This seminar paper aims to display the conflict between Good and Evil, shown in the "Harry Potter" film series distributed by Warner Bros., which is based on the novel by J.K. Rowling. The conflict is focused on Harry Potter, as the good guy, and Lord Voldemort, as his evil opponent.
This paper essentially consists of two main parts, the theoretical and analytical section, and a conclusion at the end. The very start, however, gives the reader a raw notion of the typical interpretation of “Good” and “Evil”. Then, the paper gives a brief synopsis of the Harry Potter story, to figure out what the plot of Harry Potter is about. The theoretical part contains two significant subdivisions. It deals with structuralism and post-structuralism, as well as with three subsections of post-structuralism, which are deconstruction in literature and film studies and finally with binary oppositions.
The most important goal is to figure out what the deconstruction and binary oppositions are about and make it clear how they are applied in movies. Afterwards, the seminar paper goes firsthand into the analytical part, which is the second section and considers a deconstructive analysis if the representation of Good and Evil are either in their pure form or categories with flowing borders in the film series “Harry Potter”. The most significant thing in this part is to split up the movie into essential pieces, like the visual aspects and sound design. Another essential point is to figure out their equalities, differences and in certain circumstances the connections to each other.
Table of Contents
1. Introduction
2. Understanding of “Good” and “Evil”
3. Synopsis of the Harry Potter story
4. Literature and Literary theory
4.1 Structuralism
4.2 Post-structuralism
4.2.1 Deconstruction in literary theory
4.2.2 Deconstruction in film study
4.2.3 Binary oppositions
5. Deconstructive Analysis
5.1 Scene one: Possession in “Harry Potter and the Order of the Phoenix”
5.1.1 Visual Aspects
5.1.2 Sound Design
5.1.3 Representation of Good and Evil
5.2 Scene two: The Pensieve in “Harry Potter and the Deathly Hallows Part 2”
5.2.1 Visual Aspects
5.2.2 Sound Design
5.2.3 Representation of Good and Evil
6. Conclusion
Objectives and Research Scope
This seminar paper aims to critically examine the conflict between "Good" and "Evil" as represented in the Harry Potter film series. By applying deconstructive methods, the study investigates whether these categories exist as stable binary oppositions or if the narrative boundaries between the protagonist, Harry Potter, and his antagonist, Lord Voldemort, are characterized by ambiguity and flowing transitions.
- The theoretical application of structuralism and post-structuralist deconstruction.
- A comparative analysis of visual and auditory elements in selected film scenes.
- The investigation of Harry Potter's internal conflict and moral ambiguity.
- The evaluation of binary oppositions within the context of popular fantasy cinema.
Excerpt from the Book
5.1.1 Visual Aspects
The scene starts with a slow-motion frame, where Professor Lupin grabs Harry tightly to hold him back, followed by a screen change between Harry Potter and Bellatrix Lestrange, who recently killed Harry’s godfather Sirius Black. Harry’s grief turns to rage when he sees Bellatrix chuckling. In the very next moment when Harry breaks free from Lupin’s hands and tries to hunt her, it is striking that the scene turned from a slow-motion into a fast-motion scene. The camera work is now not calm and neither focused anymore, it has turned into a rapid change between different perspectives of Harry, while he tries to catch Lestrange. On one hand the camera guide makes it dynamic and on the other, aggressive. It’s obvious that Harry will attack her with his full strength.
“Hatred rose in Harry such as he had never known before; he flung himself out from behind the fountain and bellowed, ‘ Crucio! ’” (J. Rowling, Harry Potter and the Order Of the Phoenix 301)
The moment when Harry stopped Lestrange with the “Cruciatus curse,” the camera work calms down and focuses on Harry again. He stands over her and aims his wand straight on Lestrange. The “Cruciatus curse” of which Harry has spoken, or also known as the “Torture curse,” is one of the three unforgivable curses and belongs to darkest art of wizardry. It is one of the most powerful and sinister spells known to wizardkind. When cast successfully, the curse inflicts intense and agonising pain on the victim. (J. Rowling, Pottermore) In this very moment, Harry was not able to control his anger and was guided by his inner evil. Henceforth the borders between Good and Evil are not any longer unambiguous, rather, they are beginning to develop flowing borders. (Yates, HP 5 1:53:40 - 1:54:14)
Chapter Summary
1. Introduction: Outlines the personal motivation and the scope of the paper, introducing the conflict between Good and Evil within the Harry Potter universe.
2. Understanding of “Good” and “Evil”: Contrasts general dictionary definitions of morality with J.K. Rowling’s nuanced, power-centric interpretation.
3. Synopsis of the Harry Potter story: Provides a concise overview of the plot, characters, and the setting of the film series.
4. Literature and Literary theory: Defines core theoretical concepts including Structuralism, Post-structuralism, and the application of Deconstruction in film and literature.
5. Deconstructive Analysis: Conducts a detailed, scene-by-scene analysis using visual and sound elements to evaluate the boundaries between the protagonist and antagonist.
6. Conclusion: Synthesizes the findings, suggesting that Harry Potter’s moral journey demonstrates that binary oppositions in the series are fluid rather than absolute.
Keywords
Harry Potter, Good, Evil, Deconstruction, Binary Oppositions, Structuralism, Film Analysis, Lord Voldemort, Visual Aspects, Sound Design, Literary Theory, Post-structuralism, Narrative, Morality.
Frequently Asked Questions
What is the primary focus of this paper?
This paper examines the binary opposition of "Good" and "Evil" as portrayed in the Harry Potter movies, specifically looking for evidence of moral ambiguity rather than clear-cut boundaries.
Which theoretical framework does the author utilize?
The research is grounded in literary theory, specifically employing Structuralism and Post-structuralist deconstruction to analyze filmic narratives.
What is the central research question?
The study seeks to determine whether the representation of Good and Evil in the Harry Potter series adheres to a rigid, pure binary structure or if the narrative permits categories with flowing borders.
How is the analytical part structured?
The analytical section is divided into two parts, focusing on two pivotal scenes: the possession scene in "The Order of the Phoenix" and the Pensieve memory in "The Deathly Hallows Part 2."
What methodological approach is used for film analysis?
The author dissects the chosen scenes by examining visual aspects (camera work, perspectives) and sound design (music, voice-over) to track shifts in character portrayal.
Which keywords best characterize this work?
Core keywords include Harry Potter, Good, Evil, Deconstruction, Binary Oppositions, Structuralism, Film Analysis, and Morality.
Does the author conclude that Harry Potter is inherently Evil?
No, the author concludes that while Harry possesses an "Evil" component due to his connection with Voldemort, his ability to make positive decisions and reject the Dark Lord reinforces his status as a "Good" character.
What significance does the author place on the "Pensieve" scene?
The author uses this scene to illustrate that from infancy, Harry carried a fragment of Voldemort's soul, which serves as a definitive example of how "Good" and "Evil" boundaries are intentionally blurred by the narrative.
- Arbeit zitieren
- Marco Ring (Autor:in), 2017, Good vs Evil. Binary oppositions in pure form or categories with flowing borders? A deconstructive analysis of the "Harry Potter" movies, München, GRIN Verlag, https://www.grin.com/document/373498
