Deliberations 2020

inevitably limits their understanding of the complicated differences between migrant students and urban students. Discourse, as defined by Merriam-Webster Dictionary, is a “formal and orderly and usually extended expression of thought on a subject.” In one case study of two migrant schools in Guiyang, a city in southwest China that draws many migrant families, researchers from a local university labeled migrant students as “closed-minded students who think backward and who have a narrow circle of life,” and that they “are of low quality and have tiny knowledge base” (Sun et al., 2016, p.14). In these discourses, migrant students need to be fixed because they are “backward” and “closed- minded”. Another study called migrant students who are not well-educated “time bombs for the future society” (Li, 2007, p.755). Migrant students are only viewed as potential threats, not as individuals in need of care and attention.
This discriminatory framework results in problematic implementation that offers little help to address the discrimination faced by migrant students in public schools. Influenced by discourses that devalue migrant students’ identity, schools often employ strategies to homogenize migrant students with the urban students, implying that the rural identity was not of value and should be abandoned to succeed in the cities. The denigration of rural identity perpetuates and validates the existing ideological inequality between rural and urban groups, justifying a new form of discrimination. One public primary school in China reported that migrant students had “extreme difficulty in assimilating into the school life” and therefore “a lot of teachers did not like to teach them” (Liang & Zhao, 2019, p.19). To mitigate the situation, the school designed many activities in order to assimilate migrant students into the school, such as classes in “computer design, Chinese painting, violin classes, English classes and calligraphy” (Liang & Zhao, 2019, p.19). These activities, however, are not designed with consideration of migrant students’ talents; it is unlikely that many migrant students have ever been exposed to computer design or violin classes before they come to cities, and few have the money to afford such lessons outside of school. Thus, migrant students are automatically put at a disadvantage in these classes, which may potentially make them feel more inferior to their urban peers. Therefore, by only offering standard, Chinese middle-class extracurricular classes at public schools, the school forces migrant students to conform to urban ideals, which again reinforces the idea that the urban identity is more desirable than the rural one.
These discriminatory attitudes and misguided policies reinforce existing inequality and perpetuate a problematic system of meritocracy, in which merit is solely determined by urban standards of academic performance, and values from different backgrounds are overlooked. One Chinese educator proposed that “we need to close the gap” between migrant students and urban students (Sun et al., 2016, p.14).
The logic of gap discourse, as Teresa L. McCarty (2015) has demonstrated, reproduces “the very social, linguistic, and educational disparities it calls into questions...gap discourse simultaneously constructs a logic of individual dysfunction, limitation, and failure while masking the systemic power inequities through which the logic is normalized” (p.72). By validating the “gap” between certain groups, educators assume the system in which these groups are placed is not the one at fault. However, with stagnant social mobility and continuous discrimination, it is hard to make the argument that the Chinese education system does not automatically place certain groups at a disadvantage.
Conclusion
With an ever increasing number of rural families migrating to cities in China, discourses on migrant children’s education are more necessary than ever. Currently, migrant students still suffer from systemic and peer discrimination, which results in their reluctance to go to public schools and bad academic performance. Chinese educators’ description of migrant students is problematic, reinforcing discrimination in the implementation of school strategies that aim to help migrant students integrate but fail to achieve that goal. Without changes in policy toward migrant children integration in public schools, migrant students will remain systematically disadvantaged in the system. It is essential that this disadvantage should not be normalized, and we should not silently agree to ideological inequality just because it is hard to resolve.
There are some ways that may ameliorate the existing problems in integration of migrant students in public schools. The Theory of Inclusive Education, defined by UNESCO in 1994, is a four-step process that puts emphasis on “integrating students in schools and accommodating their various needs toward achieving a quality education” (Liu & Jacob, 2011,
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p.179-80). The four steps can be used as a framework to improve the current interventions to help migrant students in China, which includes: 1) equal access to public schools, 2) accommodation of individual needs, 3) full participation from all related parties, and 4) quality education. Echoing this thought, Chinese scholars are beginning to suggest that schools design courses that introduce urban students to rural cultures and traditions to enhance their understanding of the countryside, and hopefully to achieve bidirectional interaction and equal integration (Liang & Zhao, 2019). Scholars are also suggesting that schools need to play an active role in eliminating the discrimination. For example, schools should report more positive news about migrant families on campus to create a more friendly perception of migrant students. They should also offer classes in knitting or farming that put migrant students at an advantage (Sun et
al., 2016). These suggestions, once implemented, can increase student and parent investment, thereby helping to create a healthier learning environment for migrant students.
On the system level, however, much remains to be done. First, China should redesign its hukou system to allow easier access to urban welfare for the mobile population. Second, migrant students should be allowed to take the zhongkao and gaokao exams in the cities where they have been going to school for years. Third, the central government must provide more funding to establish more schools in order to control class size and offer more migrant students the opportunity to attend public schools. Fourth, China should experiment with a more equity-oriented college admission system, similar to Affirmative Action in the United States. These measures, once taken, will substantially support migrant students, which will also improve Chinese society as a whole.
Works Cited
“Average Annual School Fees for the Children of Migrant Workers in the City is 2,450 yuan.” Central Government Website, last modified October 24 2006. http://www.gov.cn/jrzg/2006-10/24/content_422052.htm
Chan, Emily Y. Y., Stewart W. Mercer, Cai Yue, Samuel Wong and Sian M. Griffths. “Mental Health of Migrant Children: An Overview of the Literature.” International Journal of Mental Health 38, no. 57, Fall 2019, pp.44-52.
DeSocio, J., and J. Hootman. “Children’s mental health and school success.” The Journal of School Nursing 20(4), 2004, pp.189-196.
