf, fighting the Balrog, "as hellish as Jackson's conceptual artists and the Weta effects people could make it", falling into the abyss with his arms extended as if on a cross, and returning "shining like a painting of the risen Christ" as he appears to Aragorn, Legolas, and Gimli, "who like disciples are at first unable to recognize him". The scholar Mark Stucky considered that Jackson had possibly managed to portray the returned Gandalf as Tolkien would have wanted, noting that Tolkien felt he had not got the return right. Frodo, too, Greydanus wrote, symbolically dies in the giant spider
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1102:ÇŸystein HÇżgset evaluates the films against Dudley Andrew's three modes of adaptation. These are borrowing, meaning re-creating the feeling of the original, which is used just for inspiration; the use of unaltered fragments; and "fidelity and transformation", adapting the whole text and its meaning. HÇżgset argues that Jackson attempts the third mode, but includes both of the others as well. In his view, Jackson does not pass the fidelity test. For instance, in the good/evil conflict, the film ends with the destruction of evil, where the book remains fully nuanced even after the end of the One Ring. HÇżgset concludes that Jackson's film version so seriously fails to represent the spirit of the book that it fails as an adaptation.
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1025:" and "AnĂron" are set to words not by Tolkien, while most of Tolkien's "rich" provision of hobbit songs is absent from the score. She notes that the score is "pervasively orchestral and tonal" in keeping with Shore's intention to create "a feeling of antiquity", almost as if the music had been "discovered" rather than newly written. She comments that the actual result is rather different: "What happens, however, is that while the music lends another dimension to sight, it is swallowed up by sight...; the audience's focus is primarily upon the screen." She notes, on the other hand, that the use of familiar leitmotifs from the earlier films in
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915:, all provide the Tolkien reader with a satisfying shock of recognition". The scholar of humanities Kim Selling found the evocation of the look of Middle-earth and the "eliciting of wonder" "marvellously realized". She felt that the trilogy achieved this both with its many strange creatures, whether beautiful or horrifying, but through landscape and setting, and special effects like half-height hobbits and the creation of the monster Gollum. In her view, these succeeded in the terms set out for believable fantasy in Tolkien's 1939 essay "
1622:'s creative supervisor, Richard Taylor, called "an opportunity to bring a piece of modern English folklore to the screen". Fimi notes especially the monstrous Balrog, the graceful Elves, and the Dead Men who follow Aragorn. Tolkien leaves unclear whether the Balrog had wings; it appears as a being of monstrous size, wreathed in flame and shadow. Jackson consulted with fans and decided to give it satanic bat-wings. This "imposed" a definitive form of Tolkien folklore. Tolkien's Elves are rooted firmly, Fimi writes, in
1086:, emotional tact, and spaciousness. He regretted the absence of the book's emphasis on free will and individual responsibility. He was sorry, too, about the film version's choice of physical conflict over rhetorical power, "dignity of presence or force of intellect". Timmons commented that a deft touch was needed to balance artistic integrity with Hollywood's demands and that Jackson had "often failed" to achieve that balance. In his view, the "orgy of Orc killing" at the end of
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Tolkien, though the text provided dialogue and explanation skipped over by the films. She writes that "a surprising number" of lines of dialogue survive in the films, though often transposed, continuing a process begun by Tolkien, who as his son Christopher notes, often moved conversations into fresh contexts, voiced by different speakers. She concludes that it is possible for multiple versions all to be valid and that it is "a story that can survive being retold".
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798:'s "heroic 'monomyth'" in which the hero ventures into a supernatural realm, fights strange forces, wins, and returns with enhanced power. The American variant is that the hero begins as a lone outsider, seeks justice for the community, is morally pure, and returns accepted by the community. Croft writes that Tolkien's quest fits Campbell's model quite closely, but that it is Frodo who sets out as the fairytale hero, the ordinary person who as
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encompassed a passion for books, video games and every possible kind of merchandise. Selling wrote that the films had certainly led many fans to read
Tolkien's book. Alberto stated that critical voices such as Fimi and Croft had written about how Tolkien fans could be unforgiving of any deviation from the text, but that Jackson had carefully balanced fan reaction and the need for commercial success of his film trilogy.
1359:. The scene looks like her defeat, and indeed the defeat of the army of the West, along with the Witch-king's triumphant prophecy "You fool â no man can kill me" and a break in the music, suddenly reversed as the music restarts with her revelation of herself as a woman, and her killing him. The method of narration is not Tolkien's, but the effect is similarly eucatastrophic.
170:. He was not opposed to the idea: in 1957 he wrote that an abridgement "with some good picture-work would be pleasant". He felt that selective omission would be better than compression; in the script he was shown, he found the compression excessive, with "resultant over-crowding and confusion, blurring of climaxes, and general degradation". Thus, the French Tolkien scholar
496:. As Joseph Ricke and Catherine Barnett write, "Tolkien's characters ⊠â like the narrative in which they exist â pause often for reflection, lamentation, poetry, song, moral inventory, refocusing, wrestling with their consciences, and debating their commitment to the mission before them." Furthermore, the main text is supplemented by a prologue on the nature of
1461:, and describing himself as "a hardcore fan" of the book, called the adaptation "faithful". He commented that one could not "dissect the film like an annotation to the novel" because a film has "different requirements and dynamics". He acknowledged the inevitable omissions, but stated that Jackson "did indeed manage to capture the essence of the books".
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encounter with an unironic vision of good and evil, a moral vision of evil as derivative of good and of the ever-present human susceptibility to temptation". Timmons agreed, writing that
Tolkien's core story, that the Ring insidiously tempted everyone to evil, was effectively told, through the Ring's "subtle and seductive voice".
1445:, called Jackson's adaptation "perhaps the most faithful screenplay ever adapted from a long novel." He stated that this was because the scriptwriters had been "devoted to the original and would share other fans' resentment if it were "mistreated", and because Tolkien's storylines were clearer than those of
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and many specialised archives such as
Henneth Annûn, which had (by 2005) over 1,000 Tolkien-based stories; that it is diverse, with conventions, printed fanzines, fiction awards, discussion boards, blogs, journals, and role-playing games; and unusual, in not being constrained to one central text. She
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to create a cast of heroes (Aragorn, Faramir, Frodo, Sam... and perhaps, following
Deborah Rogers, whom they cite, all the hobbits) who function at each of Frye's literary modes. Further, Jackson and the films' screenwriters, Philippa Boyens and Fran Walsh, in their view fail to grasp this theme; nor
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felt that many characters had not been depicted faithfully: They had essentially been flattened from complex, rounded characters with strengths and weaknesses to simple types or caricatures. Croft called the film versions of
Aragorn and Frodo "strangely diminished"; she noted that Hostetter described
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was released as three films between 2001 and 2003. The budget was $ 281 million, and together the three films grossed over $ 2.9 billion worldwide. The series runs for 9 hours, 18 minutes in the "theatrical" or cinema version, and 11 hours, 26 minutes in the extended version released on DVD. Although
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adaptation", but specifically to the
Zimmerman script. He liked the images of deserts and mountains that he saw, as they seemed to him appropriate for Middle-earth. Further, he wrote that scenery and sets might be a core element of the proposed film. Further, when he disliked a part of the script, he
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adventure story ⊠Condensation is not the issue: the evisceration of
Tolkien's spirit is the issue." He wrote that he did enjoy "those few moments which come straight from the book", such as Frodo and Gandalf's discussing the moral issue around Gollum, which he called "scenes from a different movie,
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The scholar Philip Kaveny wrote that
Jackson and Tolkien "found different solutions to similar issues of audience and narrative ... in different media". The film scholar Kristin Thompson stated that Tolkien, his scholars, and his fans "no doubt ... would have been impressed by some elements of and
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The writer Diana Paxson, describing herself as a lover of the book version, said she found watching the films a "fascinating, if sometimes mixed, experience". Seeing the films "refreshed" her re-readings of the book; she felt that the films showed "in rich detail" things "all too briefly described"
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The medievalist and
Tolkien scholar Yvette Kisor wrote that while Jackson had been unfaithful to Tolkien's narrative technique (such as interlacing), character development and motivation, and specific events, he had continually striven to be faithful "to the totality of Tolkien's epic â its impact,
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The independent scholars and publishers Anthony S. Burdge and Jessica Burke make use of Frye's classification of literary modes to argue that the film interpretation "fails miserably" in one of what they consider Tolkien's major achievements, to " images of the hero." Tolkien, they write, used his
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made the film quite implausible; Jackson continually "minimizes mood development and dialogue, and offers seemingly nonstop flights and fights"; and "the significance of Frodo's inner journey becomes submerged in frenetic action". Timmons felt that in scenes like Frodo's meeting with Strider, the
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community rests on the shoulders of both Tolkien and Jackson: Their writings explore the intersection of Tolkien's text and Jackson's visualisations, and the gaps between them, or use Jackson's departures from the book to create alternate universes. She wrote that the "new cyberculture" that has
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Commentators have differed on how well the films manage to represent the spirit of the book, from feeling that it had been lost or the characters flattened, to granting that some elements were lost but others suitably substituted, to seeing the films as a remarkable cinematic tribute to Tolkien.
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on the way to Mount Doom to destroy the Ring, while Aragorn walks the Paths of the Dead. He concluded that while the film trilogy does not equal the book's religious vision, it succeeds in honouring that vision in a way that works for Christians, while giving "non-Christian postmoderns" a "rare
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of "Namårië" and his "dramatic" performance of "Ride of the Rohirrim" give "a glimpse" of how he imagined his songs might have sounded. Jackson, she writes, omitted Tom Bombadil and Goldberry, along with all their music, and Galadriel's singing, too, is dropped. Jackson acknowledged his musical
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The scholar Maria Alberto wrote that Jackson had created a "fan film culture" in a large community that shared interest in and knowledge of Middle-earth. The film scholar Lothar Mikos and colleagues noted that Jackson's film trilogy had created a phenomenon in the shape of a fan culture which
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Finally, some authorities have analysed how Jackson has gone beyond Tolkien, creating his own take on Middle-earth, and in the process creating a community of fans united by shared interest and knowledge, and open to discussing and creating a body of new work â a fan film culture, or a modern
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epic than a realization of more naive and guileless vision", and on the other hand gave Jackson "high praise". Robin Anne Reid analysed the grammar used by Tolkien, which she stated often dwells on the environment, with devices such as placing the characters into subordinate clauses, and the
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between characters in different places at the same time. This may make the narrative easier to follow, but it allows the audience to know more than the characters do, undercutting the feeling that choices must be made based on personal courage in the face of incomplete knowledge. One of the
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on Weathertop. Tolkien's remarks show that the lost script was extremely poor. Zimmerman got names wrong; wrote inappropriate dialogue; made unwarranted additions such as a "fairy castle", and cut incoherently. Tolkien specially disliked Zimmerman's "pull-back towards more conventional
1000:. Selling cited Erica Sheen's remark that a film adaptation converts a book into a soundtrack, conveying emotion by combining images, words, and music, and argued that Jackson's films successfully "replicate the pleasurable experiences elicited by narrative". The final song, "
1205:. Where Tolkien's Denethor is a cold ruler doing his best for his country, Jackson's is made to look greedy and self-indulgent: Shippey calls the scene where he gobbles a meal, while his son Faramir has been sent out in a hopeless fight, a "blatant of cinematic suggestion".
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Critics and scholars have largely agreed that the film makes fine use of visual imagery and music to convey an impression of Middle-earth, from the New Zealand landscapes to the use of casting, costumes, prosthetics and digital effects to create characters and action.
532:; something of the feeling aroused by the descriptions is conveyed by the choice of landscape and the photography, from woodland scenes in the Shire to wide panoramas of majestic mountains. Subtle effects such as Tolkien's indirect suggestion of the power of the
1579:. It further alludes to Jackson's trilogy, Alberto writes, with techniques such as "accelerated exposition" and an unseen narrator of "ancient story" speaking over "sweeping location shots, battle scenes, and details from a character's life". Reid comments that
841:, where Arwen returns to being "passively feminine". In the book she does not appear at all, only her hand-woven banner for her fiancé Aragorn being mentioned. Walsh confirmed that the conception of Arwen in the script changed radically before the release of
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Estelle Jorgensen considers how Tolkien's text translates to film, and in particular how the implicit music of Tolkien's poetry is realized, both visually and aurally. She cites Jackson's remark that Tolkien's "music" is "imaginary", objecting only that his
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limitations, relying on Shore to represent Tolkien's music. Shore stated that he wanted to "re-insert" Tolkien's verse into his score with choral versions of songs in Tolkien's invented languages. Jorgensen comments that be that as it may, songs such as "
1489:, called Jackson's trilogy "an extraordinary cinematic tribute to a great work of Catholic imagination". He noted that Tolkien described his book as "a fundamentally religious and Catholic work", with clear allusions to "the hand of Providence", though
40:, remarking that while both have been extremely successful commercially, the film version does not necessarily capture the intended meaning of the book. They have admired Jackson's ability to film the long and complex work at all; the beauty of the
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were, as both screenwriters and fans themselves, acutely aware of the "fidelity to the original text expected by the wider community of Tolkien fans". They knew that the books were "unfilmable" without transformation, so they set about "translat"
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wrote that the films "missed the moral and religious depths" of the book, such as when they turned "the awful subtlety and complexity of evil" into something trivially obvious. It gave as an instance the reduction of Tolkien's sadly conflicted
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fills a gap in the story left by Jackson's decision to omit the hunt; the fan film, she writes, knowledgeably follows Tolkien's story, having Aragorn capture Gollum and hand him over to the Elves, before going further with its own narrative.
