The fantasy genre offers escapism from our lives into a different world where you can forget about the real problems surrounding your everyday life.
Children's fantasy are appealing to filmmakers. The authors explore a depth in their stories and characters that give screenwriters rich material to further expand the author's vision—for example, the successful The Hobbit trilogy and Rowling's Harry Potter.

Fantasy remains popular

Imagination is an essential feature in children's fantasy books. Cinematographers and animators have an abundance of artistic ideas to work from. For example, Studio Ghibli built its filmmaking legacy on children's books, such as Howl's Moving Castle and Kiki's Delivery Service, and turned the stories into visual masterpieces.

The visual element of children's fantasy books

Fantasy is a genre that has dominated children’s literature over the years, with JRR Tolkien, JK Rowling and Suzanne Collins spearheading the way in the crossover realm of book to film adaptation. So why is cinema recreating their fantastical lands? And what does the future hold? <figure><picture itemprop="contentUrl"><source srcset="https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=620&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=84ecb4aa1048d89e8fdf358e4d621333 1240w, https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=605&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=d915cdd0e982f640b0508bab48f1cf42 1210w, https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=7f2640a322d4aab899df580626c7fc13 890w" sizes="(min-width: 660px) 620px, 100vw" media="(-webkit-min-device-pixel-ratio: 1.25), (min-resolution: 120dpi)"><source srcset="https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=620&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=2bbc5bdd9f83a1c6573d8dd209f73978 620w, https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=605&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=d19d4c9e2f049c574cd86767a98440fe 605w, https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=445&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=989053881f8f271fa803ca35ce854de7 445w" sizes="(min-width: 660px) 620px, 100vw"><img alt="Hermione" src="https://i.guim.co.uk/img/media/b3217a2c4206ef50f705d1d5910fea254e0d9ea4/0_0_1398_839/master/1398.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=7f2640a322d4aab899df580626c7fc13" height="407" width="678"></picture><figcaption dir="auto">A young Hermione, played by Emma Watson. Photograph: Warner Bros/Sportsphoto Ltd/Allstar</figcaption></figure><div><label for="dateToggle">Sat 27 Feb 2016 14.00 EST</label></div>Last modified on Mon 19 Mar 2018 10.53 EDTThe reason why fantasy remains popular across pop culture is pretty obvious. The genre offers escapism from school or work into a totally different world. Your imagination can be unleashed and your worries surrounding your everyday life can be forgotten. No matter what age you are, fantasy is something that can be discovered and rediscovered over generations. As the readers and the genre grow, new niches are being created; from hobbits and elves, witches and wizards. <figure><img src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/7/15/1405431293740/Malorie-Blackman-and-Mega-012.jpg?width=460&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=e549b6911ad9cb209fceec024dd2a6d9" alt="Malorie Blackman and Megan Quibell" width="140" height="84"><figcaption dir="auto">How fantasy stopped me from going insane!
Read more</figcaption></figure>There are a number of reasons why children’s fantasy is so appealing to filmmakers. The depth that children’s authors explore within their stories and characters gives any screenwriter and director a rich plethora of material to elaborate on. The recent success of Peter Jackson’s The Hobbit trilogy is just one example. Adapted from Tolkien’s standalone novel, Jackson’s three part series demonstrates how much a filmmaker can extract from a single book, turning a three hundred page book into nearly eight hours of screen time. <figure><picture itemprop="contentUrl"><source srcset="https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=620&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=73f4bd6cc9d418c0017a77d7df2941c5 1240w, https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=605&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=243a7dcdfa877460c2fe3ea5d8af4a08 1210w, https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=b5e2f92b8bdd61f16b6ef43ca450fff0 890w" sizes="(min-width: 660px) 620px, 100vw" media="(-webkit-min-device-pixel-ratio: 1.25), (min-resolution: 120dpi)"><source srcset="https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=620&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=428dfaaba20f8fc797b8fa4c995cd1af 620w, https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=605&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=4075879a2e12171a3182c8e85d5f7e57 605w, https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=445&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=f45cd2f1e74e4f202676b1ed9612bd61 445w" sizes="(min-width: 660px) 620px, 100vw"><img alt="Martin Freeman as Bilbo Baggins" src="https://i.guim.co.uk/img/media/5ca8ec93adcfe18dc4a4b63398407be004890eee/0_149_3504_2103/master/3504.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=b5e2f92b8bdd61f16b6ef43ca450fff0" height="359" width="598"></picture><figcaption dir="auto">Martin Freeman as Bilbo Baggins in The Hobbit: The Desolation of Smaug, directed by Peter Jackson. Photograph: Allstar/NEW LINE CINEMA/Sportsphoto Ltd</figcaption></figure>Of course Rowling’s wizarding world of Harry Potter acts as a model example of how filmmakers continue to expand an author’s vision. With the upcoming <a href="https://bookshop.theguardian.com/fantastic-beasts-and-where-to-find-them.html" data-link-name="in body link" dir="ltr">Fantastic Beasts and Where to Find Them</a>, directed by David Yates, being released in November 2016, it shows there are endless stories yet to be uncovered from Rowling’s world. <figure><img src="https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2015/3/23/1427101221264/a401f1e4-b9b9-4a69-961b-cc72fe4c0d0e-1020x612.jpeg?width=460&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=11a55151fb135e46b932ed7475b19c8b" alt="Kaguya" width="140" height="84"><figcaption dir="auto">Which children's books need to adapted by Studio Ghibli?