“Facts and Data of Chinese Migrant Children.” New Citizen Project, 2020. http://jiliuwang.net/archives/92102
Chen, Y., and S. Feng. Quality of migrant schools in China: evidence from a longitudinal study in Shanghai. J Popul Econ 30, 2017, pp. 1007– 103, https://doi.org/10.1007/s00148-016-0629-5
Hernández, Javier C., and Iris Zhao, “One Target in Beijing’s Migrant Crackdown: Schoolchildren,” New York Times, Dec.24, 2017, https://www.nytimes.com/2017/12/24/world/asia/china- schools-migrants.html?_ga=2.80763985.77183512.1575736759- 1249036921.1510707574
Li, Longfu. “The Vicious Circle of Migrant Workers: Some Interviews and Reflections of Migrant Workers’ Children.” Legal System and Society, March 2007, pp. 755.
Li, Yunhui. “Reflection on Problems of the Education for Migrant Workers’ Children (农民工子 女教育问题给我们带来的思考).” Kaoshi Zhoukan, 2011, pp. 209-10.
Liang, Yongshi, and Min Zhao. “Case Study of School Integration Education of Migrant Workers’ Children (随迁子女的学校融合 教育个案研究).” Basic Education Review, August 2019, pp.19.
Ling, Minhua. “Bad Students Go to Vocational Schools!”: Education, Social Reproduction and Migrant Youth in Urban China.” The China Journal, no. 73, 2015, pp.108-31. doi:10.1086/679271.
Liu, Jing, and W. James Jacob. “From Access to Quality: Migrant Children’s Education in Urban China.” Education Research for Policy and Practice, September 2012, pp.179-80. doi: 10.1007/s10671-012-9136-y.
Lu, Wang. “The Marginality of Migrant Children in the Urban Chinese Educational System.” British Journal of Sociology of Education 29, no. 6, 2008, pp.691-703. www.jstor.org/stable/40375392.
Ma, He, and Wei Liu. “The Reality and Expectations of Migrant Workers’ Children in School (农民工子女求学的现实与期盼).” Jilin Daily, July 23, 2013.
McCarty, Teresa L. “How the Logic of Gap Discourse Perpetuates Education Inequality: A View from the Ethnography of Language Policy.” Journal of Linguistic Anthropology, 2015, pp.72.
“Migrant Workers and Their Children.” China Labour Bulletin, last modified May 2019, https://clb.org.hk/content/migrant-workers- and-their-children/.
Roberts, Kenneth D. “China’s ‘Tidal Wave’ of Migrant Labor: What Can We Learn from Mexican Undocumented migration to the United States?” International Migration Review 31, no. 2, 1997, pp.249-93. doi:10.2307/2547220.
Sun, Jinchuan, Mengmei Li, and Yajun Li. “The Current Situation and Solutions of Extracurricular Activities for Schools With Migrant Workers’ Children (进城务工人员子女民办学校校本化综合实践 活动开设现状及对策).” Survey of Education, January 2016, pp.14- 15. doi: 10.16681/j.enji.weqe.201601007.
Wang, Changming. “From ‘Others’ to ‘Our Group’: Analysis on the Assimilation of Migrant Workers’ Children in Schools (从‘他者‘ 到‘群我’:农民工随迁子女学校融入问题研 究).” Journal of Chinese Academy Governance, 2013, pp.88-92.
Yao, Lu, and Hao Zhou. “Academic Achievement and Loneliness of Migrant Children in China: School Segregation and Segmented Assimilation.” Comparative Education Review 57, no. 1, 2013, pp. 85- 116. doi:10.1086/667790.
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Roma:
A Humanistic Portrait of an Inhumane Reality
Qi Xuan Khoo
Writing 101: Gender and Sexuality in Latin American Film Instructor: Sandra Sotelo-Miller
Iwould like to thank the Academy for recognizing a film [that] centers around an indigenous woman, one of the 70 million domestic workers in the world without work rights, a character that historically has been relegated to the background in
cinema. As artists, our job is to look where others don’t. This responsibility becomes much more important especially in times when we are encouraged to look away” (Cuarón).
This short speech by Alfonso Cuarón upon receiving the Academy Award for Best Director in 2018 is itself the thesis statement of Roma—the Chilango director’s personal tribute to the women who raised him (his mother and his maid nicknamed “Libo”). Indeed, Roma offers an intimate look into the lives of domestic workers from the perspective of a live-in maid. The first Mexican film to win the Best Foreign Language Film Award, Roma revolves around the story of Cleo, one of two domestic workers working for an upper-middle class family with four children in 1970s Mexico City. It portrays Cleo’s experience working as a caretaker, housekeeper and at times a pseudo family member in her employer’s household. Informed by Roma’s realistic and humanistic account of the experience of domestic workers, this essay examines the role of cinematography in establishing a documentary-style realism that underpins the narrative, how aspects of the humanity of live-in maids are explored through the relationship between Cleo and her employers’ family, and why such a narrative is indispensable in highlighting the overlooked issues faced by domestic workers in the real world.
Set in Colonia Roma, a neighborhood in New Mexico City in the 1970s, Roma sheds light on a long-neglected issue in the country. Domestic work has been a distinct feature of the hierarchical structure of Mexican society—a structure that is built on the ideological vestiges of Spanish colonialism. There are currently around 2.3 million domestic workers in Mexico, and more than 90% of them are women, often indigenous women who were forced to move to the cities in other states from their rural villages to seek employment for a living (Lakhani). The statistics here indicates that despite the overall economic progress achieved by the country over the years, Mexico’s informal domestic work sector is still a booming industry. Yet, domestic workers in Mexico are deprived of basic labor rights due to the non- existence of any legal recognition of their work, as evident in the Mexican census in 1970 that classified 79.9% of women as “economically inactive” merely because domestic work was perceived as “informal labor” (Arizpe 28). Moreover, domestic workers, especially women, face pervasive oppression rooted in a stigma that views them as second-class citizens and at times reduces them to mere servants and even slaves. This is the existence of the lives of live-in maids in Mexico, living in a social void that is shunned by societal stigma and ostracized by the institutions of the country. This is the void that is at the center of Cuarón’s epic tribute to the women who raised him, and the void which Roma sets out to fill with a story from the past that is still crucially relevant today.