268:. The differences of content created by the necessary compression and transformation of Tolkien's story inevitably result in differences of style. Commentators have addressed the question of whether the observed differences are appropriate.
1161:", allowing the audience to identify with the "lone redeemer, riding into town, ⊠saving the day, and galloping off into the sunset", whereas Tolkien challenges his readers to "emulate timeless characters of a higher mode than ourselves".
935:'s "magisterial" boat funeral, which she called "effective and moving". Daniel Timmons found the "cinematography, art direction, sets, props, and costumes" spectacular, calling this "probably Jackson's finest achievement". He admired the
806:. Jackson puts the Shire under violent threat from the start. Tolkien has Aragorn always aiming for marriage with Arwen; Jackson, in keeping with the chastity required in the American monomyth, has Aragorn avoid both Arwen and Ăowyn, who
1703:", following cinematic tradition. Fimi commented that the more embodied form for the Dead Men probably prevailed because they had to fight a battle (for the Corsair's ships); she noted that Jackson's first successes as a director were
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The film version differs in content from the written version in several ways, including cutting some scenes, adding scenes, adjusting scenes to cope with other changes, such as moving some action to different locations, and adding
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The early chapters "A Conspiracy Unmasked", "The Old Forest", "In the House of Tom Bombadil", and "Fog on the Barrow-Downs", all of which concern a deviation on the hobbits' journey from their home in the Shire to the village of
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to summon the riders of Rohan to Gondor, a lengthy scene at 98 seconds, "exceeds the impact of the novel because of the cinematic narrator's ability to move away from a single character's point of view to dramatize the event".
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stated that "I felt as if I were seeing two films at once. One in the visuals, which was faithful and true to Tolkien, and another in the script and in the general tone and style, which was so unfaithful as to be a travesty."
707:, stated that the trilogy was simply their interpretation of the written work. Jackson asserted that it would not be possible to film a straight retelling of the story on screen, and said of his version "Sure, it's not really
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mode, superior to other men but not to his environment. She concluded that Jackson's screenplay aims at "Hollywood's lowest common denominator ⊠the pathos of the low-mimetic mode and the irresistible power of the American âŠ
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noted that Jackson was under much greater financial pressure than Tolkien, who was risking nothing more than his spare time. In his view, Jackson was obliged to address different audiences, including teenagers who expected
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Fans, actors, critics, and scholars have seen Jackson's version as a success: on its own terms, as an adaptation of Tolkien, and as going beyond Tolkien into a sort of modern folklore. The development of fan films such as
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equivalent visual grammar used by Jackson. In her view, the cinematography successfully mirrors the text, except when Frodo and Sam are approaching Mordor, where Reid found the film "perfunctory in its construction of
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found Jackson's tendencies for "democratisation" and "emotionalisation" problematic, writing that where Tolkien has a clear hierarchy, Jackson is happy to enlarge the parts of humble characters like the servant-hobbit
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579:", in which the hobbits use the skills of leadership and warfare that they have acquired to cleanse their home region of the enemy, is omitted, although a vision of it is seen by Frodo in the Mirror of Galadriel.
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its look and feel, and, perhaps, some of its themes". In her view, he allowed himself "unusually free reshuffling" of scenes to simplify the chronology, but managed to build the Tolkienesque themes of "
247:, wrote that " scholars seem particularly irked by the films' enormous popularity, not just among fans but also among reviewers". She noted that the films have brought a "vastly enlarged" audience to
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that "Tolkien fanatics, the kind who wear furry rubber hobbit feet to the theater, ... are praising Jackson for being true to the spirit, not the letter, of Tolkienâs books." The scholar of culture
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Fans have extensively discussed the faithfulness of Jackson's trilogy to Tolkien's book on a variety of discussion boards, for example of the realism and appropriateness of the weapons used at
730:, acquiring ancient blades from the barrow hoard in the natural course of events. In the film, however, they do not traverse the Barrow-downs. Instead, Aragorn gives them the needed blades on
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Tolkien did not live to see Jackson's film version, but he did engage in dialogue with a film-maker interested in adapting Middle-earth for the cinema. Tolkien was involved in a proposal by
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492:, not least its length. Tolkien's version contains a variety of types of writing, especially descriptions of landscape, characters, and their appearance, namely narrative, dialogue, and
107:, and of a modern folklore with characters such as elves, dwarves, wizards, and halflings, all derived from Jackson's rendering of Tolkien, have been viewed as measures of this success.
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1012:; its lyrics speak of "weeping, shadows, and fading", counteracting the image of dazzling light presented by the film, and echoing the note of pessimism and doubt in Tolkien's ending.
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long for a film trilogy, this was short compared to Tolkien's work, presenting the films' makers with a major challenge of abridgement, compression, and transformation for the
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1571:, added its own original characters, ties its story in to other elements of Middle-earth, and references Jackson's film treatment with its choice of rugged filming locations,
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thought out suitable cinematic images that might give the viewer an idea of the quest's challenges, or having a fire to provide suitable lighting for the conflict with the
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into film. They preserved Tolkien's dialogue wherever they could, sometimes moving lines to a different time, place, or character, as when Gandalf makes a speech in the
601:", as a secondary plot line on the "bittersweet love affair" between a man, one of the heroes of the film, and an immortal Elf. Another major addition is the attack on
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helps to tie the trilogy together, while the song over the credits, "Into the West", wrapped "in now familiar musical material ... helps to create a musical unity".
528:. Film has different capabilities from prose fiction. The film version translates descriptions of landscape into actual landscapes, whether those of New Zealand or
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Gaydosik, Victoria (2005). "'Crimes Against the Book'? The Transformation of Tolkien's Arwen from Page to Screen and the Abandonment of the Psyche Archetype". In
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Fimi wrote that Jackson had succeeded in transforming Tolkien's book for the screen, in the process creating a modern folklore tradition. She noted that Tolkien
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Some critics and scholars freely admitted that the film version differed from the book, but felt that it appropriately substituted other elements for those that
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1695:. Tolkien does not attempt to describe the Dead, noting only the reactions of dread they inspire in Aragorn's men and the Dwarf Gimli in the dark and chilling "
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613:, leaving him wounded and unconscious. The entire episode is a digression from the main story; Shippey suggested it was inserted to provide more of a role for
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Selling stated that a film adaptation's success requires the film-makers to persuade the audience that their interpretation is valid. She noted that Jackson,
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The Tolkien scholar Kristin Thompson noted that "even the film's harshest critics" agree that its design elements, including its music, which was composed by
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are difficult to replicate by such means. Dialogue is sometimes taken unchanged from the book, but much is cut; some elements are voiced by other characters.
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to Shore's music with lyrics by Fran Walsh, "intriguing" modulates the end of the last film "to a tone closer to that of the novel", write Judy Ann Ford and
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have been extremely successful, enjoyed by the public and non-academic reviewers alike, and attracting scholarly attention to the differences between them.
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Both critics and film-makers are aware that transformations can be controversial. The scholar of literature Victoria Gaydosik notes that the screenwriters
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52:; and the epic scale of his version of Tolkien's story. They have, however, found the characters and the story greatly weakened by Jackson's emphasis on
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1575:'s portrayal of Aragorn by casting the similar-looking Christopher Dane as Aragorn's father Arathorn, and by making the Orcs monstrous and ragged in
1394:" reach people who never read Tolkien. In short, he writes, "render unto Jackson that which is Jackson's, and unto Tolkien that which is Tolkien's."
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annoyed by others". Alberto called it remarkable that Thompson consciously treats both scholars and fans as audiences worthy of consideration.
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joke about "crimes against the book" on the extended edition DVD, and investigates the transformation of Arwen in the films. In the film of
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Some scholars felt that the spirit of the book had been lost. Bratman wrote that Jackson has "taken out just about everything that makes
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Filmgoers and non-academic reviewers rated the films as almost perfect (as films, not as representations of the book) gaining many
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stated that the conservative community spirit of Tolkien's Shire is reflected in Jackson's films as well as the division of the
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2588:(2005). "Summa Jacksonica: A Reply to Defenses of Peter Jackson's 'The Lord of the Rings' films, after St. Thomas Aquinas". In
1679:'s party of Elves riding through the Shire "moving slowly and gracefully towards the West, accompanied by ethereal music" with
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to convey emotion, evoking the appearance of Middle-earth, creating wonderfully believable creatures, and honouring Tolkien's
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concluded from this that Jackson's trilogy had stimulated "a remarkable degree of fan creativity, production, and dialogue".
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184:'fairy-stories'." Ferré comments that this may indicate "what might have been Tolkien's own judgement" on later adaptations.
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4023:(2005). "Make Mine 'Movieverse': How the Tolkien Fan Fiction Community Learned to Stop Worrying and Love Peter Jackson". In
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Reasons of the Heart: Myth, Meaning and Education, an International Conference University of Edinburgh, September 9-12, 2004
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1699:". Jackson's Dead are instead "visible in a misty greenish light, partly skeletons, partly ghosts and partly rotten-fleshed
1453:. McKellen added that the films "augment our appreciation" of the book. Guido Henkel, reviewing the extended edition DVD of
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comments, to be carrying four hobbit-sized swords with him, even though he had only been expecting to meet Frodo and Sam.
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679:, a distant ancestor of Aragorn. This resolves a major problem for the film-maker in the narrative, namely that Tolkien
146:. It takes up, according to the edition, around 1000 pages of text. Read out loud in the unabridged audiobook voiced by
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is peculiarly unsuitable to transformation into visual dramatic form", and that the films had "eviscerated" the book.
588:
3333:(2011). "Into the West: Far Green Country or Shadow on the Waters?". In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
64:
and individual responsibility; the flattening out of Tolkien's balanced treatment of evil to a simple equation of the
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Other scenes have necessarily been adjusted to handle the effects of cuts and other changes. The death of the Wizard
651:, so Aragorn suddenly produces four hobbit-sized swords. It is not explained how he knew there would be four hobbits.
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from the power of earlier ages. Secondly, "The Shadow" is constantly scheming to take control. Thirdly, a power of
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found much of the film's imagery problematic but praised its effect when used with restraint, as in the case of
251:, and perhaps millions of new readers to the book, and that there are "book-firsters" and "film-firsters" among
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575:, are essentially omitted completely, though brief mentions of these are made later. The penultimate chapter "
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Paxson, Diana (2004). "Re-vision: The Creative Process in The Lord of the Rings In Print and On Screen". In
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wrote that "The attentiveness to the original text's descriptions of locales is often quite remarkable: The
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2324:"'You Have Grown Very Much': The Scouring of the Shire and the Novelistic Aspects of The Lord of the Rings"
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James Dunning writes that there are three large spiritual themes "behind events in Middle-earth". Firstly,
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Burdge, Anthony S.; Burke, Jessica. "Humiliated Heroes: Peter Jackson's Interpretation", pages 129â157 in
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states that many of Jackson's characters are "demonstrably different" from Tolkien's: she lists Arwen,
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through "talking heads", reflecting long after the events on what they meant, and violating the basic "
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An addition to Tolkien's main text that critics felt worked well is the incorporation of an appendix, "
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837:", but what Boyens jokingly called that "slight departure" from Tolkien did not appear in the film of
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Dunning, James. "The Professor and the Director and Good vs. Evil in Middle-earth", pages 177â207 in
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3464:"Faith and fantasy: Tolkien the Catholic, The Lord of the Rings, and Peter Jackson's film trilogy"
3118:(1981). "Frodo and Aragorn: The Concept of the Hero". In Neil D. Isaacs; Rose A. Zimbardo (eds.).