Read more</figcaption></figure>Another reason why children’s fantasy remains popular is related to a visual element. Imagination is the most important feature in children’s fantasy books, meaning there is an abundance of aesthetic springboards for cinematographers, animators and visual departments to work from. Studio Ghibli have built their acclaimed filmmaking legacy on children’s books. From the wonderfully British Diana Wynne Jones’ novel <a href="https://bookshop.theguardian.com/howl-s-moving-castle.html" data-link-name="in body link" dir="ltr">Howl’s Moving Castle</a>, to Japanese author Eiko Kadono’s picture-book Kiki’s Delivery Service, Ghibli have adapted a variety of children’s stories into academy award winning visual masterpieces. <figure><img src="https://i.guim.co.uk/img/media/35466134dbee6a14169200a6ff446bd4f452bef4/0_132_7020_4212/master/7020.jpg?width=460&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=8acf1464bcf86781bc58fc10a4d2e19e" alt="Gandalf" width="140" height="84"><figcaption dir="auto">The best fantasy quotes in children's and teen books
Read more</figcaption></figure>Looking into 2016, more children’s fantasy stories are set to flourish in cinema. Steven Spielberg is tackling Roald Dahl’s beloved story <a href="https://bookshop.theguardian.com/bfg-9.html" data-link-name="in body link" dir="ltr">The BFG</a>. First published in 1982 and illustrated by Quentin Blake, The BFG has already had an animated adaptation released in 1989. However, Spielberg’s version is set to be a CGI adventure, totally transforming Blake’s previous illustrations. <figure><picture itemprop="contentUrl"><source srcset="https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=620&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=aabcef6da83f5f52e06d1a8b4b4a5c37 1240w, https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=605&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=7d780acec78a20e48d6d56c0a6b84cf7 1210w, https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=b94051a6749b7dcc9e83e3bac4be6da6 890w" sizes="(min-width: 660px) 620px, 100vw" media="(-webkit-min-device-pixel-ratio: 1.25), (min-resolution: 120dpi)"><source srcset="https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=620&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=b4eb35664e625d607686123f69f62a20 620w, https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=605&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=173876dde306ba067a0f9a1e367044d7 605w, https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=445&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=0fa1f5c8c144dc43d698bcb83ba9f340 445w" sizes="(min-width: 660px) 620px, 100vw"><img alt="The BFG (1989) dir. Brian Cosgrove" src="https://i.guim.co.uk/img/media/13c685cc6808689aee425124b93c11bb4437f883/0_575_3976_2387/master/3976.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=b94051a6749b7dcc9e83e3bac4be6da6" height="359" width="598"></picture><figcaption dir="auto">Here’s a still from Brian Cosgrove’s version of Roald Dahl’s The BFG, made in 1989. Photograph: Rex Feature/FremantleMedia Ltd</figcaption></figure>Even more recent children’s fantasy books from the decade are being created into films. With Patrick Ness’ <a href="https://bookshop.theguardian.com/monster-calls.html" data-link-name="in body link" dir="ltr">A Monster Calls</a>, starring Felicity Jones and Liam Neeson, looking to be released this year. It seems these adaptations aren’t going to slow down anytime soon. And for this we rejoice (but do read the book first). Are there any children’s fantasy books you want to see as a film? Share your ideas with us on Twitter @GdnChildrensBks or by email childrens.books@theguardian.com and we’ll add them here. The Guardian children’s books site is celebrating fantasy books all this weekend so keep a look out, and join us for a live Twitter chat on Sunday 28 Feb 5-6pm using <a href="https://twitter.com/search?q=%23gdnteenfantasy" data-link-name="in body link" dir="ltr">#gdnteenfantasy</a> when we’ll be discussing all things fantasy with Samantha Shannon <a href="https://twitter.com/say_shannon/" data-link-name="in body link" dir="ltr">@say_shannon</a>, Alwyn Hamilton <a href="https://twitter.com/AlwynFJH/" data-link-name="in body link" dir="ltr">@AlwynFJH</a>, Zoe Marriott <a href="https://twitter.com/ZMarriott/" data-link-name="in body link" dir="ltr">@ZMarriott</a>, Lucy Saxon <a href="https://twitter.com/Lucy_Saxon/" data-link-name="in body link" dir="ltr">@Lucy_Saxon</a>, Sally Green <a href="https://twitter.com/Sa11eGreen/" data-link-name="in body link" dir="ltr">@Sa11eGreen</a>, Taran Matharu<a href="https://twitter.com/TaranMatharu1/" data-link-name="in body link" dir="ltr">@TaranMatharu1</a> and Victoria Aveyard <a href="https://twitter.com/VictoriaAveyard" data-link-name="in body link" dir="ltr">@VictoriaAveyard</a>.Alistair, via emailHow about The Battle for Castle Cockatrice (a.k.a. The Talking Parcel) by Gerald Durrell? It was made into a fabulous opera for children in Prague a few years ago.<div class="embed-placeholder" data-type="twitter" data-id="703854716967489537"></div>… we have a small favour to ask. Tens of millions have placed their trust in the Guardian’s high-impact journalism since we started publishing 200 years ago, turning to us in moments of crisis, uncertainty, solidarity and hope. More than 1.5 million readers, from 180 countries, have recently taken the step to support us financially – keeping us open to all, and fiercely independent.With no shareholders or billionaire owner, we can set our own agenda and provide trustworthy journalism that’s free from commercial and political influence, offering a counterweight to the spread of misinformation. When it’s never mattered more, we can investigate and challenge without fear or favour. Unlike many others, Guardian journalism is available for everyone to read, regardless of what they can afford to pay. We do this because we believe in information equality. Greater numbers of people can keep track of global events, understand their impact on people and communities, and become inspired to take meaningful action. We aim to offer readers a comprehensive, international perspective on critical events shaping our world – from the Black Lives Matter movement, to the new American administration, Brexit, and the world's slow emergence from a global pandemic. We are committed to upholding our reputation for urgent, powerful reporting on the climate emergency, and made the decision to reject advertising from fossil fuel companies, divest from the oil and gas industries, and set a course to achieve net zero emissions by 2030.If there were ever a time to join us, it is now. Every contribution, however big or small, powers our journalism and sustains our future. Support the Guardian from as little as $1 – and it only takes a minute. Thank you.

