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Never tickle a sleeping bookworm:how readers devour harry potter
1 Abstract
Purpose – HarryPotter is one of the worldrsquo;s most remarkable marketing phenomena. The purpose of this paper is to reveal that consumers interact with the Potter brand in a variety of ways, ways that parallel the four archetypal houses at Hogwarts School of Witchcraft and Wizardry.
Design/methodology/approach – The paper interrogates Pottermania by means of a longitudinal qualitative study of fans, non-fans and neutrals.
Findings – The paper finds that, just as pupils at Hogwarts School of Witchcraft and wizardly are many and varied, so too Rowlingrsquo;s readers come in several distinctive forms. In keeping with the prototypical characteristics of the Hogwarts houses, four Rowling reading archetypes can be tentatively identified: Gryffindors, Hufflepuffs, Ravenclaws, and Slytherins.
Practical implications – This paper shows, contrary to the stereotype, that there is much more to Harry Potter consumers than the long lines of enthusiastic fans standing outside bookstores at midnight.
Originality/value – In a world where brands are narratives and consumers are readers, this paper shows that there are several distinctive modes of “reading a brand” and evaluates their implications for the future of the Harry Potter franchise.
2 Introduction
The house of Harry, Hermione, Ron and his boisterous brothers, Gryffindor is associated with boldness, bravery, energy and eagerness. Like the lion rampant on their heraldic shield, Gryffindors are courage incarnate. Not the most intellectual of individuals, Gryffindors are assertive, afraid of nothing and, if anything, a little too reckless for their own good. But what they lack in smarts they more than compensate in speed of thought and decisiveness in action.
With the principal protagonists among its ranks, Gryffindor is the focal Hogwarts house. It follows that Gryffindorsrsquo; energetic reading style is the one that most people associate with the Harry Potter phenomenon. The long lines of eager enthusiasts outside bookstores at midnight, the Gadarene rush to acquire copies of the latest enthralling episode, and the countrywide quietus that occurs during the post-publication hiatus – UK hospitals report that Aamp;E admissions decline in the immediate aftermath of a Potter release, because everyone is safely ensconced in swaddling armchairs! – are indicative of an uncontrollable national outbreak of speedy reading. Such literary indulgences come at a cost, though, as sufferers of associated aliments like Harry Headache and Potter Elbow bear pleasurably painful witness.
Greedy reading aside, the really interesting thing about Gryffindors is that their behaviour is not always through choice. Yes, they ravenously devour the Harry Potter episodes. Yes, they compete with each other in order to see whorsquo;s finished first, with all the attendant bragging rights. However, this ethos of urgency is not simply an expression of their overwhelming desire to discover “who lives, who dies, what happens next” (though obviously that is important). They have no choice but to read quickly. Failure to do so means that someone, somewhere, will spill the beans and thereby spoil the story.
Hufflepuff readers, as a rule, would not dream of lining up outside bookstores at midnight, let alone wearing a look-at-me HP T-shirt. Nonetheless, they are an enormously significant component of Rowlingrsquo;s readership. Unlike Gryffindors, who gulp the novels down like the literary equivalent of fast food, Hufflepuffs take their time, read slowly and carefully, immerse themselves in the wonderful wizardly world of Hogwarts and confidently ignore the clamouring plot-heads who are preoccupied with the outcome of Harry and Voldemortrsquo;s climactic confrontation. Their reading is not motivated by the plot as such – crucial though that is – but more for the pleasure of renewing their friendship with Hagrid, Ron, Hermione and so on.
That said, Ravenclaws can be quite possessive. They regard Harry Potter as a cultural resource that extends far beyond the books, as a phenomenon that belongs to them and can be used for their own creative purposes. Ravenclaws are the sorts of people, in short, who write eye-popping fan fiction or compose wizard rock songs or participate in live action role plays or post spoof video mash-ups on the net. Tongue firmly in cheek, they are quite prepared to subvert the Potter product and take it to places that Rowling and the illustrious brothers Warner never dreamed about
Slytherin readers rarely peruse Potter for pure unadulterated pleasure – unlike the love-struck Hufflepuffs – they read, rather, for kudos, for cultural capital, for the ability to pass themselves in conversation or to flaunt their expertise when the occasion demands. There is nothing more embarrassing, after all, than being exposed as a fraud.
3 Conclusions
As identified in the foregoing literature review, location and destination marketers between them employ two key marketing strategies – low cost and product differentiation.Usingthesetwostrategiesastheinitialdimensionsfordataanalysis,thein-depthinterviews actually revealed three similar strategic marketing approaches that film commissions employ when promoting their locations to film producers – product differentiation, service differentiation，and cost advantages . Here, it is important to note that film commissions view product differentiation and service differentiation as separate, distinct value-added marketing strategies that can attract film producers. The content analysis of promotional materials identified six main marketing tactics used by film commissions: advertising, sales promotions, joint promotions, PR, online marketing, and direct marketing.
First, product differentiation has the potential to assist commissions
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