422:: readers, like the characters, do not know what is happening to other characters for long periods
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3933:"Middle Earth's Messianic Mythology Remixed: Gandalf's Death and Resurrection in Novel and Film"
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1152:, who is 'superior in degree to other men and his environment'", whereas Frodo is a hero of the
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acts through ordinary people, brave warriors, and even the mistakes of the enemy, appearing as
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829:" role not found in the book. This prompted debate on fan sites about how she might feature in
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was published in three volumes in 1954â1955 and has sold over 150 million copies. It has been
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1475:. Steven D. Greydanus cites this as an instance of Peter Jackson's willingness to honour the
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The 'Lord of the Rings' Trilogy. Attraction and Fascination of a Popular Cultural Phenomenon
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Die 'Herr der Ringe'-Trilogie. Attraktion und Faszination eines populÀrkulturellen PhÀnomens
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Even scholars generally hostile to the film version have respected its visual presentation.
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Jackson decided to make use of some of the "history" (events long before the main action of
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There are multiple reasons why a film-maker would need to transform the source text into a
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to a "pathetically comic and merely devious figure", and the caricaturing of the powerful
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3517:"My Father's "Eviscerated" Work - Son Of Hobbit Scribe J.R.R. Tolkien Finally Speaks Out"
2962:"Tolkien Book to Jackson Script: The Medium and the Message (audio talk with transcript)"
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1355:, intercut with Aragorn's unlooked-for arrival with an army in the captured ships of the
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943:, and the special effects that made the Wizard Gandalf's battle with the fiery monstrous
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as the party is threatened with imminent attack. He just happens, as the Tolkien scholar
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3906:"[Review] The Lord Of The Rings: The Fellowship Of The Ring: Extended Edition"
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3168:"J. R. R. Tolkien's 'The Lord of the Rings': The Book, the Film, and Genre Criticism"
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for you, Frodo". And the book warns of the danger of trying to double-guess fate by
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and to an earlier time, as the end-of-book action on returning to the hobbits' home
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reappears shining white and unrecognised by his companions, like Jesus after his
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1435:, who played Gandalf in the film trilogy, and who had adapted Shakespeare's play
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region of Middle-earth, and the social and political organisation of their home,
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Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
4195:
4140:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
4020:
3336:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
3290:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
3282:"Filming Folklore: Adapting Fantasy for the Big Screen through Peter Jackson's
3115:
3019:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
2847:
2739:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
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2538:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
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Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
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2418:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
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2279:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
2132:
Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy
1772:
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1310:'s ships - that Tolkien called Dromonds, like these Ancient Greek galleys - is
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writes "stumbles into heroic adventure and does the best he can"; Tolkien then
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663:, midway through the first volume) in a dramatic film prologue. It begins with
57:
41:
6997:
1567:, for instance, drew on "a couple of paragraphs" by Tolkien in an appendix on
667:'s forging of the One Ring in the Second Age, his overthrow by an alliance of
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5544:
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4349:
3980:"'The effort to translate': Fan Film Culture and the Works of J.R.R. Tolkien"
2943:
2787:
2642:
2585:
2079:
1937:
1619:
1336:
1323:
1222:, Denethor, as "a snarling and drooling oaf rather than a noble pessimist".
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1082:
Rosebury mourned the loss of "some of the book's greatest virtues" including
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985:
923:
883:'s boat funeral, the film's use of visual imagery was "effective and moving".
735:
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is omitted. A second example: In the bookâs narrative, the hobbits visit the
455:
Arwen as "warrior princess", her love for Aragorn brought to the fore; Ăowyn
198:
163:
69:
20:
5810:
4056:
Mikos, Lothar; Eichner, Susanne; Prommer, Elisabeth; Wedel, Michael (2007).
3378:"Music, Myth, and Education: The Case of The Lord of the Rings Film Trilogy"
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5751:
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3593:"Anticipation and Flattening in Peter Jackson's The Fellowship of the Ring"
3277:
3015:"Concerning Horses: Establishing Cultural Settings from Tolkien to Jackson"
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1959:
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1614:
industry, redefining or creating widely-used races such as Elves, Dwarves,
1550:
1545:
1513:
folklore â informed by, but different from, both Tolkien's and Jackson's.
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Critics, scholars, fans, and others have described Jackson's adaptation of
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556:-tossing, something that, he commented, Tolkien would not have understood.
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833:: A photograph showed Arwen "in full armor wielding her father's sword at
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a strikingly unique work, one which we love, and reduced it to a generic
540:
60:
at the expense of psychological depth; the loss of Tolkien's emphasis on
53:
5884:
5586:
5581:
4742:
4064:]. Konstanz: UVK Verlagsgesellschaft. pp. 89ff and whole book.
2339:
2194:
From Hobbits to Hollywood: Essays on Peter Jackson's 'Lord of the Rings'
1846:"Lord of the Rings set to become the most expensive TV show of all time"
1543:
The success with fans could be seen, Alberto remarked, in the fan films
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7351:
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1284:'s tomb, whereas, in the book, the words are spoken in Frodo's home in
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of major newspapers both pointed out the trilogy's weaknesses, as when
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814:
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727:
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From Hobbits to Hollywood: Essays on Peter Jackson's Lord of the Rings
3856:
From Hobbits to Hollywood: Essays on Peter Jackson's Lord of the Rings
2627:
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2623:
2621:
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adventure story. 1936 illustration for "Red Nails" by Harold S. De Lay
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A major structural change was Jackson's decision to abandon Tolkien's
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2730:"Making the Connection on Page and Screen in Tolkien's and Jackson's
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997:
779:
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Commentators have admired the simultaneous use of images, words, and
61:
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2123:"Gollum Talks to Himself: Problems and Solutions in Peter Jackson's
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1137:
180:
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5439:
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3692:"The Lure of the Obvious in Peter Jackson's The Return of the King"
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1664:
1255:
compared to earlier scenes". Against that, she considered that the
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1202:
1158:
1112:
Anatomy of Criticism § "Historical Criticism: Theory of Modes"
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771:
719:
533:
480:
Wide panoramas of New Zealand's high country landscape (here, near
338:
65:
45:
5632:
5627:
2594:
Tolkien on Film: Essays on Peter Jackson's 'The Lord of the Rings'
2270:"Two Kinds of Absence: Elision & Exclusion in Peter Jackson's
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456:
449:
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7338:
6603:
6485:
5879:
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5013:
3848:"The Lord of the Rings as Allegory: A Multiperspectivist Reading"
2409:"Filming the Numinous: The Fate of Lothlorien in Peter Jackson's
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Tolkien on Film: Essays on Peter Jackson's The Lord of the Rings
4029:
Tolkien on Film: Essays on Peter Jackson's The Lord of the Rings
3782:
Tolkien on Film: Essays on Peter Jackson's The Lord of the Rings
2820:
Tolkien on Film: Essays on Peter Jackson's The Lord of the Rings
1687:. She notes that Jackson's conceptual designer, the illustrator
1640:. Jackson's Elves are "Celtic" in the romanticised sense of the
1299:
1075:, editor of his father's Middle-earth manuscripts, stated that "
939:
that in his view brilliantly animated the Ring-obsessed monster
593:
List of original characters in The Lord of the Rings film series
7247:
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5800:
5696:
5669:
5599:
5539:
5508:
5424:
5419:
5001:
3625:
Kirst, Sean. "Tolkien Scholar Stings "Rings" Films." Review of
1700:
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1375:
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944:
940:
791:
664:
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484:) replaced Tolkien's landscape descriptions in Jackson's films.
214:
2989:"Lord Of The Rings: What Frodo Saw In The Mirror of Galadriel"
698:
and replace it with a story told in chronological order, with
659:, described in the appendices and recalled in dialogue in the
5805:
5576:
5503:
5411:
1719:
grown around such writing is big, with (by 2005) over 29,000
1631:
1606:. In turn, his Middle-earth has, she states, influenced both
1197:, who (unlike in Tolkien's version) persuades the tree-giant
1133:
631:
545:
441:
1318:
in Jackson's film with Ăowyn's desperate battle against the
1148:, Croft described Tolkien's Aragorn as "the typical hero of
6755:
5706:
4090:"'The Hunt for Gollum': Tracking issues of fandom cultures"
989:
610:
3090:"Lord of the Rings Movies â Complete List of Film Changes"
1983:. "Tolkien, our Judge of Peter Jackson", pages 159â173 in
272:
Major differences between book and film noted by scholars
91:
vision with images that can work also for non-Christians.
6252:
6240:
5691:
5527:
2374:
887:
Many commentators have admired the film's translation of
606:
4055:
1651:
Jackson's Elves resemble those of the 19th-20th century
1225:
429:
between same-day actions; audience is nearly omniscient
2533:"Jackson's Aragorn and the American Superhero Monomyth"
1591:
2950:
2177:
879:
felt that when used with restraint, as in the case of
153:
3229:"The Quest Of 'The Ring': Draw Novices Not Just Fans"
2402:
2400:
2398:
2396:
1630:, and Norse tradition, but influenced also by Celtic
1390:. Dunning suggests that via film these messages may "
891:
and landscapes to Jackson's New Zealand. In his book
6045:
4213:
Bogstad, Janice M.; Kaveny, Philip E., eds. (2011).
3812:"Peter Jackson joins the fray with 'The Two Towers'"
3669:
3667:
3665:
3663:
3661:
1322:
to create, by quite different means, a Tolkienesque
1099:, the hasty coverage seriously weakened the story.
804:
switches about Frodo's and Aragorn's roles as heroes
7549:
4137:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
4135:"Frodo Lives but Gollum Redeems the Blood of Kings"
3288:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
3017:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
3006:
2736:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
2535:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
2478:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
2415:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
2276:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
2129:. In Bogstad, Janice M.; Kaveny, Philip E. (eds.).
711:⊠but it could still be a pretty damn cool movie."
3084:
3082:
3080:
2393:
2071:
1201:to attack the fallen wizard Saruman's fortress of
1054:felt that Jackson had reduced Tolkien's book to a
4426:The Lord of the Rings: The Fellowship of the Ring
3658:
3627:The Lord of the Rings: The Fellowship of the Ring
3408:. In Stratyner, Leslie; Keller, James R. (eds.).
3203:"Brian Rosebury's Tolkien: A Cultural Phenomenon"
2476:"Sometimes One Word Is Worth a Thousand Pictures"
2220:
2165:
1618:, and Halflings. Jackson was thus taking on what
1508:Going beyond Tolkien, and getting others to do so
794:and Arnor. She suggests that the changes reflect
520:, calendars, and guides to pronunciation and the
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1691:, had made use of the painting in the 1978 book
1604:made use of medieval myth, legend, and fairytale
741:
617:Arwen, who helps to bring Aragorn back to life.
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2223:"'Lord' of the extras: Elfin charmer nets fans"
2024:
2022:
2020:
2018:
2016:
2014:
2012:
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1837:
864:Production of The Lord of the Rings film series
620:
187:
3899:
3897:
3895:
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3891:
3770:
3768:
3640:"The Lord of the Rings: The Two Towers (2002)"
3369:
2365:
2363:
2361:
2062:
2060:
2029:Timmons, Daniel (2013) . "Jackson, Peter". In
2010:
2008:
2006:
2004:
2002:
2000:
1998:
1996:
1994:
1992:
1747:"The realisticness of 'The Lord of the Rings'"
1516:
1165:reading of legends about medieval heroes from
7535:
7013:
4758:
4446:The Lord of the Rings: The Return of the King
4334:
2804:
2723:
2721:
2719:
2717:
2715:
2713:
2711:
2709:
2707:
2659:
2523:
2521:
2519:
2517:
2515:
2247:
2096:
1976:
1974:
1972:
1970:
1968:
1924:
1922:
1531:Fan film culture: Tolkien fans in costume at
1193:to supporting the quest, or the young hobbit
1032:
589:Women in The Lord of the Rings § In film
4006:
3960:
3714:
3541:
3457:
3455:
3453:
3451:
3449:
3447:
3445:
3396:
3394:
3272:
3270:
3268:
3266:
3264:
3262:
3260:
3258:
3256:
3142:
3051:
2571:
2451:
2406:
1951:
1949:
1947:
1834:
1491:religion almost never appears on the surface
566:The Scouring of the Shire § Adaptations
392:history recalled in discussion by characters
150:, it has a running time of nearly 60 hours.
4126:
3888:
3765:
2358:
2057:
1989:
848:
363:addictive nature of power (of the One Ring)
16:Analysis of Jackson's 2001â03 Tolkien films
7542:
7528:
7020:
7006:
4765:
4751:
4341:
4327:
3686:
3684:
3682:
3220:
2704:
2635:(2005) . "Peter Jackson's Film Versions".
