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?
Annotated Bibliography pages 3-20
Vogler, Christopher. "Maping the Journey - A Practical Guide." The Writer's Journey : Mythic Structure for Writers. By Christopher Vogler and Michele Montez. Boston: Michael Wiese Productions, 2007. 3-20.
“Mapping the Journey”, was the first section to this book other than the introduction in which we as the reader are informed as to the structure of a story. It provides us with a processed structure in which almost any story can fit. Further more the section provides many examples from various films which vary hugely, yet when explained within the framework of the story telling guidelines we see that these films that seem so different to the naked eye easily correlate.
The structure that the chapter talks about is 12 stages to the story. When linked together create a knock on effect in which one stage leads the story to the next, creating a flow to the movie that is intentional. We are provide with a layout within the book that clearly shows the order of events and also explain each section with intense detail.
As I read the chapter I did indeed agree with what I was reading, it is true that most of the films I could think of do follow this structure to some degree, although they sometimes repeat certain sections and miss others out. For example love actually, is a film that tells many small stories that eventually correlate in order to come together to make one big story. But all of the small stories are key examples of this structure, and the fact that they all come together at the end just adds to the entertainment.
As for the read itself, at first I found it hard to understand which scenes of specific movies would fit in to which sections of the plans, but as the chapter moved on my understanding increased and found that I gained a fuller understand as to what was being said. The layout was defiantly approachable and made for an intriguing read.
Questions
Is there any examples you can think of that do not fit this model?
Can you relate this model to a period within your life, if so when and how?
The chapter talks about the evolving charecter of the modern day hero, who do you look at as a hero within today’s culture?
“Mapping the Journey”, was the first section to this book other than the introduction in which we as the reader are informed as to the structure of a story. It provides us with a processed structure in which almost any story can fit. Further more the section provides many examples from various films which vary hugely, yet when explained within the framework of the story telling guidelines we see that these films that seem so different to the naked eye easily correlate.
The structure that the chapter talks about is 12 stages to the story. When linked together create a knock on effect in which one stage leads the story to the next, creating a flow to the movie that is intentional. We are provide with a layout within the book that clearly shows the order of events and also explain each section with intense detail.
As I read the chapter I did indeed agree with what I was reading, it is true that most of the films I could think of do follow this structure to some degree, although they sometimes repeat certain sections and miss others out. For example love actually, is a film that tells many small stories that eventually correlate in order to come together to make one big story. But all of the small stories are key examples of this structure, and the fact that they all come together at the end just adds to the entertainment.
As for the read itself, at first I found it hard to understand which scenes of specific movies would fit in to which sections of the plans, but as the chapter moved on my understanding increased and found that I gained a fuller understand as to what was being said. The layout was defiantly approachable and made for an intriguing read.
Questions
Is there any examples you can think of that do not fit this model?
Can you relate this model to a period within your life, if so when and how?
The chapter talks about the evolving charecter of the modern day hero, who do you look at as a hero within today’s culture?
Monday, October 20, 2008
Annotation Pg 143- 173
Annotation;
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 143-73.
Summery;
Due to the extent of my engagement in the book I was unaware that I included the first section; The Approach to the Inmost Cave, of this weeks reading in my Bibliography last week. Therefore I am going to focus this week’s bibliography on the second section of the assigned reading. This section looks at The Ordeal. Although this section is not the climax to the story it is often the heart of one and is the first time we see our hero face their biggest test yet. This is usually around two thirds of the way through the story and is best described as the crisis not the climax.
Reaction;
In reaction to this section I was extremely intrigued by the death and rebirth section. The secret of the section is that the hero must die so that they can be reborn. This creates a dramatic movement that draws the viewer to both the suspense of the situation and the phenomena of the rebirth. The thing that interested me the most about this section was that it was compared to how we as humans feel our greatest understanding of life when performing near death experiences and we often pay for these. Some of these experiences would include sky diving or bungee jumping, during a story the death and rebirth provides a similar response of emotions and gives the viewer a similar thrill. Further more this experience of death helps the viewer identify with the hero.
Another section that I also found interesting was that villains are heroes of there own stories and the fact that they don’t perceive themselves as what they are doing is wrong means that they are seen by people with the same view point as heroes. This is well defined in the book by the heroes darkness is brightness for the shadow, the arcs of their stories are mirror images.
Overall, this chapter has provided me with some interesting concepts to think about within my own writing and clearly explains one if the most important points of a story.
Questions;
Do you agree with increased understanding of life associated with extreme sports, and actions?
