In preparation to project three I have found my four sources that are going to inform my audience in an entertaining way, one being visual, another being a song and the third being a piece of art work. I also have an interview set up but just need the technology to record it. I have nearly collected everything that I need for my presentation and now all that really remains is to just organize all of my information in an appealing way in order to really catch my audiences attention but also inform them as well.
For my presentation I plan to display my information as a large visual display, I plan tp have information on the 4 modes as well as the pictures and also a cockney dialogue with an American comparison.
Friday, November 21, 2008
Monday, November 17, 2008
Annotated Bibliography pgs 293-312
Vogler, Christopher, and Michele Montez. "The Archtypes." The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007 Pages 293 – 312
Summary;
In reflection to this reading I found some very interesting sections and the theories that Vogler talked about made a lot of sense to me, however there were also a few comparisons that I thought were slightly extreme. As we are at the stage of the reading where we are no longer looking at the stages of the hero’s journey but more the comparisons of this theory and its application to classic stories I feel it is harder to focus on the summery stage and more the reaction stage, therefore I am going to focus more on that section this week. The story that Vogler chose to reflect was Rumplestiltskin, and it was a story that raised many points of deliberation.
Reaction;
I was first intrigued by the section that talked about a stories survival value for the human species and how allowing us to think metaphorically was a big step in human evolution as we were able to accumulate wisdom. This is something I have never thought about before and certainly makes sense. I would never have related our initial stages as a creation to story, but when thought about it makes total sense. Without story and the understanding of the values and meaning of a story, people would not have been able to translate there thoughts and therefore never develop to the level we have.
The next section that I was intrigued by was that of the viewer’s relation to the character, and how we compare a character and a story to our own lives and also evaluate the way we live by our reflection and views of a specific story. This led me to compare films to my own life and it is true often ill idolize someone in a film and want to change in some way to act as heroically as they did, its like you take a piece of the character out of the cinema or book with you.
Overall the section led me to think about how much of an effect different characters and stories have had on me, and how I have taken millions of things with me and every time I leave the cinema I have learned something new.
Questions
1. Do you compare your own lives to those of characters? Who and how?
2. Is willing a more responsible thought than wishing?
3. I a film don’t fulfill your wishes as a viewer do you leave unfulfilled?
Summary;
In reflection to this reading I found some very interesting sections and the theories that Vogler talked about made a lot of sense to me, however there were also a few comparisons that I thought were slightly extreme. As we are at the stage of the reading where we are no longer looking at the stages of the hero’s journey but more the comparisons of this theory and its application to classic stories I feel it is harder to focus on the summery stage and more the reaction stage, therefore I am going to focus more on that section this week. The story that Vogler chose to reflect was Rumplestiltskin, and it was a story that raised many points of deliberation.
Reaction;
I was first intrigued by the section that talked about a stories survival value for the human species and how allowing us to think metaphorically was a big step in human evolution as we were able to accumulate wisdom. This is something I have never thought about before and certainly makes sense. I would never have related our initial stages as a creation to story, but when thought about it makes total sense. Without story and the understanding of the values and meaning of a story, people would not have been able to translate there thoughts and therefore never develop to the level we have.
The next section that I was intrigued by was that of the viewer’s relation to the character, and how we compare a character and a story to our own lives and also evaluate the way we live by our reflection and views of a specific story. This led me to compare films to my own life and it is true often ill idolize someone in a film and want to change in some way to act as heroically as they did, its like you take a piece of the character out of the cinema or book with you.
Overall the section led me to think about how much of an effect different characters and stories have had on me, and how I have taken millions of things with me and every time I leave the cinema I have learned something new.
Questions
1. Do you compare your own lives to those of characters? Who and how?
2. Is willing a more responsible thought than wishing?
3. I a film don’t fulfill your wishes as a viewer do you leave unfulfilled?
Monday, November 10, 2008
Four Modes – Teaching The Visual
Video;
Austin Powers -." English ENGLISH. Youtube. 10 Nov. 2008.
My choice of Video is from the film Austin Powers – Goldmember. It focuses on the scene in which Austin has a conversation with his dad and in order to prevent the ladies they are with from understanding them they use cockney rhyming slang. Whilst providing a comical introduction to the language and dialogue, it is a very accurate representation of what the language is really like. Also providing subtitles for the new listener.