2512:
2407:Ricke, Joseph; Barnett, Catherine (2011).
1965:
1919:
1675:Fimi compares Jackson's representation of
1663:, rather than Tolkien's reconstruction of
1378:, drop remarks like "I think this task is
961:Music of The Lord of the Rings film series
548:to have some of the characteristics of a "
406:costumes, prosthetics, armour, and weapons
122:
7861:The Lord of the Rings: The Rings of Power
4772:
4496:The Hobbit: The Battle of the Five Armies
4263:
4183:
4105:
3721:
3674:
3576:
3442:
3391:
3375:
3253:
2214:
1984:
1955:
1944:
1803:
1801:
1483:Steven D. Greydanus, film critic for the
643:pictured), the hobbits were not carrying
3552:: A Critical Comment". pp. 159â173.
3328:
2880:
2846:
2813:
2772:
2676:
2264:
2117:
1843:
1646:
1526:
1463:
1298:
1045:
964:
871:
630:
475:
328:; one major "novelistic" late chapter, "
6950:The Lord of the Rings Trading Card Game
4019:
3977:
3941:Journal of Religion and Popular Culture
3842:
3732:
3679:
3514:
3376:Jorgensen, Estelle R. (December 2004).
3165:
3114:
3012:
2956:
2918:
2784:The Art of 'The Fellowship of the Ring'
2778:
2631:
2584:
2470:
2028:
1775:. Organization for Transformative Works
1105:
7936:
7181:They're Taking the Hobbits to Isengard
6862:The Lord of the Rings Roleplaying Game
5050:The Man in the Moon Stayed Up Too Late
4132:
3930:
3924:
3903:
3774:
3515:Rérolle, Raphaëlle (5 December 2012).
3200:
3039:from the original on 21 September 2020
2986:
2066:
1928:
1807:
1798:
1770:The Henneth Annûn Story Archive is at
1339:, interconnectedness" through skilful
1306:'s unexpected arrival in the captured
7523:
7001:
6044:
4746:
4436:The Lord of the Rings: The Two Towers
4322:
4237:
3631:The Lord of the Rings: The Two Towers
3619:
3461:
3226:
3096:from the original on 12 November 2020
3092:. TheOneRing.com. 10 September 2020.
2760:from the original on 14 February 2021
2727:
2527:
2318:
2171:
1934:The Lord of the Rings (books 1, 2, 3)
1497:'s lair and is reborn, and walks his
1226:Preserved by appropriate substitution
500:, the distinctive small people of an
425:Action is largely simultaneous, with
144:translated into at least 58 languages
30:with the book on which it was based,
6957:The Lord of the Rings: The Card Game
4084:
3994:from the original on 8 November 2020
3908:. DVD Review & High Definition.
3809:
3548:HÇżgset, ÇŸystein. "The Adaptation of
3400:
3276:
2968:from the original on 28 January 2021
2850:(2003) . "Achieving the Narrative".
2328:Journal of the Fantastic in the Arts
1907:from the original on 13 October 2020
1810:"Tolkien proves he's still the king"
1592:Creating a modern folklore tradition
1132:Aragorn as less noble, more full of
627:Interlacing in The Lord of the Rings
552:", and who delighted in jokes about
7944:The Lord of the Rings (film series)
6180:Music Inspired by Lord of the Rings
4486:The Hobbit: The Desolation of Smaug
3876:from the original on 24 August 2020
3810:Mabe, Chauncey (27 December 2002).
3504:from the original on 15 March 2009.
3357:from the original on 19 August 2020
2221:Wloszczyna, Susan (6 August 2002).
1844:Shepherd, Jack (15 November 2017).
1401:
1234:. Daniel Timmons recorded that the
615:the beautiful but distant Elf-woman
370:as hero of hero's journey; violent
300:9 to 11 hours depending on version
194:The Lord of the Rings (film series)
174:notes, Tolkien was not opposed to "
154:Tolkien's views on film adaptations
13:
6943:Middle-earth Collectible Card Game
4728:Peter Jackson's interpretation of
4269:Translating Tolkien: Text and Film
4161:from the original on 12 April 2021
3912:from the original on 18 April 2021
3824:from the original on 18 April 2021
3702:from the original on 18 April 2021
3633:. First published in the Syracuse
3547:
3474:from the original on 16 April 2021
3430:from the original on 19 April 2021
3310:from the original on 10 April 2021
3241:from the original on 19 April 2021
3182:from the original on 12 April 2021
3121:Tolkien: New Critical Perspectives
3065:from the original on 9 August 2020
2500:from the original on 19 April 2021
2377:. 17 December 2003. Archived from
2346:from the original on 10 April 2021
2300:from the original on 16 April 2021
1710:The scholar of fantasy literature
1598:Works inspired by J. R. R. Tolkien
1071:the one I wish Jackson had made".
825:, Arwen takes on elements of the "
229:"rough-and-ready measuring system"
68:with evil; and the replacement of
14:
7965:
6975:Middle-earth Strategy Battle Game
6905:Gondor: The Siege of Minas Tirith
4476:The Hobbit: An Unexpected Journey
4348:
4094:Transformative Works and Cultures
3904:Henkel, Guido (18 October 2002).
3587:
3410:Fantasy Fiction into Film: Essays
3059:"20 Questions with Peter Jackson"
2559:from the original on 16 July 2020
2439:from the original on 16 July 2020
2153:from the original on 13 July 2021
2036:The J. R. R. Tolkien Encyclopedia
857:
635:Forced transformation: since the
465:
72:'s inner journey by an American "
7918:
7917:
7502:
7501:
4939:
4114:from the original on 13 May 2021
3227:Lyman, Rich (24 December 2001).
2371:"Hey, what happened to Saruman?"
2235:from the original on 4 July 2011
1858:from the original on 10 May 2021
1459:DVD Review & High Definition
1410:as a success. Chauncey Mabe, in
752:Heroism in The Lord of the Rings
675:, and the taking of the Ring by
320:, and Barrow-downs, and meeting
7949:Films directed by Peter Jackson
7551:Middle-earth in motion pictures
7038:Middle-earth in motion pictures
5989:The Letters of J. R. R. Tolkien
4271:. Cormarë series. Vol. 6.
4190:The Letters of J. R. R. Tolkien
4078:
4049:
3836:
3803:
3726:
3581:
3508:
3486:
3322:
3194:
3108:
2980:
2912:
2874:
2840:
2312:
2074:The Making of the Movie Trilogy
1764:
1738:
115:Both book and film versions of
7700:Peter Jackson's interpretation
7481:Middle-earth: Shadow of Mordor
7423:The Battle for Middle-earth II
7239:Peter Jackson's interpretation
6674:The Battle for Middle-earth II
6435:Peter Jackson's interpretation
5937:The Adventures of Tom Bombadil
5090:Ancestry as guide to character
4192:: Revised and Expanded Edition
2853:Tolkien: A Cultural Phenomenon
2683:Tolkien: A Cultural Phenomenon
1889:
1870:
1041:
893:Tolkien: A Cultural Phenomenon
258:
1:
7758:The Battle of the Five Armies
7316:The Battle of the Five Armies
6869:The One Ring Roleplaying Game
4864:The Tale of Aragorn and Arwen
2987:Hedash, Kara (10 July 2019).
1808:Wagner, Vit (16 April 2007).
1791:
1773:"Henneth Annûn Story Archive"
1569:the Tale of Aragorn and Arwen
1374:. The wise, like Gandalf and
907:and the lake of Nen Hithoel,
742:Transformations of characters
599:The Tale of Aragorn and Arwen
337:'s death shown, relocated to
312:Four early chapters visiting
6758:The Lord of the Rings Online
3126:University Press of Kentucky
845:in the face of fan opinion.
718:is moved to his fortress of
647:when they needed weapons on
621:Transformations of structure
582:
559:
188:Peter Jackson's film trilogy
7:
7488:Middle-earth: Shadow of War
7409:The Battle for Middle-earth
7028:Middle-earth film franchise
6660:The Battle for Middle-earth
6567:Game Two: Shadows of Mordor
5996:The History of Middle-earth
4929:Tolkien's impact on fantasy
3984:Journal of Tolkien Research
3494:"Tolkien's son denies rift"
3406:"Fantasy Fiction into Film"
3013:Bogstad, Janice M. (2011).
1517:Creating a fan film culture
19:Commentators have compared
10:
7970:
7661:The Fellowship of the Ring
7460:Lego The Lord of the Rings
7430:The Rise of the Witch-king
7142:The Fellowship of the Ring
7073:The Fellowship of the Ring
6982:Lego The Lord of the Rings
6876:Adventures in Middle-earth
6711:Lego The Lord of the Rings
6681:The Rise of the Witch-king
6618:The Fellowship of the Ring
6355:The Fellowship of the Ring
6031:The Nature of Middle-earth
5907:List of weapons and armour
4817:The Fellowship of the Ring
4177:
2887:The Fellowship of the Ring
1595:
1520:
1486:National Catholic Register
1477:Catholic theme of the book
1455:The Fellowship of the Ring
1294:The Fellowship of the Ring
1244:The Fellowship of the Ring
1109:
1088:The Fellowship of the Ring
1033:Handling the book's spirit
958:
861:
823:The Fellowship of the Ring
745:
624:
586:
563:
530:computer-generated imagery
469:
452:hides her love for Aragorn
398:computer-generated imagery
297:c. 60 hours for audio book
191:
126:
110:
7913:
7882:
7844:
7809:
7802:
7768:
7733:
7722:
7687:
7652:
7639:
7624:
7617:
7566:
7557:
7497:
7467:Guardians of Middle-earth
7372:
7326:
7291:
7280:
7229:
7168:
7131:
7122:
7099:
7064:
7057:
7046:
7033:
6966:
6934:
6885:
6855:Middle-earth Role Playing
6844:
6718:Guardians of Middle-earth
6542:
6511:
6461:
6415:
6381:
6349:
6338:
6295:
6286:
6227:
6169:
6142:
6092:
6057:
6040:
6010:The History of The Hobbit
5919:
5872:
5846:
5759:
5750:
5720:
5655:
5455:
5410:
5401:
5318:
5243:
5075:
4957:
4948:
4937:
4857:The Scouring of the Shire
4805:
4782:
4699:
4660:
4589:
4558:
4538:
4507:
4356:
3172:Sydney Studies in English
1930:Inglis, Rob (voice actor)
1428:into "squabbling races".
1364:constant decline and fall
889:Middle-earth architecture
756:In her edited collection
681:tells much of the history
577:The Scouring of the Shire
526:languages of Middle-earth
444:in background until end,
386:Description, reflection,
330:The Scouring of the Shire
284:
279:
276:
7560:Middle-earth Enterprises
7267:The Long and Short of It
4629:The Adventures of Tintin
3743:The Return of the Shadow
2638:The Road to Middle-Earth
1731:
1577:visibly Jacksonian style
1533:Lucca Comics & Games
954:
868:Gollum and Sméagol scene
849:Effective film technique
494:embedded songs and poems
223:scored "a rare 100%" on
208:production of the series
162:in the 1950s to make an
50:the quality of the music
7750:The Desolation of Smaug
7607:The War of the Rohirrim
7308:The Desolation of Smaug
7108:The War of the Rohirrim
6611:Vol. II: The Two Towers
6328:The War of the Rohirrim
6129:Margrethe II of Denmark
5300:A mythology for England
4517:They Shall Not Grow Old
4273:Walking Tree Publishers
4221:McFarland & Company
4145:McFarland & Company
4133:Kaveny, Philip (2011).
3978:Alberto, Maria (2016).
3850:. In Matthijs, Ernest;
3414:McFarland & Company
3341:McFarland & Company
3294:McFarland & Company
3023:McFarland & Company
2744:McFarland & Company
2543:McFarland & Company
2484:McFarland & Company
2423:McFarland & Company
2284:McFarland & Company
2137:McFarland & Company
1685:The Riders of the Sidhe
1661:The Riders of the Sidhe
1347:. She gives as example
1257:lighting of the beacons
1246:that it was "more of a
992:created a piece for an
692:interlacing structure (
641:West Kennet Long Barrow
217:and other film awards (
123:Tolkien's fantasy novel
7677:The Return of the King
7599:The Return of the King
7388:The Return of the King
7158:The Return of the King
7089:The Return of the King
6632:The Return of the King
6371:The Return of the King
6316:The Return of the King
6216:The Battle of Evermore
5200:Psychological journeys
4843:The Shadow of the Past
4831:The Return of the King
3601:University of Oklahoma
3061:. Members.tripod.com.