Can you think of any villains that you have viewed as heroes?
Are we as humans draw closer to a character by a near death experience?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 143-73.
Summery;
Due to the extent of my engagement in the book I was unaware that I included the first section; The Approach to the Inmost Cave, of this weeks reading in my Bibliography last week. Therefore I am going to focus this week’s bibliography on the second section of the assigned reading. This section looks at The Ordeal. Although this section is not the climax to the story it is often the heart of one and is the first time we see our hero face their biggest test yet. This is usually around two thirds of the way through the story and is best described as the crisis not the climax.
Reaction;
In reaction to this section I was extremely intrigued by the death and rebirth section. The secret of the section is that the hero must die so that they can be reborn. This creates a dramatic movement that draws the viewer to both the suspense of the situation and the phenomena of the rebirth. The thing that interested me the most about this section was that it was compared to how we as humans feel our greatest understanding of life when performing near death experiences and we often pay for these. Some of these experiences would include sky diving or bungee jumping, during a story the death and rebirth provides a similar response of emotions and gives the viewer a similar thrill. Further more this experience of death helps the viewer identify with the hero.
Another section that I also found interesting was that villains are heroes of there own stories and the fact that they don’t perceive themselves as what they are doing is wrong means that they are seen by people with the same view point as heroes. This is well defined in the book by the heroes darkness is brightness for the shadow, the arcs of their stories are mirror images.
Overall, this chapter has provided me with some interesting concepts to think about within my own writing and clearly explains one if the most important points of a story.
Questions;
Do you agree with increased understanding of life associated with extreme sports, and actions?
Can you think of any villains that you have viewed as heroes?
Are we as humans draw closer to a character by a near death experience?
Monday, October 13, 2008
Annotated Bibliography Pgs 127-141
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 127-41.
Summery;
Our reading this week continues through the stages of a story and we take an in depth look at stages crossing the first threshold, Tests; allies and enemies and approaching the inner most cave. The crossing of the first threshold is a very important step for the hero, this is the point were we witness our hero usually commit whole heartedly. This may consist of stepping into an unknown world in which the hero has no choice but to full commit in order to have any chance of success.
Now comes the test; Allies and Enemies. This is the point within a story that we notice the initial contrast in worlds for the hero. The most important part of adapting to this new, special world is the recognition of both enemies’s and allies. Both will be present and it is crucial that the hero is aware of these characters. Once these characters have been recognized the hero is ready to approach the final stage in our reading, the approach to the inner most caves. As the hero approaches the inner most cave they will experience new threshold guardians, agendas and tests. This is essentially the journey to the heart of the story. It is a time where the hero needs all of his/ her skills and is often confronted by supreme terror and wonder therefore it is crucial that the hero keeps his/her wits about them.
Reaction;
Through out the reading we have witnessed what is present and necessary in order for the hero to succeed in the special world. This week’s reading has been all about the adoptions to this special world. I found it interesting when thinking about the initial crossing of the threshold and the changes that occur from entering the special world. I thought about films that I had seen in which I have witnessed this crossing over, and it made me realize that we as the viewer are by now fully committed to the hero’s cause and really feel the sense of journey as we watch the hero travel through a world that is as strange to him/her as it is to us. This sense of unknowing by the hero is met and challenged with a confidence and self assurance that has finally sunk into the hero, this is why they will eventually succeed.
Questions;
How important is the role of the sidekick?
What differences do we notice with the hero when in the special world as opposed to the normal world?
Within your own story, do you see a clear difference between entering the special world and reaching the heart of the crisis?
Summery;
Our reading this week continues through the stages of a story and we take an in depth look at stages crossing the first threshold, Tests; allies and enemies and approaching the inner most cave. The crossing of the first threshold is a very important step for the hero, this is the point were we witness our hero usually commit whole heartedly. This may consist of stepping into an unknown world in which the hero has no choice but to full commit in order to have any chance of success.
Now comes the test; Allies and Enemies. This is the point within a story that we notice the initial contrast in worlds for the hero. The most important part of adapting to this new, special world is the recognition of both enemies’s and allies. Both will be present and it is crucial that the hero is aware of these characters. Once these characters have been recognized the hero is ready to approach the final stage in our reading, the approach to the inner most caves. As the hero approaches the inner most cave they will experience new threshold guardians, agendas and tests. This is essentially the journey to the heart of the story. It is a time where the hero needs all of his/ her skills and is often confronted by supreme terror and wonder therefore it is crucial that the hero keeps his/her wits about them.