Image;
"St Mary-le-Bow Church." Www.Londonrum.com. 10 Nov. 2008.
For my image I decided to show a painting of the Church built by Sir Christopher Wren, famously known as St Mary-Le-Bow Church. The reason for me choosing this is it is a classic picture of a main street in Cockney London, and is also the birth place of the “cockney”. The tradition is that anyone born within the sound of the bells of the church is a true cockney.
Song;
"Maybe its because im a Londoner." You Tube. 10 Nov. 2008
The featured song “Maybe its because I’m a Londoner” is an original Knees up song. Knees ups as they are known in cockney London are celebrations in pubs whilst singing and dancing to these songs being played on the piano. Another famous cockney knees up song is “Knees up Mother Brown”. The knees up will always be associated with cockney living and the common happy go lucky attitude, which is noticeable in a cockney community.
Austin Powers -." English ENGLISH. Youtube. 10 Nov. 2008
My choice of Video is from the film Austin Powers – Goldmember. It focuses on the scene in which Austin has a conversation with his dad and in order to prevent the ladies they are with from understanding them they use cockney rhyming slang. Whilst providing a comical introduction to the language and dialogue, it is a very accurate representation of what the language is really like. Also providing subtitles for the new listener.
Image;
"St Mary-le-Bow Church." Www.Londonrum.com. 10 Nov. 2008
For my image I decided to show a painting of the Church built by Sir Christopher Wren, famously known as St Mary-Le-Bow Church. The reason for me choosing this is it is a classic picture of a main street in Cockney London, and is also the birth place of the “cockney”. The tradition is that anyone born within the sound of the bells of the church is a true cockney.
Song;
"Maybe its because im a Londoner." You Tube. 10 Nov. 2008
The featured song “Maybe its because I’m a Londoner” is an original Knees up song. Knees ups as they are known in cockney London are celebrations in pubs whilst singing and dancing to these songs being played on the piano. Another famous cockney knees up song is “Knees up Mother Brown”. The knees up will always be associated with cockney living and the common happy go lucky attitude, which is noticeable in a cockney community.
Tuesday, November 4, 2008
Annotated Bibliography Pages 197-228
Vogler, Christopher, and Michele Montez. "The Archtypes." The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007 Pages 197-228
Summery
We first look at stage eleven; The Resurrection, during this weeks reading. This is the final climax to the story, and the most dangerous meeting with death. This stage is necessary in order to create the final peak within the story and is also the defining moment in which we see a change, by way of action, within our hero. The key to the resurrection is that the hero must shed his existing self to re enter the ordinary world, just like they did originally to enter the special world. The reason for this is that there actions within the special world are not sufficient for life back in the ordinary world. Therefore they have to evolve taking what they have learned with them but acting in a manner sufficient for the normal world.
The second section looked at was Stage Twelve; Returning with Elixir. The true hero after the resurrection returns home with Elixir, this is something from the special world that is going to help others within the normal world. It may be a piece of knowledge or a cure to a disease, but it is certainly beneficial. Failure to return with Elixir shows us that the hero’s journey has not been complete.
Reaction;
I was particularly intrigued by the section within stage twelve that talks about the differences in ending and how they are preferred around the world. The book explains that there are two story forms one that shows clear closure and a sense of completion, this is preferred by the American Culture. The other ending is one that leaves unanswered questions and is not so neatly sewn together; this is preferred in Chinese Australian and European cultures. This made me wonder as to why different cultures may prefer different endings and led me thinking to my self about which type of ending I prefer. Another thing I was interested in was thinking about what forms the Elixir actually takes. I thought the most common one was love. We often see that love is the closing moment in many films that have all been about different things. For example the closing kiss as the cowboy re-enters the town or as the soccer player celebrates scoring the winning goal.
Questions;
Do you agree/disagree that love is the most common Elixir?
What do you prefer well rounded closed end or ones still slightly untied?
Can you think of any interesting examples as to when a hero has entered the ordinary world with a different Elixir?