Qi Xuan Khoo
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I have always been a film lover and a staunch believer
in the power of cinema in making the unseen seen and the unheard heard. Roma is one of the
few movies that leaves me moved and in deep reflection. Growing up in a Chinese family in Malaysia, I am no stranger to domestic work as it is part of everyday life in my community. Hence, Roma struck me as not only a film that gives voice
to the oppressed and the overlooked, but also a masterpiece that compels
me to reflect on some of the taken-for- granted assumptions and stereotypes about domestic workers within my own community.
I set out to write a film analysis
on this Oscar-winning and thought- provoking movie, but ended up with a pseudo op-ed under the guise of film commentary as I became increasingly absorbed into the social realities behind the story. I would like to thank Professor Sandra Sotelo-Miller, whose support and guidance throughout the writing of this piece made it possible for me to succeed in finding my own voice and elucidating the complexity of the subject. I would also like to thank Professor Sheryl Welte Emch for supporting me throughout the process of revising this essay despite our time zone challenges. Finally, I would like to thank my parents who are the only reason I am able to pursue my dreams and passion
today. I hope this piece serves more than just as a record of my musings on the film, but a reflection on the social plight of the long-neglected community of domestic workers around the world.


A Reconstruction of the Past
Roma reconstructs Cuarón’s childhood memories in a realistic manner that does not lose touch with the present through the use of black-and-white cinematography and long shots. As director Frank Darabont opines, black-and-
white cinematography “gives [the audience] a view of the world that really doesn’t exist in real life” (Morrow). Though true for most black- and-white film classics, Darabont’s perspective on black-and-white cinematography does not fully elucidate the nuanced purpose of the use of such cinematography in Roma, as it goes far beyond re-creating a reality from the past in the film. Shooting Roma in black and white allows Cuarón to maintain the fine balance between defining a temporal fourth wall and offering a vicarious reconstruction of the past. In other words, the choice of cinematography here is instrumental in conveying the realness of these events (similar to black-and-white period films based on historical events) without compromising the temporal fourth wall that constantly reminds the audience of the hindsight through which the story is told. Narrating Roma’s story in black and white keeps the audience at an emotional distance that prevents them from being seduced by the drama and emotions in the scenes, thus allowing for a more conscious and critical engagement with the familiar narrative of domestic work throughout the film.
On the other hand, the effective use of panoramic long shots with deep focus and fixed camera positions allows Cuarón to maintain the focus on both the setting and the characters of the film. In general,
cinematographers agree that long shots “frame much more of the environment around the person, object, or action and often shows their relationships in physical space much better” (Thompson 10). In other words, long shots are frequently used to depict the relationships between the characters and the setting by placing equal emphasis on both the mise en scène and the main characters. The use of long shots, for instance, plays a pivotal role in establishing the realistic tone of the narrative in the opening scenes of Roma. Capturing Cleo’s work routine of cleaning the patio and the house through distant shots and a wide frame, these long shots immerse viewers in the mundane rhythms of household chores. Contrary to the convention of using close-up shots to create a personal point of view for the audience, Cuarón adroitly combines these long and panoramic shots to focus on both Cleo and her work environment, thus highlighting her overwhelming workload that speaks volumes about the physical demands and mundanity of domestic work.
In short, the choice of black-and-white cinematography and the use of long shots contribute to Roma’s unapologetically truthful depiction of the lives of domestic workers. The camerawork discussed above plays an indispensable role in Roma’s cinematography that humanizes domestic work by framing the audience’s point of view on the story from the perspective of domestic workers. This is essential for building empathy for domestic workers as it compels the audience to engage vicariously with the daily struggles of live-in maids.
Mops, Middlewoman and Motherhood
Having captured the details of domestic work through a documentary-style cinematography, Cuarón further develops Roma’s narrative of domestic work with a realistic portrayal of live-in maids’ role as a middlewoman and a mother-like figure in the household. To the children, Cleo is their “acting” mother, cheering them up whenever they are having a bad day and putting them to bed without fail every
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night; to the adults in the family, her role alternates between that of a middlewoman who always provides a safe space for their emotional outbursts in light of conflicts within the family, and a servant who is ever ready to serve. It is with a careful portrayal of Cleo’s nuanced relationship with her employers’ family that Roma offers an authentic depiction of the real challenges faced by live-in maids in the household.
Live-in maids are often inevitably embroiled in their employers’ family matters, and they are forced to maneuver their way through the complex relationships between family members at the cost of their own emotional capacity. This is best illustrated by the relationship between Cleo and her employer, Sofia. Though Sofia often expresses her appreciation and acceptance of Cleo as a family member, Cleo is at times treated as a mere servant and a victim of her emotional catharsis. In one scene, a desperate Sofía, agitated about her strained relationship with her husband, berates Cleo for not cleaning the feces off the driveway, as if that mess was the reason her husband abandoned the family for another woman. Sofia’s outburst is clearly more cathartic than instructive, and her instinctive reaction to her husband’s departure—which is to take out her anger on an ever-patient Cleo—reveals how she still subconsciously sees Cleo as a servant who should entertain her emotional outbursts. Hence, Roma offers a humanistic account of the untold emotional labor of live-in domestic workers through the characterization of Cleo as a middlewoman who is often the collateral victim of the conflicts between members of her employer’s family.