2925:The Return of the King
2728:Kisor, Yvette (2011).
1672:
1536:
1480:
1327:
1314:, replacing Tolkien's
1232:could not be preserved
1136:, and Frodo more of a
1084:English understatement
1059:
1027:The Return of the King
988:singer and songwriter
977:
884:
790:, and ends as King of
652:
485:
341:, in extended version
168:Morton Grady Zimmerman
7742:An Unexpected Journey
7591:The Lord of the Rings
7300:An Unexpected Journey
7049:The Lord of the Rings
6304:The Lord of the Rings
6268:The Lord of the Rings
6248:The Lord of the Rings
6236:The Lord of the Rings
6189:The Lord of the Rings
6102:A Map of Middle-earth
6003:The Children of HĂșrin
5961:The Road Goes Ever On
5105:Death and immortality
5055:The Road Goes Ever On
5032:A Elbereth Gilthoniel
4850:The Council of Elrond
4795:The Lord of the Rings
4775:The Lord of the Rings
4730:The Lord of the Rings
4709:The Lord of the Rings
4599:Valley of the Stereos
4527:The Beatles: Get Back
4107:10.3983/twc.2009.0162
3954:10.3138/jrpc.13.1.003
3931:Stucky, Mark (2006).
3817:The Los Angeles Times
3550:The Lord of the Rings
3462:Greydanus, Steven D.
3284:The Lord of the Rings
3166:Selling, Kim (2003).
2931:The Lord of the Rings
2893:The Lord of the Rings
2732:The Lord of the Rings
2411:The Lord of the Rings
2272:The Lord of the Rings
2125:The Lord of the Rings
1650:
1596:Further information:
1530:
1521:Further information:
1467:
1413:The Los Angeles Times
1408:The Lord of the Rings
1316:elaborate interlacing
1302:
1274:Tolkien's core themes
1110:Further information:
1077:The Lord of the Rings
1064:The Lord of the Rings
1049:
974:The Lord of the Rings
968:
959:Further information:
875:
862:Further information:
746:Further information:
709:The Lord of the Rings
687:" principle of film.
657:The Lord of the Rings
634:
625:Further information:
587:Further information:
564:Further information:
479:
470:Further information:
420:Extensive interlacing
266:some minor characters
249:The Lord of the Rings
139:The Lord of the Rings
129:The Lord of the Rings
117:The Lord of the Rings
37:The Lord of the Rings
26:The Lord of the Rings
6553:Journey to Rivendell
6260:Hordes of the Things
6024:The Fall of Gondolin
5712:Watcher in the Water
5680:Witch-king of Angmar
4877:List of translations
4239:Croft, Janet Brennan
4147:. pp. 183â193.
4035:. pp. 283â305.
4025:Croft, Janet Brennan
3777:Croft, Janet Brennan
3646:on 27 September 2007
3597:faculty-staff.ou.edu
3589:Croft, Janet Brennan
3343:. pp. 169â182.
3207:The Green Man Review
3201:Milner, Liz (2003).
2826:. pp. 215â230.
2816:Croft, Janet Brennan
2746:. pp. 102â115.
2690:. pp. 204â220.
2645:. pp. 409â429.
2590:Croft, Janet Brennan
2545:. pp. 216â226.
2529:Croft, Janet Brennan
2425:. pp. 264â285.
2043:. pp. 119â127.
2031:Drout, Michael D. C.
1667:Elves, according to
1106:Characters flattened
539:The Tolkien scholar
524:scripts, and to the
472:Middle-earth in film
446:narrated in appendix
402:Howard Shore's music
359:inner moral struggle
7891:The Hunt for Gollum
7781:Original characters
7334:Original characters
7244:Original characters
7202:Requiem for a Tower
6574:War in Middle Earth
6520:The Hunt for Gollum
6074:The Last Ringbearer
5360:Narrative structure
5355:Impression of depth
4972:Company of the Ring
4652:(2018, also writer)
4612:(1996, also writer)
4185:Carpenter, Humphrey
3862:. pp. 21, 23.
3738:Christopher Tolkien
3698:. 1 December 2003.
3637:, 4 February 2003.
3529:on 10 February 2013
3500:. 7 December 2001.
3296:. pp. 84â101.
2200:. pp. ixâxii.
2190:"Dramatis personae"
1716:Tolkien fan fiction
1581:The Hunt for Gollum
1556:The Hunt for Gollum
1372:luck or pure chance
1280:before arriving at
1140:. Using the critic
1125:Janet Brennan Croft
1073:Christopher Tolkien
788:Ranger of the North
764:Janet Brennan Croft
273:
239:Janet Brennan Croft
160:Forrest J. Ackerman
104:The Hunt for Gollum
76:" or monomyth with
7954:Literary criticism
7177:Concerning Hobbits
6817:War of Three Peaks
6494:The Rings of Power
6428:Hobbiton Movie Set
6392:Concerning Hobbits
6276:Der Herr der Ringe
6209:Misty Mountain Hop
6066:Bored of the Rings
5890:Phial of Galadriel
5220:Sound and language
5115:Dreams and visions
5085:Addiction to power
4396:Heavenly Creatures
4290:Matthijs, Ernest;
3789:. pp. 81â99.
3696:Christianity Today
3607:on 31 October 2011
3416:. pp. 35â54.
3234:The New York Times
3128:. pp. 40â62.
2860:. pp. 60â88.
2641:(Third ed.).
2600:. pp. 27â62.
2486:. pp. 46â53.
2286:. pp. 54â69.
2139:. pp. 25â45.
1962:, 7 September 1957
1882:2007-05-30 at the
1673:
1537:
1481:
1384:looking in mirrors
1328:
1242:said of Jackson's
1210:Christianity Today
1060:
1018:Gregorian chanting
978:
947:in the caverns of
901:West Wall of Moria
885:
653:
486:
271:
7931:
7930:
7909:
7908:
7878:
7877:
7798:
7797:
7794:
7793:
7718:
7717:
7517:
7516:
7368:
7367:
7276:
7275:
7225:
7224:
7118:
7117:
6995:
6994:
6991:
6990:
6918:Lord of the Rings
6840:
6839:
6831:Before the Shadow
6775:Siege of Mirkwood
6538:
6537:
6457:
6456:
6441:Picturing Tolkien
6159:Lord of the Rings
6112:Barbara Remington
6017:Beren and LĂșthien
5968:Bilbo's Last Song
5915:
5914:
5746:
5745:
5397:
5396:
5348:Pseudotranslation
5338:Editorial framing
5333:Character pairing
5180:Naming of weapons
4740:
4739:
4609:Jack Brown Genius
4578:Crossing the Line
4311:978-90-420-1682-8
4292:Pomerance, Murray
4282:978-3-9521424-9-3
4256:978-1-887726-09-2
4230:978-0-7864-8473-7
4205:978-0-35-865298-4
4154:978-0-7864-8473-7
4071:978-3-8676-4022-0
3869:978-90-420-1682-8
3852:Pomerance, Murray
3796:978-1-887726-09-2
3757:978-0-395-49863-7
3734:Tolkien, J. R. R.
3565:Missing or empty
3423:978-0-7864-3057-4
3350:978-0-7864-8473-7
3303:978-0-7864-8473-7
3032:978-0-7864-8473-7
2920:Tolkien, J. R. R.
2882:Tolkien, J. R. R.
2753:978-0-7864-8473-7
2552:978-0-7864-8473-7
2493:978-0-7864-8473-7
2432:978-0-7864-8473-7
2293:978-0-7864-8473-7
2266:Rateliff, John D.
2186:Pomerance, Murray
2184:Mathijs, Ernest;
2146:978-0-7864-8473-7
2119:Thompson, Kristin
2089:978-0-618-26022-5
2050:978-0-415-86511-1
1721:Lord of the Rings
1697:Paths of the Dead
1683:'s 1911 painting
1659:'s 1911 painting
1612:role-playing game
1357:Corsairs of Umbar
1308:Corsairs of Umbar
1248:sword and sorcery
1220:Steward of Gondor
1068:sword-and-sorcery
1056:sword-and-sorcery
759:Picturing Tolkien
661:Council of Elrond
463:
462:
372:sword-and-sorcery
241:'s early book on
136:'s fantasy novel
7961:
7921:
7920:
7807:
7806:
7731:
7730:
7650:
7649:
7637:
7636:
7622:
7621:
7544:
7537:
7530:
7521:
7520:
7505:
7504:
7453:War in the North
7401:Game Boy Advance
7289:
7288:
7129:
7128:
7062:
7061:
7055:
7054:
7022:
7015:
7008:
6999:
6998:
6824:Fate of Gundabad
6782:Rise of Isengard
6753:
6752:
6725:Shadow of Mordor
6704:War in the North
6652:Game Boy Advance
6347:
6346:
6293:
6292:
6051:derivative works
6042:
6041:
5982:Unfinished Tales
5975:The Silmarillion
5757:
5756:
5408:
5407:
5185:Northern courage
5130:Environmentalism
5110:Decline and fall
5045:Song of EĂ€rendil
4955:
4954:
4943:
4788:J. R. R. Tolkien
4767:
4760:
4753:
4744:
4743:
4733:
4723:
4713:
4692:
4685:
4678:
4671:
4653:
4643:
4633:
4623:
4613:
4603:
4582:
4572:
4551:
4531:
4521:
4500:
4490:
4480:
4470:
4466:The Lovely Bones
4460:
4450:
4440:
4430:
4420:
4410:
4406:Forgotten Silver
4400:
4390:
4380:
4376:Meet the Feebles
4370:
4343:
4336:
4329:
4320:
4319:
4315:
4286:
4267:, ed. (2011b) .
4265:Honegger, Thomas
4260:
4247:Mythopoeic Press
4234:
4209:
4171:
4170:
4168:
4166:
4130:
4124:
4123:
4121:
4119:
4109:
4086:Reid, Robin Anne
4082:
4076:
4075:
4053:
4047:
4046:
4033:Mythopoeic Press
4017:
4004:
4003:
4001:
3999:
3990:(3). Article 2.
3975:
3958:
3957:
3937:
3928:
3922:
3921:
3919:
3917:
3901:
3886:
3885:
3883:
3881:
3844:Kellner, Douglas
3840:
3834:
3833:
3831:
3829:
3807:
3801:
3800:
3787:Mythopoeic Press
3772:
3763:
3761:
3748:Houghton Mifflin
3730:
3724:
3718:
3712:
3711:
3709:
3707:
3688:
3677:
3671:
3656:
3655:
3653:
3651:
3642:. Archived from
3623:
3617:
3616:
3614:
3612:
3603:. Archived from
3585:
3579:
3574:
3568:
3563:
3561:
3553:
3545:
3539:
3538:
3536:
3534:
3525:. Archived from
3512:
3506:
3505:
3490:
3484:
3483:
3481:
3479:
3459:
3440:
3439:
3437:
3435:
3402:Reid, Robin Anne
3398:
3389:
3388:
3382:
3373:
3367:
3366:
3364:
3362:
3331:Reid, Robin Anne
3329:Ford, Judy Ann;
3326:
3320:
3319:
3317:
3315:
3274:
3251:
3250:
3248:
3246:
3224:
3218:
3217:
3215:
3213:
3198:
3192:
3191:
3189:
3187:
3163:
3140:
3139:
3112:
3106:
3105:
3103:
3101:
3086:
3075:
3074:
3072:
3070:
3055:
3049:
3048:
3046:
3044:
3010:
3004:
3003:
3001:
2999:
2984:
2978:
2977:
2975:
2973:
2954:
2948:
2947:
2938:. "Appendices".
2936:Houghton Mifflin
2916:
2910:
2909:
2898:Houghton Mifflin
2878:
2872:
2871:
2867:978-1403-91263-3
2844:
2838:
2837:
2824:Mythopoeic Press
2811:
2802:
2801:
2776:
2770:
2769:
2767:
2765:
2725:
2702:
2701:
2697:978-1403-91263-3
2674:
2657:
2656:
2629:
2612:
2611:
2598:Mythopoeic Press
2582:
2569:
2568:
2566:
2564:
2525:
2510:
2509:
2507:
2505:
2468:
2449:
2448:
2446:
2444:
2404:
2391:
2390:
2388:
2386:
2367:
2356:
2355:
2353:
2351:
2316:
2310:
2309:
2307:
2305:
2262:
2245:
2244:
2242:
2240:
2218:
2212:
2211:
2181:
2175:
2169:
2163:
2162:
2160:
2158:
2115:
2094:
2093:
2077:
2064:
2055:
2054:
2026:
1987:
1978:
1963:
1953:
1942:
1941:
1926:
1917:
1916:
1914:
1912:
1901:Elrond's library
1893:
1887:
1886:at tolkien.co.uk
1874:
1868:
1867:
1865:
1863:
1841:
1832:
1831:
1829:
1827:
1818:. Archived from
1805:
1785:
1784:
1782:
1780:
1768:
1762:
1761:
1759:
1757:
1742:
1637:Tuatha DĂ© Danann
1610:authors and the
1563:that same year.
