Title: The Monstrosity of the Gaze: Critical Problems with a Film Adaptation of The Lord of the Rings
Abstract: IN essay, Beowulf: The Monsters and Critics, J.R.R. Tolkien contends with early critics who debunk poem's poetic and structural artistry: [T]he monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to underlying ideas of poem (19). Because of Tolkien's insistence on significance of monsters in Beowulf, study of monsters in Tolkien's work is without question an essential task for scholars seeking to discover meaning in his narratives. The conception of many of his monsters reveals an underlying classical Christian doctrine that declares that evil is not created as an autonomous force; rather, is only perversion of good. Therefore, evil functions as a kind of parasite, corrupting pure for its dark purposes. As Frodo reminds Sam, the Shadow [...] can only mock, cannot make: not real new things of its own (The Lord of Rings [LotR] 893). Some monsters of Middle-earth seek to guard passages that allow progress of good, some seek to feed on good to satisfy their dark lusts, and some seek to possess good in order to corrupt to their evil wills. Interestingly, Tolkien empowers many of his monsters with weapon of vision as they struggle to achieve these ends. Through a close study of three of monsters in The Lord of Rings, The Watcher in Water, Shelob, and Sauron, reader can discern a distinct, objective characterization of evil as a 'watcher' which seeks to control its victims through power of visual gaze. This concept can then be taken a step further to examine relationship of audience to text in Peter Jackson's film adaptation. Unlike reader, audience as viewer can be seen as inherently resembling this distinct, objective characterization of evil 'watcher.' Middle-earth is perceived through lens of camera that characteristically behaves like an 'evil eye.' Through an examination of function of camera in adaptation of text from a written to a visual medium, one can see how Jackson's audience is cast in a role like that of Tolkien's monsters, seeking to control and dominate through means of visual image. The Gaze in Book Though a minor monster in narrative, a highly significant beast that embodies theme of 'evil seer' is The Watcher in Water (as is named in ancient book of Mazarbul). This creature is believed to have been a Kraken bred by Morgoth in Utumno (Watcher). According to Joseph Campbell in his book, The Power of Myth, metaphorically, water is unconscious, and creature in water is life or energy of unconscious, which has overwhelmed conscious personality and must be disempowered, overcome, and controlled (180). As Company stands at edge of water trying to figure out password to open doors of Moria, Boromir awakens monster asleep in lake by throwing a stone. As many familiar with nature of horror (such as Alfred Hitchcock) know, that which cannot be seen is often much more threatening than that which is visible. To see a thing is, in a sense, to have a measure of control over it, to have some power to resist it. Frodo expresses his sense of helplessness as he feels, rather than sees, presence of monster: am afraid. I don't know of what: not of wolves, or dark behind doors, but of something else. I am afraid of pool. Don't disturb it (LotR 300). At moment password is discovered and doors are opening, Watcher in Water emerges from pool and seizes Frodo. Campbell explains, In first stage of this kind of [unconscious] adventure, hero leaves realm of familiar, over which he has some measure of control, and comes to a threshold, let us say edge of a lake or sea, where a monster of abyss comes to meet him (180). The Watcher in Water represents a kind of gatekeeper whose goal, in context of archetypal journey, is to guard passage through 'watching,' to keep good hero from entering into new territory, psychological or spiritual. …
Publication Year: 2007
Publication Date: 2007-03-22
Language: en
Type: article
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Cited By Count: 5
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