Roma explores the motherhood of live-in maids and challenges the stereotypes that often reduce them to second- class citizens struggling to make ends meet. The genuineness of Cleo’s love for the children in the household is reciprocated by the children’s acceptance of her as a member of the family, as depicted in the loving and tender scenes between Cleo and the children. While this positive portrayal of the loving relationship between Cleo and the children is significant for providing a humanistic portrait of domestic workers, Roma’s depiction of Cleo’s own motherhood—especially with the demise of her own daughter—reveals a darker side of the story. Though Sofia is accommodating towards her pregnancy, Cleo’s initial concerns about losing the job due to her pregnancy alludes to yet another unspoken rule in the industry: unconditional loyalty. Drawing from qualitative research that includes personal interviews with live-in maids, Tejeda argues in her doctoral thesis that the “artificial” motherhood of maids towards the employer’s children inadvertently contributes towards the tacit and unjust expectations among employers; the motherly image of domestic workers “reproduces the marginalization of women” in this occupation and further entrenches employers’ demand that good maids should stay “childless and therefore fully loyal to the development of the middle class family ”
(Saldaña-Tejeda 148). In other words, live-in maids are often stripped of their own motherhood as they become victims of this exploitative demand for motherhood by their employers.
Roma is not simply a portrayal of these egregious expectations that confront live-in maids, but rather it compels viewers to engage with the normalization of such unjustified demands in the industry. This is evident in the climax of the film where Cleo risks her life to save Sofia’s children at the beach. In stark contrast to the intense dramatic context of the scene, Cuarón decides to shoot the whole scene in one long shot with the camera focusing mainly on Cleo, without any dramatic tension between the danger the children are in and her desperate effort to save them. The camerawork here does not allow viewers to be absorbed by the drama of the scene, but instead engages them to ponder on Cleo’s selfless act of saving her employers’ children shortly after losing her own daughter. Cleo’s admitting that she did not want her daughter to be born hints subtly at the unjust demand for live-in maids’ unconditional loyalty, thus highlighting the normalized injustice domestic workers face.
The juxtaposition of Cleo’s personal and professional lives in Roma has effectively portrayed the plight of domestic
workers; just as Cleo is alternately treated as an outsider and a member of the family, live-in maids often struggle to find their position in the household. Perhaps this is the cost of live-in domestic work, for in spite of their own humanity, the identity of live-in maids is often contingent on the employers’ family. In Cleo’s case, despite far exceeding her job expectations by selflessly caring for every member of the family, including the dogs and the house itself, her physical and emotional labor was never reciprocated with the same care from her employers. Such is the humanistic story of Roma that shines a light on the often understated emotional labor of domestic work apart from the overwhelming physical demands of the job.
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Spanish, Mixtec and the Indigenous Inequality of Domestic Work
Conclusion
In conclusion, Roma offers a nuanced narrative on the lives of live-in domestic workers—one that encompasses the swirling emotions hidden underneath the piles of dishes and the untold struggles of maneuvering the relationship with members of their employers’ family. By capturing the neglected details of domestic work through his characteristic cinematography, Cuarón builds a compelling case for portraying the struggles and challenges faced by domestic workers. It is a humanistic account of domestic work that depicts the class division and the complex employer-worker relationships often confronting live-in domestic workers. Such a realistic account challenges the pre-existing notions about domestic work which are rife with bias and prejudice. While the authentic depiction of Cleo’s overwhelming workload directly challenges the biased representation of domestic work as being of little importance and deserving little pay, the portrayal of Cleo’s emotional labor provides a much-needed emotional context for the current revised narrative of domestic work. This unapologetic narrative contributes to not only a greater understanding of the plight of domestic workers, but also a new definition of domestic work, one that includes the struggle, stigma, classism and pain experienced by domestic workers.
Challenging preconceived notions in Mexican society that have long been taken for granted, Cuarón’s masterpiece is undoubtedly a tour-de-force given its impacts in the real world. It has not only advocated for the rights of live-in maids, but also instigated a social movement in support of a domestic workers’ rights bill in Mexico (Richford). Indeed, Roma serves as a cinematic mirror that can hopefully bring hope and change to the present as it challenges us to re- examine societal stereotypes of domestic workers through an uncomfortably moving story.
Richford, Rhonda. “Alfonso Cuarón Talks Social Impact of ‘Roma’ in Mexico, U.S.” The Hollywood Reporter, 18 Jun. 2019, https://www. hollywoodreporter.com/news/alfonso-cuaron-talks-social-impact- roma-2019-cannes-lions-1219314.
Roma. Directed by Alfonso Cuarón, performance by Yalitza Aparicio, Esperanto Filmoj, Participant Media, 2018. Netflix, https://www. netflix.com/watch/80240715.
Saldaña-Tejeda, Abril Guadalupe. “Women and Paid Domestic Work in Mexico: Food, Sexuality and Motherhood.” 2011. Department of Sociology, School of Social Sciences, University of Manchester, PhD dissertation.
Thompson, Roy and Christopher Bowen. “Grammar of the Shot.”
Focal Press, 2nd Edition, 2009, https://www.sciencedirect.com/
book/9780240521213/grammar-of-the-shot .
Wardlow, Ciara. “The Cinematography of Roma.” Film School Projects, 15 Feb. 2019, https://filmschoolrejects.com/cinematography-of-roma/.
domestic workers, thereby highlighting the social inequality that has plagued the Mexican society for decades.
Culture and ethnicity are two main aspects of an individual’s identity, yet they are also the most neglected aspects of the identity of domestic workers. Most live-in domestic workers in Mexico come from the indigenous groups which are often the victims of socio-economic inequality and class hierarchy. In Roma, the indigeneity of Adela and Cleo is made clear from the outset of the film by using their native Mixtec language, distinguished for the viewers by the children’s reaction upon hearing them speak a language that is foreign to them. Roma depicts the reality behind the oppression faced by live-in maids as indigenous Mexicans who are often the victims of class division and social hierarchy in Mexico.
