Harry Potter: A Story of Marginalization and Hope
Because of their universality and magic, the Harry Potter series and stories are exceptional. It revolves around an outcast young boy. Harry Potter is a young kid. Outcasts have been viewed as a relegated and undesirably typecast community throughout history. The story depicts the plight of outsiders by labeling and provides hope to the marginalized by his abilities, as shown by the book's wording (Wilson 88). Joan Rowling's work is now recognized all over the world as a result of these efforts. Her books have sold 500 million copies worldwide, which is a world record (Freeman 12). As a result, the books are among the best-selling series of all time. They were translated into 73 languages and turned into highly rated U.K movies, which have placed the worth of Potter's sales to a total of 25 billion U.S dollars. To some extent, it helps in dealing with the notions of marginalization in the prone regions. Moreover, Harry Potter saga merge qualities, which are collectively loved and appreciated - friendship, love, magic, hope for a better tomorrow, and overcoming adversity.
British Cultural Reflections in Harry Potter
These books are encrypted with the British images such as Dursley family. The display of Hogwarts castle and the Forbidden Forest in the books represents the British vision of schools and natural heritage of their culture. The stories reflect the culture of children emerging triumphant over fears like identity crisis and stigmatization (Rowling 57). The books depict the traditional view of Britain to the social issues such as witchcraft and evil, where the protagonist, Potter, is admitted to wizard school and is to defeat the main evil wizard in the Britain society. Insight is given on how young characters in the play, such as Harry Potter, motivate young children to read more books because they associate themselves with the young characters and share their experiences.
The Harry Potter Phenomenon: A Tourist Attraction
On the other hand, the stories are a noteworthy tourist allure. The introduction of the Potter map in the acting of the films, which was to be shown, attracted more people at the HP studios, with the aim of visualizing the real scenes of Potter's movies. The Potter trail, which was created to transport the fans of Potter, brought thousands of tourists to the locations around the country, only to witness the real action of the Potter's story. Additionally, cinematic places such as Gloucester acted as a representation of the Hogwarts School, which attracted more tourists as they came to witness the beauty and the real picture of how Hogwarts School in the original Potter film looked like (Freeman 198). These tourists anticipated seeing the Gothic architecture of Hogwarts and how it reflected the scenic actions in Harry's movies.
British Literary Influences and Cultural References
The series incorporated British literary masterpieces, which include Austen and Dickens as well as Shakespeare's tragedies (Freeman 112). Similarly, Harry Potter books are rich in the British history as they invite the readers to discover more about the Halloween feast, The End of the Banquet, and the Sorting Ceremony.
A Glimpse into the Magical World of Harry Potter
The most exciting part of the HP studio is the thrill that is developed on the sight of the Great Wall and the entrance. The architecture and the design of the wall are so full of ancient Britain structures features, which create the excellent memories of the past beautiful Britain culture. I was also moved by boxes and books of wands, which were a reflection of the British wizardry culture as described in books.
Freeman, M. "The leisure and tourism of transmedia worlds: the case of Warner Bros. Studio Tour–The Making of Harry Potter." (2017).
Freeman, M. "Transmedia attractions: the case of Warner Bros. Studio Tour-The Making of Harry Potter." (2018).
Rowling, Joanne K. Harry Potter and the Deathly Hallows. Vol. 7. Bloomsbury Publishing, 2014.
Wilson, James F. "Harry Potter and The Cursed Child, Parts 1 And 2 by Jack Thorne." Theatre Journal, vol. 69, no. 1, 2017, pp. 86-88.