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of Harry’s wand. Even in some of the darker movies, we are still granted a select few bright and colorful scenes (such as Fred and George’s dramatic flight from Hogwarts and plans to start their joke shop) that both remind us of happy moments from the past and fill us with hope that this darkness can be vanquished by the light someday. This conflict between light and dark is supplemented by the application of colors within the franchise, revealing the intricate series of interactions and patterns crafted between even the most minute details that make the world feel lived-in. CONCLUSION One could speculate almost endlessly about the meaning and connection color has with various elements of the Harry Potter franchise. Unfortunately, there is little more available to us than just that: speculation. Though Rowling has spoken about her intentions regarding the roles certain colors play in the series, there is still a great deal she has left unsaid. The lines between what was and was not purposeful are difficult to discern: we do not know just how many of these patterns and symbols were intentional and how much could have simply been pulled from Western culture. As Rowling is someone who would have grown up within a space rich with Western color symbolism, it is plausible that she could have applied them to her own work either subconsciously or otherwise. Simply put, we cannot claim to know that she was entirely aware of these connections unless we have been told just that, and the same applies to those involved with the films and additional material. Some of these could very well be aesthetic choices made with no rhyme or reason to them. All of that being said, this does not devalue any analysis we could make about color archetypes within the series. By saying so little, the creators who contributed to the franchise provide fans of the books, films, and additional content with a valuable opportunity: the chance to identify the kaleidoscopic array of color archetypes ourselves. The absence of confirmation via the author does not equal a lack of content or symbolism. Instead, it demonstrates that–like the existence of the Wizarding World itself– there is a vast assortment of material both in Harry Potter and within the larger realm of fiction available for us to discover, question, and analyze on our own. All we need is a little magic and a push in the right direction. Lauren Sieberg
WORKS CITED Delahoyde, Michael. “Archetypal Criticism.” Introduction to Literature, Washington State University, 6 Jan. 2011, https://public.wsu.edu/~delahoyd/archetypal.crit.html.
Fantastic Beasts and Where to Find Them. Directed by David Yates, Warner Bros., 2016. --- The Crimes of Grindelwald. Directed by David Yates, Warner Bros., 2018.
Harry Potter and the Chamber of Secrets. Directed by Chris Columbus, Warner Bros., 2002. Harry Potter and the Deathly Hallows – Part 1. Directed by David Yates, Warner Bros., 2010. Harry Potter and the Deathly Hallows – Part 2. Directed by David Yates, Warner Bros., 2011. Harry Potter and the Goblet of Fire. Directed by Mike Newell, Warner Bros., 2005.