The key moment that best depicts the class division between the employers and the domestic workers is the scene where the family goes on a Christmas vacation in a luxurious hacienda. As the hosts and guests indulge themselves in drinking and dancing, Cleo could only observe as she sits on the floor looking after one of the children. Later, under her colleague’s insistence, she is led downstairs to a party at the basement where the indigenous workers working on the hacienda gather for their own celebration of Christmas. This sequence underlines the class discrimination that confronts domestic workers by showing how they are still expected to work during the Christmas/New Year season—one of the most important holidays of the year for Mexicans—and the social discrimination they face. Furthermore, it depicts the hierarchy that separates the employers and the indigenous domestic workers. The upper-class employers enjoy their party in the spacious main room of the hacienda whereas the indigenous workers had to remain in the cramped basement, depicting how they are literally trapped at the lower echelons of society. This juxtaposition between the employers’ party and the indigenous workers’ separate party powerfully depicts the class division that incarcerates indigenous
Works Cited
Arizpe,Lourdes.“WomenintheInformalLaborSector:TheCaseofMexico City.” Signs, vol. 3, no. 1, 1977, pp. 25–37. JSTOR, www.jstor.org/ stable/3173077.
Badalge, Keshia. “The Uncomfortable and Profound Authenticity of Roma.” The Atlantic,19 Feb. 2019, https://www.theatlantic.com/entertainment/ archive/2019/02/roma-alfonso-cuaron-cleo-domestic-work-children- emotional-labor-love/582997/.
Cuarón, Alfonso.”Alfonso Cuarón wins Best Director.” Oscars, YouTube, 25 Mar. 2019, https://www.youtube.com/watch?v=w2sxj4VfFkw.
Lakhani, Nina. “Mexico City’s domestic workers: a life being treated as a lesser person.” The Guardian, 10 Nov. 2015, https://www.theguardian. com/cities/2015/nov/10/mexico-city-domestic-workers-life-lesser- person.
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The Ambivalent
Aftermath of Harry Potter: Has Our Beloved Series Been Affected?
Kaitlyn Luo
Writing 101: Meddling Muggles Instructor: Lisa Andres
My aunt, the Professor Trelawney to my father’s McGonagall, was the eccentric woman who first introduced me to J.K. Rowling’s magical world. During my first visit to her home in Wisconsin, I was immediately drawn to the stacks upon stacks of books gathered in the living room. Among them, a lovely hardcover with the embossed golden letters of “Harry Potter” stood out to my second-grade self.
From there, I fell in love. When I finally finished the concluding chronicle to brave Harry’s journey, I could no longer live vicariously through my favorite teen wizard.
I craved more.
Wanting more of the Harry Potter world was a common issue within Harry Potter’s massive fandom, evidenced by thousands of fanart and fanfiction. Purposefully or not, its author and various executives capitalized on this desire, spinning out a 25-billion-dollar franchise. The aftermath of the Harry Potter books’ success – J.K. Rowling’s tweets, the boom of consumerism through Universal Studios, and the spin-offs – is a controversial aspect that has greatly tainted the legacy of Rowling’s novels. By analyzing the effects of these new outgrowths, Harry Potter provides a lesson of integrity for creators hoping to preserve their creations’ legacy.
A New Kind of Celebrity
In 2000, Harry Potter became a sensation, launching J.K. Rowling into stardom. Many avid fans are familiar with the 54-year-old British author’s origin story. Rowling started out as a single mother on government assistance, experiencing rejection after rejection from publishers everywhere. In 2004, Rowling became the world’s first billionaire author and has received numerous accolades for her work.
With such success, Rowling has been inevitably pushed into the limelight. Millions of adoring, loyal fans are inspired by her actions and follow her every word. This devoted fanbase has provided Rowling the power and privilege of influence. Though her undisputed expertise is in spinning stories and enchanting readers with her boundless creativity, she is now able to offer all opinions to her fervent following through social media.
Boasting 14.6 million followers on Twitter (which seems to be Rowling’s favorite platform), J.K Rowling tweets to her heart’s content about topics ranging from her own books to politics to casual tidbits about her life. These short posts on Twitter have caused great divide between fans.
Many praise Rowling’s constant use of Twitter. Bustle hails Rowling as “the ultimate role model,” citing her strong feminist nature and advocacy for self-love. In support of this perspective, Inc.com gives Rowling rave reviews for her fearlessness and constant use of Twitter to keep her fans loyal and engaged: “ultimately, Rowling
Kaitlyn Luo
Before attending Duke, I took a gap year, during which I experienced various cultures across the world - I lived in Japan, taught English in China, and backpacked through
Europe. Among the many differences, the presence of the massively popular children’s series Harry Potter by J.K Rowling held true as a commonality.
Given my interests in behavioral science and entrepreneurship, it is fitting that I have taken a deeper look at J.K. Rowling’s Harry Potter, which has taken the younger generation by storm. I have always valued the ability to understand people and consumers, and strive to recognize what drives and incentivizes others people’s actions.
Taking Professor Andres’ Writing 101: Meddling Muggles course provided me the wonderful opportunity to glimpse back into my childhood, reflecting on
a childhood favorite. The Harry Potter series was one of the first lengthy fictional series I read, and I absolutely adored the main characters, idolizing Harry Potter’s bravery, Hermione’s cleverness, and Ron’s humor.
While my experience with the Harry Potter books has been innocuous, leading to a lifelong appreciation of fiction, this paper has allowed me to take a multifaceted look at the ramifications of the Harry Potter series.
My deepest thanks to Professor Lisa Andres for her championing of divergent thinking - she really is the epitome of a Ravenclaw. I would also like to express my gratitude for Professor Sheryl Welte Emch and the Deliberations editorial board for their meticulous edits and this wonderful opportunity, bringing about a more polished form of my work.