Reaction;
Through out the reading we have witnessed what is present and necessary in order for the hero to succeed in the special world. This week’s reading has been all about the adoptions to this special world. I found it interesting when thinking about the initial crossing of the threshold and the changes that occur from entering the special world. I thought about films that I had seen in which I have witnessed this crossing over, and it made me realize that we as the viewer are by now fully committed to the hero’s cause and really feel the sense of journey as we watch the hero travel through a world that is as strange to him/her as it is to us. This sense of unknowing by the hero is met and challenged with a confidence and self assurance that has finally sunk into the hero, this is why they will eventually succeed.
Questions;
How important is the role of the sidekick?
What differences do we notice with the hero when in the special world as opposed to the normal world?
Within your own story, do you see a clear difference between entering the special world and reaching the heart of the crisis?
Monday, September 29, 2008
Annotated Bibliography
Annotated Bibliography - Pages 83-105
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 83-105.
Summery:
After establishing the archetypes, we can now progress into a full understanding of each section of the hero’s journey. As we are already aware the journey begins with stage one: the ordinary world, and then stage two: the call to adventure. These are the two sections that we learn about in this week’s assigned reading. Firstly, “the call to adventure”, we have already developed a basic understanding of the sections however, we are now taken deeper into the section and discuss things such as the opening image, raising the dramatic question and the hero’s inner and outer problems.
The second stage: the call to adventure, which is the section that really paves the way for the story to develop because of this new found energy by the hero. It teaches us, the importance of getting the story rolling; this can be done in many ways; using synchronicity or temptation for example. We are also led to think about the fact that a lot of stories have more than one call, and that there is often a call waiting, so to speak.
Reaction:
I found this weeks reading rather monotonous and although every point in both sections is a valid one, I felt as though some were relatively obvious, and would possibly be incorporated unconsciously. This led me to think about the fact that if I would unconsciously know to include a specific section then, I am more aware of the hero’s journey than I may be aware. I was particularly interested in the section, Backstory and Expansion; it was interesting to think about how story’s and films include the backstory in interesting and unimaginative ways. For example, sin city is constantly introducing new hero’s and because of this has to be very creative in order to provide the viewer with enough information to actually take to the hero.
Questions:
1. What is the call to adventure in your story and do you see the transition from the normal world?
2. Think of a film or story that has an interesting backstory, and explain how it works?
3. Can you think of any examples where stage two: the call to adventure comes before stage one: the ordinary world?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 83-105.
Summery:
After establishing the archetypes, we can now progress into a full understanding of each section of the hero’s journey. As we are already aware the journey begins with stage one: the ordinary world, and then stage two: the call to adventure. These are the two sections that we learn about in this week’s assigned reading. Firstly, “the call to adventure”, we have already developed a basic understanding of the sections however, we are now taken deeper into the section and discuss things such as the opening image, raising the dramatic question and the hero’s inner and outer problems.
The second stage: the call to adventure, which is the section that really paves the way for the story to develop because of this new found energy by the hero. It teaches us, the importance of getting the story rolling; this can be done in many ways; using synchronicity or temptation for example. We are also led to think about the fact that a lot of stories have more than one call, and that there is often a call waiting, so to speak.
Reaction:
I found this weeks reading rather monotonous and although every point in both sections is a valid one, I felt as though some were relatively obvious, and would possibly be incorporated unconsciously. This led me to think about the fact that if I would unconsciously know to include a specific section then, I am more aware of the hero’s journey than I may be aware. I was particularly interested in the section, Backstory and Expansion; it was interesting to think about how story’s and films include the backstory in interesting and unimaginative ways. For example, sin city is constantly introducing new hero’s and because of this has to be very creative in order to provide the viewer with enough information to actually take to the hero.
Questions:
1. What is the call to adventure in your story and do you see the transition from the normal world?
2. Think of a film or story that has an interesting backstory, and explain how it works?
3. Can you think of any examples where stage two: the call to adventure comes before stage one: the ordinary world?
Monday, September 22, 2008
Annotated Bibliography - Pages 49-80
Works Cited;
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
Summery;
This reading was the end of section one in the book. It took an in depth look at the remaining archetypes commonly stumbled upon in the world of story, therefore the section has now covered every common character and therefore has prepares us, the reader, to proceed through the storyline structure that we talked about after the initial reading, however we can now relate these archetypes to our understanding of structure far more easily.
The archetypes included the Threshold Guardian, The Herald, The Shapeshifter, The Shadow, The Ally and The Trickster. These archetypes join both The Mentor and of course The Hero to complete our list of Archetypes.