Summery
We first look at stage eleven; The Resurrection, during this weeks reading. This is the final climax to the story, and the most dangerous meeting with death. This stage is necessary in order to create the final peak within the story and is also the defining moment in which we see a change, by way of action, within our hero. The key to the resurrection is that the hero must shed his existing self to re enter the ordinary world, just like they did originally to enter the special world. The reason for this is that there actions within the special world are not sufficient for life back in the ordinary world. Therefore they have to evolve taking what they have learned with them but acting in a manner sufficient for the normal world.
The second section looked at was Stage Twelve; Returning with Elixir. The true hero after the resurrection returns home with Elixir, this is something from the special world that is going to help others within the normal world. It may be a piece of knowledge or a cure to a disease, but it is certainly beneficial. Failure to return with Elixir shows us that the hero’s journey has not been complete.
Reaction;
I was particularly intrigued by the section within stage twelve that talks about the differences in ending and how they are preferred around the world. The book explains that there are two story forms one that shows clear closure and a sense of completion, this is preferred by the American Culture. The other ending is one that leaves unanswered questions and is not so neatly sewn together; this is preferred in Chinese Australian and European cultures. This made me wonder as to why different cultures may prefer different endings and led me thinking to my self about which type of ending I prefer. Another thing I was interested in was thinking about what forms the Elixir actually takes. I thought the most common one was love. We often see that love is the closing moment in many films that have all been about different things. For example the closing kiss as the cowboy re-enters the town or as the soccer player celebrates scoring the winning goal.
Questions;
Do you agree/disagree that love is the most common Elixir?
What do you prefer well rounded closed end or ones still slightly untied?
Can you think of any interesting examples as to when a hero has entered the ordinary world with a different Elixir?
Wednesday, October 29, 2008
Annotated Bibliography - Pages 175-195
Vogler, Christopher, and Michele Montez. "The Archtypes." The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007 Pages 175-194.
Summery;
The subject of this week’s assigned bibliography focuses on the two stages after the ordeal. The first being the reward, as we are aware our hero has over come the ordeal and defeated its biggest rival. It is significant in defeating the enemy and overcoming the ordeal, that there comes a reward. This point of the story is where we as the viewer realise, along with the hero, the value of death. It is a moment within the story that is savoured and treasured.
After the reward we are followed by the road back, the reward has at this point been gained and therefore the desired outcome envisioned when entering the special world has been achieved. This means that the hero needs to make a decision as to whether they are going to leave the special world or stay? There may be another reason or goal wanting to be achieved in the special world, but if there isn’t then it is time to leave and go back to there old life with there new reward.
Reaction;
I was intrigued at the thought of the tempo of the story. The section mentions how as a viewer we should notice a slow down in tempo, when the hero is collecting there reward. As this is a moment to really savour and take in. The hero has dreamed and wondered how this moment will feel for a large section of the story by now and so it is now time to slow down and really take it all in. I like to think of this section as the calm sunset after a massive storm.
The road back is the time within the story that the tempo has to be picked back up again, often because the hero is of to another ordeal or maybe just returning home, but either way the reward has been collected and so there is no longer a need to absorb what has happened but in fact the story needs to get going again and this is the time for that to happen. I found this really interesting to think about as it is true in nearly all films, It really does create a predictability within the tempo of stories that helps the viewer relate.
Questions;
1. Can you think of any films that the hero collects multiple rewards and continues on in the special world without ever leaving?
2. Do you think it is easy or hard for the hero to leave the special world?
3. Can you think of any stories where the hero doesn’t get a reward?
Summery;
The subject of this week’s assigned bibliography focuses on the two stages after the ordeal. The first being the reward, as we are aware our hero has over come the ordeal and defeated its biggest rival. It is significant in defeating the enemy and overcoming the ordeal, that there comes a reward. This point of the story is where we as the viewer realise, along with the hero, the value of death. It is a moment within the story that is savoured and treasured.
After the reward we are followed by the road back, the reward has at this point been gained and therefore the desired outcome envisioned when entering the special world has been achieved. This means that the hero needs to make a decision as to whether they are going to leave the special world or stay? There may be another reason or goal wanting to be achieved in the special world, but if there isn’t then it is time to leave and go back to there old life with there new reward.