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is a master marketer...she understands the balance.” These perspectives reveal Rowling’s positive presence.
Rowling’s unique positioning as a literary celebrity has also made her the center of various scholarly reviews and studies. For example in a University of Cumbria study,“Blogging and Tweeting in the Classroom: Exploring How Effective Use of New Media Can Help Teaching and Learning in Primary Schools,” teachers analyzed the educational use of social media to engage and teach children in the classroom, particularly referencing J.K. Rowling’s tweeting. During an activity in which teachers tweeted J.K. Rowling some pictures of their class playing with wands and reading, the author tweeted back with excitement and support. As a result, the study concludes that there is “sufficient evidence of social media facilitat[ing]
learning for children in positive ways.” J.K. Rowling leverages the inherent interactive aspects of social media to connect with her fans and encourage their learning.
Rowling’s popularity and consistent social media use, however, has made her the subject of scrutiny. In another case study from Radboud Universiteit Nijmegen, Martens discusses Rowling’s online persona: “[it is] worth it for literary celebrities to take on different roles in different digital areas, in order to increase their status and authenticity, and thus their brand.” Though this holds true, Martens warns that “J.K. Rowling is not necessarily the be-all and end-all that an author should aspire to be.” It bodes well for authors to abide by Martens’ advice. As a modern “literary celebrity,” Rowling has made plenty of social media mistakes:
Last year, J.K. Rowling tweeted out vocal support for a British researcher who lost her job due to anti-transgender views. With J.K. Rowling’s help, the entire situation became international news in a heartbeat, and various LGBTQ+ groups criticized her heavily, saying that she’s “ruined the books.”
It’s instances like this that have made some people vehemently against J.K. Rowling’s use of social media. In Slate’s caustic take on J.K. Rowling’s twitter obsession, Heather Schwedel follows the dawn of Rowling’s twitter feed which devolved into the downward spiral that it has become. Schwedel laments,“she [used to be] the platonic ideal of the author-tweeter, only poking her head up from her self-imposed exile (writing stories for us, her fans).”
Schwedel isn’t the only one with this opinion. Author Joanna Trollope likens J.K. Rowling to Kim Kardashian “because of her ‘insatiable’ appetite for social media.” On the other hand, Trollope places herself on a supposed high ground, claiming that she “deliberately chose to stay away from social media because she expressed everything she wanted to in her books.”
“Creating this mass following and tweeting several times a day is like wanting to be [the pop star] Cheryl or Kim Kardashian. Some writers like JK Rowling have this insatiable need and desire to be out there all the time, and that’s
entirely driven by their ego.” -Joanna Trollope
Some fans agree with this sentiment. The Washington Post cites numerous memes that reveal exasperation towards Rowling’s retroactive editing.
However, not all her offhanded remarks have been innocuous. Rowling threw the fandom into chaos when she brought the touchy subject of sexuality into the picture.
Even though Rowling announced Dumbledore as gay, it’s clear through perusal of the books that there is not a single mention of Dumbledore’s sexuality. Even in the eventual spin-offs of the Fantastic Beasts franchise, which gave a close look
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into Dumbledore and Grindelwald’s past, there is little overt indication of Dumbledore’s sexuality.
It feels cheap. It feels easy. It feels disingenuous. It’s not the celebration of diversity and minorities I believe J.K. Rowling champions. Including diversity at the forefront of the series is not the issue. It is Rowling’s execution that is the issue. Diversity and inclusion shouldn’t be used for the sake of appearing progressive.
More recently, while the globe protests for Black rights and battles a pandemic, J.K. Rowling took to Twitter insinuating her belief that transgender women are not real women. Soon after, she published a 3690-word essay to further describe this belief. Her untimely opinions during a period of social turmoil have negatively impacted the lives of discriminated groups.
In response, numerous people raised on the Harry Potter books rose against its author. Prominent figures everywhere have condemned Rowling’s remarks, revealing that her callous words lead to murder and acts of hate.
Additionally, Daniel Radcliffe, beloved for his portrayal of Harry Potter in the films, imparted his sincerest apologies on the author’s behalf to the trans community. He implored fans to separate J.K. Rowling’s opinions from the books:
“If these books taught you that love is the strongest force in the universe, capable of overcoming anything; if they taught you that strength is found in diversity, and that dogmatic ideas of pureness lead to the oppression of vulnerable groups; if you believe that a particular character is trans, nonbinary, or gender fluid, or that they are gay or bisexual; if you found anything in these stories that resonated with you and helped you at any time in your life—then that is between you and the book that you read, and it is sacred. And in my opinion, nobody can touch that. It means to you what it means to you and I hope that these comments will not taint that too much.”
For some readers, J.K. Rowling’s personal beliefs have intertwined with the messages communicated by Harry Potter in ways that have tarnished the sanctity of the books. Hers is a cautionary tale of how creators, even those of children’s books, can drastically shape the lives of the younger generation. It is my hope that readers will cherish the fundamental ideas of her books and champion diversity.
Accio-ing a Generation of Consumers
While Rowling’s overwhelming internet presence has primarily influenced young generations, the commercialization of Harry Potter is even more all- encompassing, affecting readers regardless of age.
As a child, I longed for physical representations of my love for Harry Potter. From Lego toys to video games to home decor, I felt giddy joy at the newest addition to my collection.
Similarly, fans absolutely love the various Harry Potter- related merchandise. The enthusiasm and anticipation are
clearly evidenced by the Reddit threads, Tumblr posts, and YouTube videos.
Articles upon articles advertise “perfect gift ideas” for the “ultimate HP fan.” According to Harry Potter wholesalers, the consumer trend continues: “Harry Potter has really broad appeal to a diverse group of customers.”