1402:Well represented
1121:Wayne G. Hammond
1117:Tolkien scholars
917:On Fairy Stories
827:warrior princess
685:show, don't tell
609:riding wolflike
550:warrior princess
274:
270:
235:Kristin Thompson
134:J. R. R. Tolkien
48:, and costumes;
32:J. R. R. Tolkien
7969:
7968:
7964:
7963:
7962:
7960:
7959:
7958:
7934:
7933:
7932:
7927:
7905:
7874:
7864:(2022âpresent)
7840:
7818:Sagan om ringen
7790:
7764:
7714:
7683:
7643:
7632:
7630:
7627:
7613:
7562:
7553:
7548:
7518:
7513:
7493:
7474:Lego The Hobbit
7446:Aragorn's Quest
7364:
7322:
7272:
7221:
7164:
7114:
7095:
7042:
7029:
7026:
6996:
6987:
6962:
6930:
6925:War of the Ring
6900:War of the Ring
6881:
6846:
6836:
6789:Riders of Rohan
6751:
6746:Return to Moria
6697:Aragorn's Quest
6639:War of the Ring
6597:Riders of Rohan
6534:
6507:
6470:Sagan om ringen
6453:
6448:Tolkien on Film
6411:
6377:
6341:
6334:
6282:
6223:
6187:Symphony No. 1
6165:
6138:
6088:
6053:
6036:
5921:
5911:
5868:
5859:Pelennor Fields
5842:
5742:
5716:
5651:
5458:
5451:
5393:
5314:
5275:First World War
5270:Classical world
5239:
5071:
4944:
4935:
4801:
4800:
4778:
4771:
4741:
4736:
4726:
4716:
4706:
4695:
4688:
4681:
4674:
4667:
4656:
4646:
4639:West of Memphis
4636:
4626:
4616:
4606:
4596:
4585:
4575:
4565:
4554:
4545:
4534:
4524:
4514:
4503:
4493:
4483:
4473:
4463:
4453:
4443:
4433:
4423:
4416:The Frighteners
4413:
4403:
4393:
4383:
4373:
4363:
4352:
4347:
4312:
4302:Editions Rodopi
4294:, eds. (2006).
4289:
4283:
4257:
4231:
4212:
4206:
4187:, ed. (2023) .
4180:
4175:
4174:
4164:
4162:
4155:
4131:
4127:
4117:
4115:
4083:
4079:
4072:
4054:
4050:
4043:
4021:Sturgis, Amy H.
4018:
4007:
3997:
3995:
3976:
3961:
3935:
3929:
3925:
3915:
3913:
3902:
3889:
3879:
3877:
3870:
3860:Editions Rodopi
3841:
3837:
3827:
3825:
3808:
3804:
3797:
3773:
3766:
3758:
3731:
3727:
3719:
3715:
3705:
3703:
3690:
3689:
3680:
3672:
3659:
3649:
3647:
3638:
3624:
3620:
3610:
3608:
3586:
3582:
3566:
3564:
3555:
3554:
3546:
3542:
3532:
3530:
3513:
3509:
3492:
3491:
3487:
3477:
3475:
3460:
3443:
3433:
3431:
3424:
3399:
3392:
3380:
3374:
3370:
3360:
3358:
3351:
3327:
3323:
3313:
3311:
3304:
3275:
3254:
3244:
3242:
3225:
3221:
3211:
3209:
3199:
3195:
3185:
3183:
3164:
3143:
3136:
3116:Flieger, Verlyn
3113:
3109:
3099:
3097:
3088:
3087:
3078:
3068:
3066:
3057:
3056:
3052:
3042:
3040:
3033:
3025:. p. 244.
3011:
3007:
2997:
2995:
2985:
2981:
2971:
2969:
2960:(8 July 2014).
2955:
2951:
2917:
2913:
2879:
2875:
2868:
2848:Rosebury, Brian
2845:
2841:
2834:
2812:
2805:
2798:
2777:
2773:
2763:
2761:
2754:
2726:
2705:
2698:
2678:Rosebury, Brian
2675:
2660:
2653:
2630:
2615:
2608:
2583:
2572:
2562:
2560:
2553:
2526:
2513:
2503:
2501:
2494:
2472:Flieger, Verlyn
2469:
2452:
2442:
2440:
2433:
2405:
2394:
2384:
2382:
2369:
2368:
2359:
2349:
2347:
2320:Birns, Nicholas
2317:
2313:
2303:
2301:
2294:
2263:
2248:
2238:
2236:
2219:
2215:
2208:
2198:Editions Rodopi
2188:, eds. (2006).
2182:
2178:
2170:
2166:
2156:
2154:
2147:
2116:
2097:
2090:
2065:
2058:
2051:
2027:
1990:
1979:
1966:
1954:
1945:
1927:
1920:
1910:
1908:
1895:
1894:
1890:
1884:Wayback Machine
1875:
1871:
1861:
1859:
1851:The Independent
1842:
1835:
1825:
1823:
1822:on 9 March 2011
1806:
1799:
1794:
1789:
1788:
1778:
1776:
1771:
1769:
1765:
1755:
1753:
1745:
1743:
1739:
1734:
1714:noted that the
1600:
1594:
1573:Viggo Mortensen
1525:
1519:
1510:
1422:Douglas Kellner
1404:
1265:Philippa Boyens
1228:
1189:, who converts
1114:
1108:
1044:
1035:
1010:Robin Anne Reid
963:
957:
870:
860:
851:
819:Philippa Boyens
808:carries a torch
796:Joseph Campbell
754:
744:
705:Philippa Boyens
703:scriptwriters,
639:scene was cut (
629:
623:
595:
585:
568:
562:
474:
468:
457:carries a torch
286:Jackson's films
261:
244:Tolkien on Film
226:Rotten Tomatoes
196:
190:
156:
131:
125:
113:
17:
12:
11:
5:
7967:
7957:
7956:
7951:
7946:
7929:
7928:
7926:
7925:
7914:
7911:
7910:
7907:
7906:
7904:
7903:
7895:
7886:
7884:
7880:
7879:
7876:
7875:
7873:
7872:
7871:
7870:
7857:
7848:
7846:
7842:
7841:
7839:
7838:
7830:
7822:
7813:
7811:
7804:
7800:
7799:
7796:
7795:
7792:
7791:
7789:
7788:
7783:
7778:
7772:
7770:
7766:
7765:
7763:
7762:
7754:
7746:
7737:
7735:
7728:
7720:
7719:
7716:
7715:
7713:
7712:
7707:
7702:
7697:
7691:
7689:
7685:
7684:
7682:
7681:
7673:
7669:The Two Towers
7665:
7656:
7654:
7647:
7634:
7619:
7615:
7614:
7612:
7611:
7603:
7595:
7587:
7579:
7570:
7568:
7564:
7563:
7558:
7555:
7554:
7547:
7546:
7539:
7532:
7524:
7515:
7514:
7512:
7511:
7498:
7495:
7494:
7492:
7491:
7484:
7477:
7470:
7463:
7456:
7449:
7442:
7435:
7434:
7433:
7419:
7412:
7405:
7404:
7403:
7391:
7384:
7381:The Two Towers
7376:
7374:
7370:
7369:
7366:
7365:
7363:
7362:
7357:
7356:
7355:
7343:
7342:
7341:
7330:
7328:
7324:
7323:
7321:
7320:
7312:
7304:
7295:
7293:
7286:
7278:
7277:
7274:
7273:
7271:
7270:
7263:
7260:The Exhibition
7256:
7251:
7241:
7235:
7233:
7227:
7226:
7223:
7222:
7220:
7219:
7212:
7209:A Walking Song
7205:
7198:
7191:
7184:
7172:
7170:
7166:
7165:
7163:
7162:
7154:
7150:The Two Towers
7146:
7137:
7135:
7126:
7120:
7119:
7116:
7115:
7113:
7112:
7103:
7101:
7097:
7096:
7094:
7093:
7085:
7081:The Two Towers
7077:
7068:
7066:
7059:
7052:
7044:
7043:
7041:
7040:
7034:
7031:
7030:
7025:
7024:
7017:
7010:
7002:
6993:
6992:
6989:
6988:
6986:
6985:
6978:
6970:
6968:
6964:
6963:
6961:
6960:
6953:
6946:
6938:
6936:
6932:
6931:
6929:
6928:
6921:
6914:
6913:
6912:
6907:
6902:
6889:
6887:
6883:
6882:
6880:
6879:
6872:
6865:
6858:
6850:
6848:
6845:Tabletop role-
6842:
6841:
6838:
6837:
6835:
6834:
6827:
6820:
6813:
6806:
6799:
6792:
6785:
6778:
6771:
6768:Mines of Moria
6763:
6761:
6750:
6749:
6742:
6735:
6728:
6721:
6714:
6707:
6700:
6693:
6686:
6685:
6684:
6670:
6663:
6656:
6655:
6654:
6642:
6635:
6628:
6625:The Two Towers
6621:
6614:
6607:
6600:
6593:
6585:
6577:
6570:
6563:
6556:
6548:
6546:
6540:
6539:
6536:
6535:
6533:
6532:
6524:
6515:
6513:
6509:
6508:
6506:
6505:
6504:
6503:
6490:
6482:
6474:
6465:
6463:
6459:
6458:
6455:
6454:
6452:
6451:
6444:
6437:
6432:
6431:
6430:
6419:
6417:
6413:
6412:
6410:
6409:
6402:
6395:
6387:
6385:
6379:
6378:
6376:
6375:
6367:
6363:The Two Towers
6359:
6350:
6344:
6336:
6335:
6333:
6332:
6324:
6312:
6299:
6297:
6290:
6284:
6283:
6281:
6280:
6272:
6264:
6256:
6244:
6231:
6229:
6225:
6224:
6222:
6221:
6220:
6219:
6212:
6205:
6193:
6184:
6175:
6173:
6167:
6166:
6164:
6163:
6155:
6146:
6144:
6140:
6139:
6137:
6136:
6131:
6126:
6121:
6116:
6115:
6114:
6109:
6107:Pauline Baynes
6098:
6096:
6090:
6089:
6087:
6086:
6078:
6070:
6061:
6059:
6055:
6054:
6038:
6037:
6035:
6034:
6027:
6020:
6013:
6006:
5999:
5992:
5985:
5978:
5971:
5964:
5957:
5956:
5955:
5950:
5945:
5933:
5925:
5923:
5917:
5916:
5913:
5912:
5910:
5909:
5904:
5903:
5902:
5895:Rings of Power
5892:
5887:
5882:
5876:
5874:
5870:
5869:
5867:
5866:
5861:
5856:
5850:
5848:
5844:
5843:
5841:
5840:
5839:
5838:
5828:
5823:
5818:
5813:
5808:
5803:
5798:
5797:
5796:
5795:
5794:
5784:
5779:
5774:
5765:
5763:
5754:
5748:
5747:
5744:
5743:
5741:
5740:
5735:
5730:
5724:
5722:
5718:
5717:
5715:
5714:
5709:
5704:
5699:
5694:
5689:
5687:Old Man Willow
5684:
5683:
5682:
5672:
5667:
5661:
5659:
5653:
5652:
5650:
5649:
5648:
5647:
5646:
5645:
5640:
5635:
5630:
5619:
5618:
5617:
5612:
5607:
5596:
5595:
5594:
5584:
5579:
5569:
5568:
5567:
5562:
5557:
5552:
5547:
5537:
5536:
5535:
5525:
5524:
5523:
5518:
5513:
5512:
5511:
5506:
5496:
5491:
5481:
5480:
5479:
5474:
5463:
5461:
5453:
5452:
5450:
5449:
5448:
5447:
5442:
5437:
5427:
5422:
5416:
5414:
5405:
5399:
5398:
5395:
5394:
5392:
5391:
5390:
5389:
5384:
5374:
5373:
5372:
5367:
5357:
5352:
5351:
5350:
5345:
5335:
5330:
5324:
5322:
5316:
5315:
5313:
5312:
5307:
5302:
5297:
5292:
5290:Modern sources
5287:
5282:
5277:
5272:
5267:
5262:
5255:
5253:Antiquarianism
5249:
5247:
5241:
5240:
5238:
5237:
5232:
5227:
5222:
5217:
5212:
5207:
5202:
5197:
5192:
5187:
5182:
5177:
5172:
5167:
5165:Mental illness
5162:
5157:
5152:
5147:
5142:
5137:
5132:
5127:
5122:
5117:
5112:
5107:
5102:
5097:
5092:
5087:
5081:
5079:
5073:
5072:
5070:
5069:
5064:
5063:
5062:
5060:A Walking Song
5057:
5052:
5047:
5042:
5035:
5023:
5018:
5017:
5016:
5011:
5010:
5009:
5004:
4994:
4984:
4979:
4974:
4969:
4963:
4961:
4952:
4946:
4945:
4938:
4936:
4934:
4933:
4932:
4931:
4926:
4924:Works inspired
4921:
4920:
4919:
4914:
4909:
4899:
4894:
4886:
4885:
4884:
4879:
4869:
4868:
4867:
4860:
4853:
4846:
4836:
4835:
4834:
4827:
4824:The Two Towers
4820:
4809:
4807:
4803:
4802:
4799:
4798:
4790:
4784:
4783:
4780:
4779:
4770:
4769:
4762:
4755:
4747:
4738:
4737:
4735:
4734:
4724:
4714:
4703:
4701:
4697:
4696:
4694:
4693:
4690:Park Road Post
4686:
4679:
4672:
4664:
4662:
4658:
4657:
4655:
4654:
4649:Mortal Engines
4644:
4634:
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4461:
4451:
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4411:
4401:
4391:
4381:
4371:
4360:
4358:
4357:Films directed
4354:
4353:
4346:
4345:
4338:
4331:
4323:
4317:
4316:
4310:
4287:
4281:
4261:
4255:
4241:, ed. (2004).