Fantasy is a genre that has dominated children’s literature over the years, with JRR Tolkien, JK Rowling and Suzanne Collins spearheading the way in the crossover realm of book to film adaptation. So why is cinema recreating their fantastical lands? And what does the future hold?

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Fantasy is a genre that has dominated children’s literature over the years, with JRR Tolkien, JK Rowling and Suzanne Collins spearheading the way in the crossover realm of book to film adaptation. So why is cinema recreating their fantastical lands? And what does the future hold?

Last modified on Mon 19 Mar 2018 10.53 EDT

The reason why fantasy remains popular across pop culture is pretty obvious. The genre offers escapism from school or work into a totally different world. Your imagination can be unleashed and your worries surrounding your everyday life can be forgotten. No matter what age you are, fantasy is something that can be discovered and rediscovered over generations. As the readers and the genre grow, new niches are being created; from hobbits and elves, witches and wizards.

There are a number of reasons why children’s fantasy is so appealing to filmmakers. The depth that children’s authors explore within their stories and characters gives any screenwriter and director a rich plethora of material to elaborate on. The recent success of Peter Jackson’s The Hobbit trilogy is just one example. Adapted from Tolkien’s standalone novel, Jackson’s three part series demonstrates how much a filmmaker can extract from a single book, turning a three hundred page book into nearly eight hours of screen time.

Of course Rowling’s wizarding world of Harry Potter acts as a model example of how filmmakers continue to expand an author’s vision. With the upcoming <a data-link-name="in body link" dir="ltr" href="https://bookshop.theguardian.com/fantastic-beasts-and-where-to-find-them.html">Fantastic Beasts and Where to Find Them </a>, directed by David Yates, being released in November 2016, it shows there are endless stories yet to be uncovered from Rowling’s world.

Another reason why children’s fantasy remains popular is related to a visual element. Imagination is the most important feature in children’s fantasy books, meaning there is an abundance of aesthetic springboards for cinematographers, animators and visual departments to work from.

