Narratives of Adolescence Explored Through the Harry Potter Saga

Narratives of Adolescence Explored Through the Harry Potter Saga

Part I:
The process of one's individual growth is demonstrated through various types of actions, the most common one being – decision making. Whilst the Harry Potter saga is often seen as mystically farfetched and fantasy-like, careful thought has been put in the character analysis followed by the complexity of personal relations. Ergo, when I had decided to examine the movies, two movies in particular came to mind – Harry Potter and the Prisoner of Azkaban (2004) and Harry Potter and the Deathly Hallows, Part One (2010). My Hypothesis is that as the movies progress, or rather, as Harry Potter (the main character) grows up, his surrounding social relationships mature him as well. They shape his personality and consequently, shape the turn of events yet to come, and I would like to explore how they influence him and why.

The movie relates to the topic of the course, as it focuses on narratives of adolescence in European cinema. It takes place in a far off dimension in the United Kingdom, contains a unique combination of basic teen everyday dilemmas, social relationship matters, mental maturity conversion, and various turning points shadowed by a super natural kick. I plan to explore different influences within Harry's life - his parents and parent-like role models, his friends, romantic relationships and rival enemies - to see how those relationships attributed to his maturing. Consequently, the point of focusing on society will result in a comparison of his decisions, which were much associated with protecting his kind and ensuring peace to the generations after him. The matter of taking responsibility for not only oneself, but also others, is very much relevant to the pressure many teens are feeling across the globe today. As the course focuses on gaining content and source for the coming of age subject through films, discussion and analysis of the Harry Potter movies will aim at gaining a general understanding of trauma and its depiction. Therefore, distinguishing between the personal and the social levels will emphasize these findings.

In order to fully comprehend the concluding outcome of Harry Potter's development, the basic plot shall be briefed: Harry Potter was born to a wizard and a witch, Lilly (a muggle – has no wizardly blood) and James (pure-blood) Potter, during the First Wizarding War. His parents were members of the Order of the Phoenix – an organisation led by Albus Dumbledore, purposed to defeat the dark lord, Voldemort, and his enforcers, the Death Eaters. Voldemort, hearing the prophecy of Harry's future causing his defeat, murders Lilly and James with the killing spell. However, his attempt to kill baby Harry fails, as Lilly's love and protection causes the spell to bounce off Harry, leaving him with a lightening-shaped scar on his forehead. The scar meant a part of the Dark Lord has remained within Harry, making him a Horcrux.

Now orphaned Harry is adopted by his aunt and uncle (muggles), who mistreat him and neglect his needs. By locking Harry in his small, dusty under-staircase room and spoiling their only child right in front of his eyes, Harry develops a dealing mechanism of settled life. He is not aware of his rich wizardly history, or of his magical potential. When Hagrid, a half-giant wizard gamekeeper from Hogwarts School of Witchcraft and Wizardry appeared with the school's letter of acceptance addressed to Harry, an immensely influential turning point had taken over Harry's life. No longer was he feeling out of place or unneeded – he had finally felt he had belonged somewhere. These feelings encouraged Harry's sense of purpose in life, especially as he quickly bonded with two other students at Hogwarts – Hermione Granger and Ron Weasley. As fate would have it, Harry and his two new friends were all sorted into the same house – Gryffindor. The individual who has not befriended Harry, and mocked the name preceding him was Draco Malfoy, and he was sent into the Slytherin house.

Many relationships have influenced Harry Potter and shaped his unique characteristic individuality. This enabled a reoccurring plot twist of the constellation of his personal relations (family, intergenerational relations, peer groups- friendly allies and notorious enemies, etc.). With time, Harry is exposed to various situations where he is put under a magnifying glass for his choice of actions, although always well intended. It is almost as if he is pressured into maturing all too fast, as from the point of attending Hogwarts Harry deals with constant life threats on his own. Help from his friends and some handpicked school staff is provided, and although much is being done in order to make Harry feel safe and home, it is quite clear that much is being put at stake on the young adolescent's shivering shoulders.

In the first movie to be discussed – the Prisoner of Azkaban – Harry is in his early adolescence stage, as he is thirteen years-old. His cinematic narrative and inherent conflicts represent a less romantic and more individual growth, as it has mostly to do with family descendents reaching out to him and unveiling the truth behind his parents and their cause of death. However, in the second movie I wish to refer to – the Deathly Hallows, Part One – Harry is eighteen years-old, meaning he is in his late adolescence stage, just approaching the emerging adulthood stage. This movie puts the spotlight on the threesome's friendship (Harry, Ron and Hermione), as they set out on a mission to find and destroy all of the Horcruxes, as they are the key to Voldemort's immortality. Adult presence is not felt particularly within this movie, as there is no guidance or protection from their professors, families or others. The threesome rely on each other, however, this turns out to be a difficult task, as the Dark Forces use black magic and mind games to make the three turn on each other.

Overall, the learning process the film offers is a distinguished moral outline of adolescents' development, demonstrated by social relations and interactions. The protagonist – Harry Potter – faces many obstacles in the righteous path of discovering oneself and protecting generations yet to come, which he triumphs by blood, sweat and tears. His character evolves from a clueless, naive and stray form, to a mature, responsible, identity confident state.

In this essay I plan on using a variety of research materials – the official Harry Potter books and movies, websites, fan pages and open-floor forums. The reason I have decided to use many forms of median resources is because not only am I interested in my interpretation of the character development, but I would also like to review other opinions. Shall my hypothesis be refuted, conclusive evidence must be provided as to what has influenced Harry Potter to fulfil his prophecy – become the hero and saviour of an entire magical kingdom.

Part II:

1. Exposition (central conflict of narration). Which are the antagonistic elements of the film?
2. Intensification of the conflict (Show scenes and explain them)
3. Show development of main characters. What do they learn? How is it expressed in their action? Which fields of adolescence are addressed?
4. Turning points of story (Peripety)
5. Resolution of the conflict? Message of the story (cognitive level)
6. Which feelings/emotions are conveyed by the film? What was the strongest emotional impression for you? How did it relate to the plot or to certain aesthetical elements of it like music, pictures. Can you describe it as an experience? / (Bildungserfahrung II)
7. Assessment: How could the filmed be used for educational purposes?
What can be learned or experienced? Make a short statement.
Work (education, profession, socio-economical situation)
Cultural Belief System (Ideology, political and historical Identity)

Part III: Scientific articles
Find at least one scientific article which relates to your subject. It is favourable to use also an article that provides insights to the film, director, genre etc.
Give the main arguments of the texts and try to draw a line to the message / (Bildungserfahrung) of the movie.

Part IV: Conclusion
What did you find out about your research question?

The following articles from High Learn should be taken into account:

Jeffrey Jensen Arnett (all texts), Adolescence and Emerging Adulthood. A Cultural Perspective, 3rd ed., Pearson Education, New Jersey 2007. Lawrence Kohlberg and Carol Gilligan, “The Adolescence as Philosopher”, in: Daedalus Vol. 100, No. 4, ‘Twelve to Sixteen: Early Adolescence’ (Fall, 1971), MIT Press, Cambridge, pp. 1051-1086.

Richard Sennett, “The New Political Economy and its Culture”, in: Hedgehog Review, Spring 2000, University of Virginia, pp. 55-71.