4235:
4229:
4210:
4204:
4196:Harper Collins
4179:
4176:
4173:
4172:
4153:
4125:
4077:
4070:
4048:
4042:978-1887726092
4041:
4005:
3959:
3923:
3887:
3868:
3835:
3802:
3795:
3764:
3756:
3725:
3722:Honegger 2011b
3713:
3678:
3675:Honegger 2011b
3657:
3618:
3580:
3577:Honegger 2011b
3540:
3507:
3485:
3441:
3422:
3390:
3368:
3349:
3321:
3302:
3252:
3219:
3193:
3141:
3134:
3107:
3076:
3050:
3031:
3005:
2979:
2949:
2911:
2900:. "Prologue".
2873:
2866:
2839:
2833:978-1887726092
2832:
2803:
2797:978-0007135639
2796:
2771:
2752:
2703:
2696:
2658:
2652:978-0261102750
2651:
2613:
2607:978-1887726092
2606:
2586:Bratman, David
2570:
2551:
2511:
2492:
2450:
2431:
2392:
2381:on 25 May 2005
2357:
2311:
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2145:
2095:
2088:
2056:
2049:
1988:
1985:Honegger 2011b
1981:Ferré, Vincent
1964:
1956:Carpenter 2023
1943:
1918:
1897:"Translations"
1888:
1869:
1833:
1796:
1795:
1793:
1790:
1787:
1786:
1763:
1736:
1735:
1733:
1730:
1725:Fanfiction.net
1653:Celtic Revival
1642:Celtic Revival
1628:Middle English
1593:
1590:
1561:Chris Bouchard
1549:, directed by
1523:Tolkien fandom
1518:
1515:
1509:
1506:
1418:The Two Towers
1403:
1400:
1349:Ăowyn's battle
1278:Mines of Moria
1227:
1224:
1146:literary modes
1129:Carl Hostetter
1107:
1104:
1043:
1040:
1034:
1031:
972:, composer of
956:
953:
951:so effective.
937:motion-capture
929:Verlyn Flieger
897:Brian Rosebury
877:Verlyn Flieger
859:
858:Visual imagery
856:
850:
847:
843:The Two Towers
839:The Two Towers
831:The Two Towers
800:Verlyn Flieger
748:Hero's journey
743:
740:
622:
619:
584:
581:
561:
558:
467:
466:Transformation
464:
461:
460:
453:
439:
431:
430:
423:
417:
409:
408:
394:
384:
376:
375:
365:
355:Heroic romance
352:
344:
343:
310:
308:
302:
301:
298:
295:
289:
288:
283:
281:Tolkien's book
278:
260:
257:
220:The Two Towers
192:Main article:
189:
186:
166:adaptation by
155:
152:
127:Main article:
124:
121:
112:
109:
74:hero's journey
42:cinematography
15:
9:
6:
4:
3:
2:
7966:
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7398:
7397:
7396:
7395:The Third Age
7392:
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7382:
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7252:
7249:
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7237:
7236:
7234:
7232:
7228:
7217:
7216:Into the West
7213:
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6859:
6857:
6856:
6852:
6851:
6849:
6847:playing games
6843:
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6814:
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6732:Shadow of War
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6649:
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6647:
6646:The Third Age
6643:
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6407:
6403:
6400:
6399:Into the West
6396:
6393:
6389:
6388:
6386:
6384:
6380:
6373:
6372:
6368:
6365:
6364:
6360:
6357:
6356:
6352:
6351:
6348:
6345:
6343:
6340:Peter Jackson
6337:
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6329:
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6117:
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6110:
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6105:
6104:
6103:
6100:
6099:
6097:
6095:
6094:Illustrations
6091:
6084:
6083:
6079:
6076:
6075:
6071:
6068:
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6063:
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5349:
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5344:
5343:Frame stories
5341:
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5196:
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5183:
5181:
5178:
5176:
5173:
5171:
5170:Moral dilemma
5168:
5166:
5163:
5161:
5158:
5156:
5155:Luck and fate
5153:
5151:
5148:
5146:
5143:
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5128:
5126:
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4793:Constructing
4791:
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4777:
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4763:
4761:
4756:
4754:
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4732:
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4725:
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4721:(film series)
4720:
4715:
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4711:(film series)
4710:
4705:
4704:
4702:
4698:
4691:
4687:
4684:
4680:
4677:
4676:WÄtÄ Workshop
4673:
4670:
4669:WingNut Films
4666:
4665:
4663:
4659:
4651:
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4605:
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4595:
4594:
4592:
4590:Produced only
4588:
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4508:Documentaries
4506:
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4478:
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4350:Peter Jackson
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3387:: 6â7, 11â12.
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3278:Fimi, Dimitra
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2334:(1): 82â101.
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2019:
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2015:
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1553:in 2009, and
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1052:David Bratman
1048:
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1024:
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1002:Into the West
999:
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986:Celtic fusion
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736:John Rateliff
733:
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694:entrelacement
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459:for Aragorn.
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199:Peter Jackson
195:
185:
182:
177:
173:
172:Vincent Ferré
169:
165:
164:animated film
161:
151:
149:
145:
141:
140:
135:
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120:
118:
108:
106:
105:
100:
99:
92:
90:
86:
81:
80:as the hero.
79:
75:
71:
67:
63:
59:
55:
51:
47:
43:
39:
38:
34:'s 1954â1955
33:
29:
27:
23:'s 2001â2003
22:
21:Peter Jackson
7899:Born of Hope
7897:
7889:
7859:
7851:
7832:
7824:
7816:
7756:
7748:
7740:
7723:
7699:
7675:
7667:
7659:
7644:of the Rings
7640:
7605:
7597:
7589:
7581:
7573:
7506:
7486:
7479:
7472:
7465:
7458:
7451:
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7087:
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6923:
6916:
6894:Middle Earth
6892:
6874:
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6860:
6853:
6830:
6823:
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6810:Minas Morgul
6809:
6802:
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6558:
6551:
6528:Born of Hope
6526:
6518:
6492:
6484:
6476:
6468:
6446:
6439:
6434:
6369:
6361:
6353:
6326:
6314:
6302:
6274:
6266:
6258:
6246:
6234:
6196:Led Zeppelin
6188:
6178:
6157:
6149:
6082:Muddle Earth
6080:
6072:
6064:
6029:
6022:
6015:
6008:
6001:
5994:
5987:
5980:
5973:
5966:
5959:
5953:The Sea-Bell
5948:Fastitocalon
5935:
5928:
5738:Tom Bombadil
5665:Barrow-wight
5370:Storytelling
5258:
5100:Christianity
5095:Architecture
5037:
5030:
4992:Black Speech
4977:Family trees
4829:
4822:
4815:
4794:
4773:
4729:
4727:
4718:
4708:
4647:
4637:
4627:
4617:
4607:
4597:
4576:
4566:
4548:Now and Then
4539:Music videos
4525:
4515:
4494:
4484:
4474:
4464:
4454:
4444:
4434:
4424:
4414:
4404:
4394:
4384:
4374:
4364:
4296:
4268:
4242:
4214:
4194:. New York:
4188:
4163:. Retrieved
4138:
4128:
4116:. Retrieved
4097:
4093:
4080:
4061:
4057:
4051:
4028:
3996:. Retrieved
3987:
3983:
3945:
3939:
3926:
3914:. Retrieved
3878:. Retrieved
3855:
3838:
3826:. Retrieved
3815:
3805:
3781:
3741:
3728:
3716:
3704:. Retrieved
3648:. Retrieved
3644:the original
3634:
3630:
3626:
3621:
3609:. Retrieved
3605:the original
3596:
3583:
3567:|title=
3549:
3543:
3531:. Retrieved
3527:the original
3520:
3510:
3497:
3488:
3476:. Retrieved
3468:Decent Films
3467:
3434:25 September
3432:. Retrieved
3409:
3384:
3371:
3359:. Retrieved
3335:
3324:
3312:. Retrieved
3289:
3283:
3243:. Retrieved
3232:
3222:
3210:. Retrieved
3206:
3196:
3184:. Retrieved
3175:
3171:
3119:
3110:
3098:. Retrieved
3067:. Retrieved
3053:
3041:. Retrieved
3018:
3008:
2996:. Retrieved
2992:
2982:
2970:. Retrieved
2958:Shippey, Tom
2952:
2929:
2923:
2914:
2891:
2885:
2876:
2852:
2842:
2819:
2783:
2774:
2762:. Retrieved
2737:
2731:
2682:
2636:
2633:Shippey, Tom
2593:
2561:. Retrieved
2536:
2502:. Retrieved
2479:
2441:. Retrieved
2416:
2410:
2383:. Retrieved
2379:the original
2348:. Retrieved
2331:
2327:
2314:
2302:. Retrieved
2277:
2271:
2237:. Retrieved
2226:
2216:
2193:
2179:
2167:
2155:. Retrieved
2130:
2124:
2073:
2034:
1960:Rayner Unwin
1940:(audiobook).
1933:
1909:. Retrieved
1900:
1891:
1872:
1860:. Retrieved
1849:
1824:. Retrieved
1820:the original
1815:Toronto Star
1813:
1777:. Retrieved
1766:
1754:. Retrieved
1750:
1740:
1720:
1709:
1705:horror films
1692:
1684:
1674:
1669:Dimitra Fimi
1660:
1635:
1601:
1586:
1580:
1565:Born of Hope
1564:
1559:directed by
1554:
1551:Kate Madison
1546:Born of Hope
1544:
1542:
1538:
1511:
1500:Via Dolorosa
1498:
1484:
1482:
1473:resurrection
1458:
1454:
1436:
1433:Ian McKellen
1430:
1417:
1411:
1407:
1405:
1396:
1391:
1379:
1361:
1341:intercutting
1329:
1293:
1262:
1243:
1236:film critics
1229:
1208:
1207:
1180:
1172:
1166:
1163:
1154:high mimetic
1153:
1149:
1115:
1101:
1087:
1081:
1076:
1063:
1061:
1050:The scholar
1036:
1026:
1014:
1006:Annie Lennox
982:Howard Shore
979:
973:
970:Howard Shore
921:
913:Minas Tirith
892:
886:
852:
842:
838:
830:
822:
812:
757:
755:
728:Barrow-downs
713:
708:
700:intercutting
693:
689:
656:
654:
637:Barrow-downs
596:
569:
538:
518:family trees
502:England-like
487:
434:
427:intercutting
412:
388:poetry, song
379:
347:
333:
326:Barrow-wight
322:Tom Bombadil
305:
293:Running time
292:
262:
253:Tolkien fans
248:
242:
237:, reviewing
230:
224:
218:
212:
197:
175:
157:
137:
132:
116:
114:
102:
98:Born of Hope
96:
93:
82:
35:
28:film trilogy
25:
18:
7618:Live-action
7373:Video games
7133:Soundtracks
7065:Live-action
6967:Other games
6886:Board games
6796:Helm's Deep
6544:Video games
6321:Rankin/Bass
6271:(BBC, 1981)
6151:Fellowship!
