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?
Wednesday, October 29, 2008
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?
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