All of this consumerism has made J.K. Rowling richer and richer. Putting her newfound affluence to good use, the
writer donated 160 million dollars and founded Lumos, an international non-profit organization to help disadvantaged children. Lumos reunited hundreds of children in Haiti with their families.
Despite this redistribution of money, there is no doubt that the consumerist culture Harry Potter denounced has tremendous repercussions.
Money-hungry executives have cleverly assembled a rampant consumerist culture, eagerly received by impressionable teens.
Most prominently of these moneymakers is Universal Studios’ Harry Potter theme park. In 2010, Universal Studios Orlando debuted its first Wizarding World of Harry Potter. From 2010 to 2016, attendance to Universal Studios’ theme parks rocketed 80% to 47.4 million. Though the studio spent 256 million dollars on the new addition, there’s no doubt that Harry Potter was a great investment.
Universal Studios was almost bankrupt before getting the rights to the Wizarding World, bringing in enough revenue to save the park and compete with Disney World. According to Sam Gennawey, a theme park historian, the Wizarding World “saved the theme park industry [and] Disney is still trying to catch up.”
The shops of fiction-turned-reality Diagon Alley at Universal’s are packed with an endless, expensive selection -- $50 wands, $200 robes, and more – and endless crowds.
Some readers believe this is entirely hypocritical because an important theme of J.K. Rowling’s closing seventh book, Harry Potter and the Deathly Hallows, is that material objects do not determine one’s value. Dr. Justine Toh at Macquarie University delves into this critique, identifying the Horcruxes
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as prime evidence. In the seventh book, Harry and his friends hunt after Voldemort’s Horcruxes, which were magical objects that contained parts of Voldemort’s soul. Half of these objects belonged to the founders of Hogwarts houses who were famous and illustrious, symbolizing Voldemort’s wish to be connected to great wizards and “establish his identity as the greatest sorcerer in the world.” Toh asserts that “the recognition that objects have meaning and value beyond their use, that they act as markers of status, and are key to fashioning one’s identity suggests a compelling critique of consumerism going on within J.K. Rowling’s Harry Potter series.” Voldemort’s obsession with the Horcruxes echoes the real world’s infatuation with luxury products.
In Harry Potter and the Half-Blood Prince, Toh’s belief is echoed when Dumbledore explains the effect of Horcruxes on Voldermort: “Without his Horcruxes, Voldemort will be a mortal man with a maimed and diminished soul.” By abandoning his soul in favor of material objects in the form of Horcruxes, Voldemort is a representation of the harmful consequences of placing too much emphasis on “stuff.”
On the other hand, our brave protagonist actively works to destroy the Horcruxes. Additionally, Harry, Hermione, and Ron undergo a critical choice – should they search for the Horcruxes or the Hallows, material objects that would make them the Master of Death? Persisting with the theme of denouncing materialism, Harry and his friends decide to pursue the Horcruxes.
Another example of Rowling’s argument against consumerism lies in the Weasley family, Rowling’s representation of a happy family unit. From the very beginning, it’s clear that Ron’s family doesn’t have much money. The Malfoy family, elitist and purist, is the Weasleys’ foil.
In Harry Potter and the Philosopher’s Stone, Draco Malfoy, readily taking the role of bully, sneers at Ron’s lack of wealth, saying, “My father told me all the Weasleys have red hair, freckles, and more children than they can afford...You’ll soon find out some wizarding families are much better than others, Potter. You don’t want to go making friends with the wrong sort. I can help you there.”
As readers, we view the world through Harry’s eyes and sympathize with his experiences. Our protagonist immediately makes the right decision, revealing the importance of good values over material objects. This is the decision and mindset Rowling encourage by using Harry’s perspective.
Furthermore, it’s clear where our loyalties should lie when the series comes to a close. At the end of the series, we feel a tug at our heartstrings when Molly Weasley, Harry’s adopted mother, endearingly gifts Harry his coming-of-age present on his 17th birthday, even with her family’s conditions:
“‘I’m afraid that one isn’t new like Ron’s, it was actually my brother Fabian’s and he wasn’t terribly careful with his possessions, it’s a bit dented on the back, but –’ The rest of her speech was lost; Harry had got up and hugged her. He tried to put a lot of unsaid things into the hug and perhaps she understood them, because she patted his cheek clumsily when he released her, then waved her wand in a slightly random way, causing half a pack of bacon to flop out of the frying pan on to
the floor.” -Harry Potter and the Deathly Hallows
The Weasleys teach readers the importance of relationships over money – they were always there for Harry, and no amount of money could create the warmth and comfort they provided. What impressionable young children
learn from the role models of Harry and the Weasleys is clearly contradicted by the materialistic culture in real life.
In addition to the lessons in the books, numerous studies also reveal the negative influence of consumerism that’s sprouted from Harry Potter. In a study from the Communication and Critical/Cultural Studies journal analyzing corporations’ role in the Harry Potter merchandise boom, professors Waetjen and Gibson attest, “the current explosion of Potter-inspired merchandise is, to be sure, a textbook case in the commodification of children’s culture and the proliferating sins of hyper-commercialism.” They argue that the consumerism exploiting children’s interests is so intrusive that it alters their worldviews. In particular, mass consumerism impacts impressionable children’s reliance on
material objects and their concept of happiness.
It’s not just the western world that’s experienced this wave of consumerism. In the Chinese Journal of Communication, John Nguyet investigates how the Harry Potter craze has affected consumerism in China. He observes that “China joins the global emergence of “commoditoys” designed with a capacity to stimulate rather than satisfy longing, that is to
say, to produce serial pleasure.”
Rampant consumerism continues to eat into our
ever-decreasing pool of scarce resources. This hyper- commercialism has been completely woven into the fabric of the Harry Potter world. Despite the do-good lessons in her
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books, Rowling has done little with her platform to nurture generations mindful of sustainability.