Studio Ghibli have built their acclaimed filmmaking legacy on children’s books. From the wonderfully British Diana Wynne Jones’ novel <a data-link-name="in body link" dir="ltr" href="https://bookshop.theguardian.com/howl-s-moving-castle.html">Howl’s Moving Castle </a>, to Japanese author Eiko Kadono’s picture-book Kiki’s Delivery Service, Ghibli have adapted a variety of children’s stories into academy award winning visual masterpieces.

Looking into 2016, more children’s fantasy stories are set to flourish in cinema. Steven Spielberg is tackling Roald Dahl’s beloved story <a data-link-name="in body link" dir="ltr" href="https://bookshop.theguardian.com/bfg-9.html">The BFG </a>. First published in 1982 and illustrated by Quentin Blake, The BFG has already had an animated adaptation released in 1989. However, Spielberg’s version is set to be a CGI adventure, totally transforming Blake’s previous illustrations.

Even more recent children’s fantasy books from the decade are being created into films. With Patrick Ness’ <a data-link-name="in body link" dir="ltr" href="https://bookshop.theguardian.com/monster-calls.html">A Monster Calls </a>, starring Felicity Jones and Liam Neeson, looking to be released this year. It seems these adaptations aren’t going to slow down anytime soon. And for this we rejoice (but do read the book first).

Are there any children’s fantasy books you want to see as a film? Share your ideas with us on Twitter @GdnChildrensBks or by email childrens.books@theguardian.com and we’ll add them here.

The Guardian children’s books site is celebrating fantasy books all this weekend so keep a look out, and join us for a live Twitter chat on Sunday 28 Feb 5-6pm using <a data-link-name="in body link" dir="ltr" href="https://twitter.com/search?q=%23gdnteenfantasy">#gdnteenfantasy </a>when we’ll be discussing all things fantasy with Samantha Shannon <a data-link-name="in body link" dir="ltr" href="https://twitter.com/say_shannon/">@say_shannon </a>, Alwyn Hamilton <a data-link-name="in body link" dir="ltr" href="https://twitter.com/AlwynFJH/">@AlwynFJH </a>, Zoe Marriott <a data-link-name="in body link" dir="ltr" href="https://twitter.com/ZMarriott/">@ZMarriott </a>, Lucy Saxon <a data-link-name="in body link" dir="ltr" href="https://twitter.com/Lucy_Saxon/">@Lucy_Saxon </a>, Sally Green <a data-link-name="in body link" dir="ltr" href="https://twitter.com/Sa11eGreen/">@Sa11eGreen </a>, Taran Matharu<a data-link-name="in body link" dir="ltr" href="https://twitter.com/TaranMatharu1/">@TaranMatharu1 </a>and Victoria Aveyard <a data-link-name="in body link" dir="ltr" href="https://twitter.com/VictoriaAveyard">@VictoriaAveyard </a>.

Alistair, via email

How about The Battle for Castle Cockatrice (a.k.a. The Talking Parcel) by Gerald Durrell? It was made into a fabulous opera for children in Prague a few years ago.

… we have a small favour to ask. Tens of millions have placed their trust in the Guardian’s high-impact journalism since we started publishing 200 years ago, turning to us in moments of crisis, uncertainty, solidarity and hope. More than 1.5 million readers, from 180 countries, have recently taken the step to support us financially – keeping us open to all, and fiercely independent.

With no shareholders or billionaire owner, we can set our own agenda and provide trustworthy journalism that’s free from commercial and political influence, offering a counterweight to the spread of misinformation. When it’s never mattered more, we can investigate and challenge without fear or favour.

Unlike many others, Guardian journalism is available for everyone to read, regardless of what they can afford to pay. We do this because we believe in information equality. Greater numbers of people can keep track of global events, understand their impact on people and communities, and become inspired to take meaningful action.

We aim to offer readers a comprehensive, international perspective on critical events shaping our world – from the Black Lives Matter movement, to the new American administration, Brexit, and the world's slow emergence from a global pandemic. We are committed to upholding our reputation for urgent, powerful reporting on the climate emergency, and made the decision to reject advertising from fossil fuel companies, divest from the oil and gas industries, and set a course to achieve net zero emissions by 2030.

If there were ever a time to join us, it is now. Every contribution, however big or small, powers our journalism and sustains our future. Support the Guardian from as little as $1 – and it only takes a minute. Thank you.

Why are so many children's fantasy books adapted as films?

Fantasy remains popular

The visual element of children's fantasy books

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