6134:Ted Nasmith
6047:Adaptations
5854:Helm's Deep
5377:Prose style
5365:Interlacing
5328:Anachronism
5310:Shakespeare
4917:Tolkienmoot
4907:Fan fiction
4872:Translating
4559:Short films
3611:11 November
3522:Worldcrunch
3100:12 December
1723:stories on
1712:Amy Sturgis
1681:John Duncan
1657:John Duncan
1624:Anglo-Saxon
1438:Richard III
1416:, wrote of
1343:and use of
1240:Roger Ebert
1182:Tom Shippey
1174:King Arthur
1042:Eviscerated
1004:", sung by
909:Helm's Deep
835:Helm's Deep
605:by cavalry
541:Tom Shippey
396:Landscape,
259:Differences
203:film series
7938:Categories
7834:Khraniteli
7826:The Hobbit
7803:Television
7725:The Hobbit
7710:Production
7583:The Hobbit
7575:The Hobbit
7352:I See Fire
7327:Production
7283:The Hobbit
7231:Production
6935:Card games
6478:Khraniteli
6423:Production
5930:The Hobbit
5811:LothlĂłrien
5777:Old Forest
5643:Wormtongue
5499:Half-elven
5494:Glorfindel
5320:Techniques
5245:Influences
4888:Reception
4719:The Hobbit
4619:District 9
4568:The Valley
3762:, page 431
3746:. Boston:
3245:25 January
2993:ScreenRant
2934:. Boston:
2896:. Boston:
2385:15 October
2172:Croft 2004
1958:, #201 to
1792:References
1431:The actor
1426:Fellowship
1368:providence
1353:Witch-king
1333:providence
1320:Witch-king
1290:Glorfindel
1269:Fran Walsh
1093:LothlĂłrien
976:film score
815:Fran Walsh
732:Weathertop
649:Weathertop
514:Third Ages
490:screenplay
482:Canterbury
374:adventure
318:Old Forest
148:Rob Inglis
7883:Fan films
7776:Accolades
7695:Accolades
7567:Animation
7360:Accolades
7254:Accolades
7195:May It Be
7188:In Dreams
7100:Animation
6406:May It Be
6202:Ramble On
6119:John Howe
5885:PalantĂrs
5787:The Shire
5782:Rivendell
5761:Geography
5733:Goldberry
5577:Beornings
5533:Treebeard
5521:Thranduil
5489:Galadriel
5387:Epic Pooh
5382:Ambiguity
5305:Philology
5295:Modernism
5215:Sexuality
4987:Languages
4661:Companies
4456:King Kong
4386:Braindead
4366:Bad Taste
3880:21 August
3558:cite book
3361:22 August
3314:24 August
3212:13 August
3178:: 46â67.
3043:22 August
2998:4 January
2972:8 January
2944:519647821
2884:(1954a).
2764:23 August
2680:(2003) .
2563:23 August
2504:23 August
2443:23 August
2304:25 August
2228:USA Today
2157:23 August
2041:Routledge
1911:22 August
1862:22 August
1443:1995 film
1380:appointed
1351:with the
1286:the Shire
1199:Treebeard
1023:May It Be
998:Rivendell
996:scene in
810:for him.
780:Treebeard
724:the Shire
583:Additions
560:Omissions
506:the Shire
414:Structure
306:Omissions
62:free will
7923:Category
7810:TV films
7642:The Lord
7508:Category
7439:Conquest
6690:Conquest
6560:Game One
6512:Fan-made
6416:Approach
6296:Animated
6218:" (1971)
6211:" (1971)
6204:" (1969)
6124:Alan Lee
5943:Errantry
5900:One Ring
5864:Morannon
5836:Isengard
5816:Mirkwood
5768:Eriador
5657:Monsters
5610:Denethor
5587:DĂșnedain
5582:DrĂședain
5440:Radagast
5285:Medieval
5190:Paganism
5067:Proverbs
5007:Sindarin
4982:Heraldry
4959:Elements
4950:Analysis
4912:Oxonmoot
4897:Literary
4838:Stories
4812:Volumes
4550:" (2023)
4165:12 April
4159:Archived
4118:27 April
4112:Archived
4088:(2009).
3998:12 April
3992:Archived
3916:18 April
3910:Archived
3874:Archived
3854:(eds.).
3846:(2006).
3828:18 April
3822:Archived
3736:(1988).
3706:18 April
3700:Archived
3502:Archived
3498:BBC News
3478:12 April
3472:Archived
3428:Archived
3404:(2007).
3355:Archived
3308:Archived
3280:(2011).
3239:Archived
3186:12 April
3180:Archived
3094:Archived
3069:30 April
3063:Archived
3037:Archived
2966:Archived
2922:(1955).
2858:Palgrave
2782:(2002).
2758:Archived
2688:Palgrave
2557:Archived
2531:(2011).
2498:Archived
2474:(2011).
2437:Archived
2350:10 April
2344:Archived
2340:24353144
2322:(2012).
2298:Archived
2268:(2011).
2233:Archived
2151:Archived
2121:(2011).
2070:(2002).
1932:(2001).
1905:Archived
1880:Archived
1856:Archived
1779:12 April
1756:12 April
1689:Alan Lee
1665:medieval
1655:, as in
1312:intercut
1253:Ithilien
1203:Isengard
1159:monomyth
1119:such as
1097:Denethor
1091:stay in
905:Argonath
772:Denethor
720:Isengard
534:One Ring
339:Isengard
324:and the
314:Buckland
89:Catholic
66:One Ring
58:violence
7853:Hobitit
7769:Aspects
7688:Aspects
7628:Jackson
7416:Tactics
7339:Tauriel
6667:Tactics
6604:Elendor
6497:(2022)
6486:Hobitit
6323:, 1980)
6311:, 1978)
6255:, 1979)
6243:, 1955)
6143:Theatre
5920:Related
5880:Mithril
5873:Objects
5847:Battles
5792:Bag End
5638:Théoden
5615:Faramir
5605:Boromir
5592:Aragorn
5540:Hobbits
5516:Legolas
5467:Dwarves
5459:peoples
5445:Saruman
5435:Gandalf
5430:Wizards
5420:Balrogs
5403:Peoples
5259:Beowulf
5150:Heroism
5140:Forests
5125:England
5120:Economy
5039:Namårië
5014:Khuzdul
4967:Artwork
4882:Swedish
4700:Related
4683:WÄtÄ FX
4178:Sources
4027:(ed.).
3779:(ed.).
3740:(ed.).
2906:9552942
2818:(ed.).
2592:(ed.).
2239:31 July
2033:(ed.).
1826:8 March
1701:zombies
1693:Faeries
1634:in the
1632:fairies
1616:Wizards
1608:fantasy
1469:Gandalf
1451:Tolstoy
1447:Dickens
1392:perhaps
1304:Aragorn
1191:Faramir
1168:Beowulf
1150:romance
933:Boromir
881:Boromir
776:Théoden
768:Faramir
716:Saruman
677:Isildur
603:Aragorn
498:hobbits
381:Content
368:Aragorn
335:Saruman
277:Aspect
111:Context
78:Aragorn
7902:(2009)
7894:(2009)
7856:(1993)
7845:Series
7837:(1991)
7829:(1985)
7821:(1971)
7761:(2014)
7753:(2013)
7745:(2012)
7680:(2003)
7672:(2002)
7664:(2001)
7633:series
7610:(2024)
7602:(1980)
7594:(1978)
7586:(1977)
7578:(1967)
7319:(2014)
7311:(2013)
7303:(2012)
7248:Figwit
7161:(2003)
7153:(2002)
7145:(2001)
7111:(2024)
7092:(2003)
7084:(2002)
7076:(2001)
6910:Sauron
6803:Mordor
6739:Gollum
6591:(SNES)
6589:Vol. I
6583:(1990)
6581:Vol. I
6531:(2009)
6523:(2009)
6489:(1993)
6481:(1991)
6473:(1971)
6374:(2003)
6366:(2002)
6358:(2001)
6342:series
6331:(2024)
6309:Bakshi
6279:(1992)
6263:(1980)
6192:(1988)
6183:(1972)
6162:(2006)
6154:(2005)
6085:(2003)
6077:(1999)
6069:(1969)
5826:Mordor
5801:Gondor
5728:Eagles
5702:Trolls
5697:Shelob
5675:Nazgûl
5670:Gollum
5600:Gondor
5560:Pippin
5509:Elrond
5425:Sauron
5265:Celtic
5205:Quests
5195:Plants
5077:Themes
5026:Poetry
5002:Quenya
4997:Elvish
4902:Fandom
4892:Impact
4642:(2012)
4632:(2011)
4622:(2009)
4602:(1992)
4581:(2008)
4571:(1976)
4530:(2021)
4520:(2018)
4499:(2014)
4489:(2013)
4479:(2012)
4469:(2009)
4459:(2005)
4449:(2003)
4439:(2002)
4429:(2001)
4419:(1996)
4409:(1995)
4399:(1994)
4389:(1992)
4379:(1989)
4369:(1987)
4308:
4279:
4253:
4227:
4202:
4151:
4068:
4039:
3866:
3793:
3754:
3650:31 May
3533:24 May
3420:
3347:
3300:
3132:
3029:
2942:
2904:
2864:
2830:
2794:
2750:
2694:
2649:
2604:
2549:
2490:
2429:
2338:
2290:
2204:
2143:
2086:
2047:
1677:Gildor
1495:Shelob
1376:Elrond
1216:Gollum
1195:Pippin
994:Elvish
945:Balrog
941:Gollum
903:, the
792:Gondor
665:Sauron
591:, and
522:Elvish
510:Second
349:Themes
215:Oscars
181:Nazgûl
54:action
7868:music
7786:Music
7734:Films
7705:Music
7653:Films
7626:Peter
7346:Music
7292:Films
7169:Songs
7124:Music
7058:Films
6501:music
6462:Other
6383:Music
6228:Radio
6171:Music
6058:Books
5922:works
5831:Rohan
5821:Moria
5806:Harad
5752:World
5721:Other
5707:Wargs
5633:Ăowyn
5628:Ăomer
5623:Rohan
5555:Merry
5550:Frodo
5545:Bilbo
5504:Arwen
5484:Elves
5477:Gimli
5472:Balin
5412:Maiar
5280:Norse
5235:Women
5230:Trees
5175:Music
5160:Magic
4806:About
4100:(3).
4060:[
3936:(PDF)
3381:(PDF)
2336:JSTOR
1732:Notes
1441:to a
1345:music
1282:Balin
1134:angst
955:Music
949:Moria
784:Gimli
669:Elves
611:Wargs
554:Dwarf
546:Arwen
450:Ăowyn
442:Arwen
436:Women
85:music
70:Frodo
7631:film
7179:" ("
6288:Film
6049:and
5772:Bree
5692:Orcs
5528:Ents
5457:Free
5225:Time
5210:Race
5145:Hell
5135:Evil
5021:Maps
4306:ISBN
4277:ISBN
4251:ISBN
4225:ISBN
4200:ISBN
4167:2021
4149:ISBN
4120:2021
4066:ISBN
4037:ISBN
4000:2021
3918:2021
3882:2020
3864:ISBN
3830:2021
3791:ISBN
3752:ISBN
3708:2021
3652:2019
3629:and
3613:2011
3571:help
3535:2020
3480:2021
3436:2020
3418:ISBN
3363:2020
3345:ISBN
3316:2020
3298:ISBN
3247:2021
3214:2020
3188:2021
3130:ISBN
3102:2020
3071:2010
3045:2020
3027:ISBN
3000:2023
2974:2021
2940:OCLC
2902:OCLC
2862:ISBN
2828:ISBN
2792:ISBN
2766:2020
2748:ISBN
2692:ISBN
2647:ISBN
2602:ISBN
2565:2020
2547:ISBN
2506:2020
2488:ISBN
2445:2020
2427:ISBN
2387:2006
2352:2021
2306:2020
2288:ISBN
2241:2008
2202:ISBN
2159:2020
2141:ISBN
2084:ISBN
2045:ISBN
1913:2020
1864:2020
1828:2011
1781:2021
1758:2021
1535:2019
1457:for
1267:and
1138:wimp
1127:and
990:Enya
866:and
817:and
750:and
671:and
607:Orcs
573:Bree
512:and
101:and
56:and
46:sets
6253:NPR
6241:BBC
5621:of
5598:of
5572:Men
5565:Sam
4102:doi
3950:doi
3575:in
2375:CNN
1877:FAQ
1644:.
1449:or
1386:or
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1171:to
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