Reaction;
I feel that after reading section one I have a clear understanding as to both, the common structures within a story and also the characters. I realise that all can take slightly different forms and have a large amount of flexibility, which provides unlimited possibilities as to where a story and its characters may end up.
I was particularly intrigued by the psychological function of the Shapeshifter, expressing the energies of the animus, which is Carl Jung’s explanation for the male element in the female unconscious and dreams and anima is the corresponding female elements in the male. This was a concept I had never heard of before and founded it very interesting when thinking about it. Indeed, as the book says, from an early age we are encouraged to hide our opposing feelings in order to be “macho” or “lady like”. The fact that we confront our anima or animus in our dreams and the forms they take I think is fascinating.
Questions;
1. Think about some common characters that fit the description of the new archetypes?
2. As a society generally we are encouraged to hide our feelings of the opposite sex, do you think this is a social problem?
3. Within the story of your life, do you have any of these archetypes that you would like to share?
Vogler, Christopher, and Michele Montez. The Writer's Journey : Mythic Structure for Writers. Boston: Michael Wiese Productions, 2007. 49-80.
Summery;
This reading was the end of section one in the book. It took an in depth look at the remaining archetypes commonly stumbled upon in the world of story, therefore the section has now covered every common character and therefore has prepares us, the reader, to proceed through the storyline structure that we talked about after the initial reading, however we can now relate these archetypes to our understanding of structure far more easily.
The archetypes included the Threshold Guardian, The Herald, The Shapeshifter, The Shadow, The Ally and The Trickster. These archetypes join both The Mentor and of course The Hero to complete our list of Archetypes.
Reaction;
I feel that after reading section one I have a clear understanding as to both, the common structures within a story and also the characters. I realise that all can take slightly different forms and have a large amount of flexibility, which provides unlimited possibilities as to where a story and its characters may end up.
I was particularly intrigued by the psychological function of the Shapeshifter, expressing the energies of the animus, which is Carl Jung’s explanation for the male element in the female unconscious and dreams and anima is the corresponding female elements in the male. This was a concept I had never heard of before and founded it very interesting when thinking about it. Indeed, as the book says, from an early age we are encouraged to hide our opposing feelings in order to be “macho” or “lady like”. The fact that we confront our anima or animus in our dreams and the forms they take I think is fascinating.
Questions;
1. Think about some common characters that fit the description of the new archetypes?
2. As a society generally we are encouraged to hide our feelings of the opposite sex, do you think this is a social problem?
3. Within the story of your life, do you have any of these archetypes that you would like to share?
Thursday, September 4, 2008
Simba From The Lion King
After much thought as to which Disney character i see my self as, i have finally decided upon Simba from the Lion King. The reason that i feel he is a similar character to myself is because he too is a young lion that is, somewhat, reluctantly growning into a position of authority. However much like myself, Simba is someone that initially chooses to turn his back on his dutys and prefers to be adventurous, whilst having fun with his friends.
As a younger lion, Simba comes across as someone who has few cares in the world and rarely realises when he is in dangerous situations, eventually leading to himself getting into dangerous situations. Iused to be very similar and tended to choose fun over safety at times. However I realised as i got older that there are ways to be both responsible and still have fun, as did Simba.
The main reason for Simba realising that he needed to grow up and take responsibility within his community was because he spent alot of time away from home learning the realitys of life on his own. I feel i can compare this to myself coming to live in the united states of america, as i too have had to learn to live without the shelter of a home situation. Whilst it has been an unbelievable experience, it too has show me the realitys of looking after myself.
With all of this in mind i look up to simba for the ways in which he developed as a Lion and took control of a situation in order to save his pride, he is definatley one of my role models.
As a younger lion, Simba comes across as someone who has few cares in the world and rarely realises when he is in dangerous situations, eventually leading to himself getting into dangerous situations. Iused to be very similar and tended to choose fun over safety at times. However I realised as i got older that there are ways to be both responsible and still have fun, as did Simba.
The main reason for Simba realising that he needed to grow up and take responsibility within his community was because he spent alot of time away from home learning the realitys of life on his own. I feel i can compare this to myself coming to live in the united states of america, as i too have had to learn to live without the shelter of a home situation. Whilst it has been an unbelievable experience, it too has show me the realitys of looking after myself.
With all of this in mind i look up to simba for the ways in which he developed as a Lion and took control of a situation in order to save his pride, he is definatley one of my role models.
Subscribe to:
Posts (Atom)