Though Rowling has compassionately distributed wealth to those in need, consumerism clearly has negative effects on children and has written over the original themes of the books. The materialistic culture and corporations continue take advantage of the child consumer, engulfing adoring fans and destroying our environment. With risks that impact the future of humanity, creators must protect their brands and resist the urge of hyper-commercialism.
Where the Magic Leaves Us
The byproducts of Harry Potter are examples of the issues surrounding a completed work that continue growing and expanding past its natural limit. The consumerism and retroactive editing sullied the series, which would have continued to live on in the hearts and minds of fans, without the interjection of new products. Though Harry Potter has undoubtedly taken its place among classics such as The Chronicles of Narnia, I cannot help but wonder how different the life cycle and status of the series would have been without external intervention.
Nonetheless, I’m still grateful that my aunt introduced
Works Cited
“7 Facts About J.K. Rowling’s Charity Work.” BORGEN, 24 Apr. 2019, www. borgenmagazine.com/facts-about-j-k-rowlings-charity-work/.
Erni, John Nguyet. “Enchanted: Harry Potter and Magical Capitalism in Urban China.” Chinese Journal of Communication, vol. 1, no. 2, 2008, pp. 138–155., doi:10.1080/17544750802287828.
Gregory, John. “How Harry Potter Saved Universal Theme Parks.” Orlando Rising, 22 Oct. 2019, orlando-rising.com/how-harry-potter-saved- universal-theme-parks/.
Henry, Zoë. “What You Can Learn From J.K. Rowling’s Magical Social Media Strategy.” Inc.com, Inc., 10 Mar. 2016, www.inc.com/zoe-henry/ jk-rowling-north-american-magic-social-media-strategy.html.
Henthorn, Joe, and Paul Cammack.“Blogging and Tweeting in the Classroom: Exploring How Effective Use of New Media Can Help Teaching and Learning in Primary Schools.” History Studies International Journal of History, vol. 10, no. 7, 2018, pp. 241–264., doi:10.9737/hist.2018.658.
Khomami, Nadia. “JK Rowling’s Ego Akin to Kim Kardashian’s, Says Joanna Trollope.” The Guardian, Guardian News and Media, 5 May 2017, www.theguardian.com/books/2017/may/05/jk-rowling-driven-by- ego-like-kim-kardashian-joanna-trollope.
Ohlheiser, Abby. “Analysis | How J.K. Rowling’s Endless Updates to Harry Potter Became a Meme.” The Washington Post, WP Company, 30 Jan. 2019, www.washingtonpost.com/technology/2019/01/30/how-jk- rowlings-endless-updates-harry-potter-became-meme/.
me to these magical adventures. As they did for me, the books have enchanted and inspired millions of readers around the world. Unfortunately, the aftermath of Harry Potter has greatly impacted the series and serves as a cautionary note for future authors. External influences should be careful not to sully the lessons and magic of books. Regardless of the creators’ personal beliefs, I hope we the readers can interpret and recall the books’ messages and, most importantly, follow in Harry Potter’s courageous steps in our own day-to-day lives.
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Ragsdale, Melissa. “If You Don’t Own These 10 Things, You’re Probably Not a True Harry Potter Fan.” Bustle, Bustle, 1 Sept. 2017, www.bustle. com/p/10-harry-potter-items-every-true-fan-definitely-needs-to- own-78427.
Schwedel, Heather. “J.K. Rowling’s Twitter Feed Is Slowly Ruining Everything I Love About J.K. Rowling.” Slate Magazine, Slate, 23 Mar. 2016, slate.com/culture/2016/03/jk-rowling-s-twitter-feed-is-ruining- everything-i-love-about-jk-rowling.html.
Shamsian, Jacob. “How J.K. Rowling Went from Struggling Single Mom to the World’s Most Successful Author.” Insider, Insider, 31 July 2018, www.insider.com/jk-rowling-harry-potter-author-biography-2017- 7#the-release-of-goblet-of-fire-in-2000-represented-a-huge-jump-in- popularity-12.
Stack, Liam. “J.K. Rowling Criticized After Tweeting Support for Anti- Transgender Researcher.” The New York Times, The New York Times, 19 Dec. 2019, www.nytimes.com/2019/12/19/world/europe/jk- rowling-maya-forstater-transgender.html.
Waetjen, Jarrod, and Timothy A. Gibson. “Harry Potter and the Commodity Fetish: Activating Corporate Readings in the Journey from Text to Commercial Intertext.” Communication and Critical/ Cultural Studies, vol. 4, no. 1, 2007, pp. 3–26., doi:https://doi. org/10.1080/14791420601151289.
Weiss, Alex. “8 Ways JK Rowling Is The Ultimate Role Model.” Bustle, Bustle, 11 June 2016, www.bustle.com/articles/162906-8-reasons-why-jk- rowling-is-the-ultimate-role-model.


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Acknowledgments
Thanks to J. Clare Woods, Ph.D., Director of the Thompson Writing Program, and John Blackshear, Ph.D., Dean of Academic Affairs of Trinity College, for their continuing support of this publication. Appreciation also goes to this year’s Editorial Board, the Thompson Writing Program Staff, the Duke University Libraries, and the students, and faculty of First-Year Writing who provided such a diverse and interesting set of essay submissions this year – and every year. Special thanks to the TWP Writing Studio tutors and Director Eliana Schonberg, who immeasurably enhance the quality of projects produced in First-Year Writing courses.
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Thanks to Van Hillard and Elizabeth Kiss who launched Deliberations in 2000.
Finally, we acknowledge the challenges faced by everyone involved in the publication of the Fall 2020 issue of Deliberations during the COVID-19 pandemic. We thank you for your patience, diligence, and excellent work.
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