Reaction;
I was intrigued at the thought of the tempo of the story. The section mentions how as a viewer we should notice a slow down in tempo, when the hero is collecting there reward. As this is a moment to really savour and take in. The hero has dreamed and wondered how this moment will feel for a large section of the story by now and so it is now time to slow down and really take it all in. I like to think of this section as the calm sunset after a massive storm.
The road back is the time within the story that the tempo has to be picked back up again, often because the hero is of to another ordeal or maybe just returning home, but either way the reward has been collected and so there is no longer a need to absorb what has happened but in fact the story needs to get going again and this is the time for that to happen. I found this really interesting to think about as it is true in nearly all films, It really does create a predictability within the tempo of stories that helps the viewer relate.
Questions;
1. Can you think of any films that the hero collects multiple rewards and continues on in the special world without ever leaving?
2. Do you think it is easy or hard for the hero to leave the special world?
3. Can you think of any stories where the hero doesn’t get a reward?
Annotated Bibliography Pages 23-47
Vogler, Christopher, and Michele Montez. "The Archtypes." The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 23-47.
Summery;
For this weeks reading we read the section of the book entitled “The Archetypes”. Basically what the archetype is is a tool for understanding the purpose of function of the characters within the story. The Book then tells us about the role of archetypes within the hero. This does mean that the archetype has to be one specific character but can in fact take many different roles as “The Hero”, such as; Higher Self Shape Shifter, Threshold Guardian, Trickster, Shadow, Herald, Allies and Mentor.
The section then goes on to talk about the hero and the things we should expect to see within a hero, such as; Growth, Action, Sacrifice and Character Flaws. Whilst also explaining that there are several types of Hero, such as group orientated, loner and catalyst Hero’s. The part of this section is similar to that of the hero but focuses on the mentor and the perception of the Archetypes within the mentor as opposed to the hero. We are also informed of different types of mentor, such as; Dark, Fallen, Continuing, Multiple, and Comic Mentors.
Reaction;
At first I found it quite hard to understand what was meant by the definition of “The Archetypes”. However after reading the first section over again and then witnessing how it could be applied to both the mentor and the hero, I could visualise more clearly what was being explained.
This section of the book gave me a valuable insight as to the different variations and appearances a single character can embody. Leading to me thinking about my own story and how I was going to bring out the specific characteristics that are looked for within a role. It also showed me that there is far more flexibility to a character type than I had first imagined.
Questions;
Based on the definition in the book which mentor types have you witnessed within your life? and personal contact with?
Which mentor type have you been yourself?
Have you ever had anyone describe you as a hero and why?
Summery;
For this weeks reading we read the section of the book entitled “The Archetypes”. Basically what the archetype is is a tool for understanding the purpose of function of the characters within the story. The Book then tells us about the role of archetypes within the hero. This does mean that the archetype has to be one specific character but can in fact take many different roles as “The Hero”, such as; Higher Self Shape Shifter, Threshold Guardian, Trickster, Shadow, Herald, Allies and Mentor.
The section then goes on to talk about the hero and the things we should expect to see within a hero, such as; Growth, Action, Sacrifice and Character Flaws. Whilst also explaining that there are several types of Hero, such as group orientated, loner and catalyst Hero’s. The part of this section is similar to that of the hero but focuses on the mentor and the perception of the Archetypes within the mentor as opposed to the hero. We are also informed of different types of mentor, such as; Dark, Fallen, Continuing, Multiple, and Comic Mentors.
Reaction;
At first I found it quite hard to understand what was meant by the definition of “The Archetypes”. However after reading the first section over again and then witnessing how it could be applied to both the mentor and the hero, I could visualise more clearly what was being explained.
This section of the book gave me a valuable insight as to the different variations and appearances a single character can embody. Leading to me thinking about my own story and how I was going to bring out the specific characteristics that are looked for within a role. It also showed me that there is far more flexibility to a character type than I had first imagined.
Questions;
Based on the definition in the book which mentor types have you witnessed within your life? and personal contact with?
Which mentor type have you been yourself?
Have you ever had anyone describe you as a hero and why?
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