Summary
In this section of the reading Vogler discusses "The Ordinary World" as well as the "Call to Adventure". The beginning of the story is where the ordinary world is set-up and sometimes a prologue can even precede this part of a story if necessary. The hero must be shown in his or her ordinary world in order for the reader to be able to recognize when they enter their special world. This is also a place for them to "make an entrance" and for the reader to become aware of who this hero is. What the hero is doing when he/she makes an entrance is critical to the story because their actions give suggestions about what he/she is going to be like. Also, making the hero relatable as well as showing what they lack is necessary for a successful piece. The call to adventure is the trigger to get the piece moving. The call to adventure can be given by a herald or messenger type character and can be delivered in many forms: temptation, distastefulness, a loss, or the only option. Regardless, the call to adventure is an unstable situation that requires the hero to act and shows the necessity for change. The hero may be reluctant or not depending on what type of hero he/she may be.
Reaction
I liked Vogler's use of The Wizard of Oz to further clarify the ordinary world and the call to adventure. I never thought of the use of black and white/color to show the differences between the ordinary world and the special world, but now it all makes sense. I also never realized that the three farm hands that helped her later translate to the lion, the tin man, and the scare crow. This portrayal echoes Vogler's idea about foreshadowing the story in the ordinary world. I agree with Vogler, "The opening of any story, be it myth, fairy tale, screenplay, novel, short story, or comic book has some special burdens to bear. It must hook the reader or set the tone of the story, suggest where it's going, and get across a mass of information without slowing the pace" (83). I think these two sentences are the most important part to take away from this reading. As, a reader if I am not engaged from the beginning of a story I am less inclined to keep reading or take interest in it.
Reflection
After I submitted the first draft of my story, you wrote nice ordinary world section. I guess I subconsciously had an idea of the "ordinary world", but after reading this section of the book I feel there are other considerations, and more that I can add. Sometimes it seems the beginning of the story is the hardest to write because it needs to be informative as well as interesting without being too lengthy. I often find myself writing the whole paper and then going back and writing the introduction after I have decided what the most important things are to convey to the reader. In movies especially the ordinary world can make or break the rest of the audience's experience. I particularly enjoy watching the hero in his/her ordinary world in fairy tale movies, and then seeing the comparison with them entering the special world. I think the recent Disney movie Enchanted does an excellent job with this contrast.
Questions:
1. What do you believe is the most necessary piece of information to convey to the reader/audience in the beginning of any story? Why?
2. What types of things do you look for to identify with a hero?
3. Do you agree with the statement,"Various theories of screenwriting acknowledge the Call to Adventure by other names such as the inciting or initiating incident, the catalyst, or the trigger" (Vogler 8). Why or why not? Do you think a story can be "triggered" before call to adventure?
Sunday, February 22, 2009
Peer Review Feedback
I found my peer review feedback to be very helpful. It brought many things to my attention that I hadn't noticed as I was writing. I need to vary my sentence strucutre, as I start many of them them with the word "I", and I still have some akward sentences. I was informed of the strengths of my piece and now I feel that I have additonal ideas about how to strengthen my paper.
Thursday, February 19, 2009
Narrative Revision Plan
Strengths:
1. I think that I have a good foundation on my story because my experience has been so influential. I know what I want to tell the reader and what the main parts of my story are.
2. I think that the middle of my paper is the most solid because it is backed with particular memories, feelings, and important details. I think that this section is easy to read and relatable.
Weaknesses:
1. I have a lot of general statements about my experience. I think that by adding supporting detail my paragraphs would be stronger; they would provide a better connection and be more engaging for the reader.
2. I need to refocus what I have taken away from my experience. I think that I need to decide what the most important lessons/realizations were and be clear and specific in conveying them to the reader.
1. I think that I have a good foundation on my story because my experience has been so influential. I know what I want to tell the reader and what the main parts of my story are.
2. I think that the middle of my paper is the most solid because it is backed with particular memories, feelings, and important details. I think that this section is easy to read and relatable.
Weaknesses:
1. I have a lot of general statements about my experience. I think that by adding supporting detail my paragraphs would be stronger; they would provide a better connection and be more engaging for the reader.
2. I need to refocus what I have taken away from my experience. I think that I need to decide what the most important lessons/realizations were and be clear and specific in conveying them to the reader.
Thursday, February 12, 2009
Vogler - Archetypes Cont.
Summary
The remaining archetypes: the threshold guardian, herald, shapeshifter, shadow, ally, and trickster were discussed in this section of the reading. Threshold guardians function to test and challenge the hero in a story. They can come in many forms such as a bodyguard, watchmen, or doormen, and they represent the obstacles that we face in the world. Heralds are characters that announce a danger or challenge to the hero, recognizing the need for change. The herald will usually enter the story towards the beginning to engage the hero in "the call to adventure", therfore providing motivation to the hero and bringing the story to action. The shapeshifter archetype can be male/female and is characterized by a changing appearance, mood, or the ability to keep the hero guessing. A common shapeshifter is the femme fatale which portrays the women as a temptress or destroyer, this can also be expressed as a homme fatale. The shapeshifter is one of the most flexibile archetypes because any character can become one for a temporarily when given the appropriate situation. The shadow represents the dark side and is most commonly depicted as the villian or enemy in the story. The shadow functions to challenge the hero and give him/her some resistance. The Ally is the character that the hero can talk to, be consoled, or questioned by and is typically the "sidekick" in a story. A hero can acquire many allies, and the hero-ally relationship plays a critical role to the story because of its diverse qualities. The trickster character provides comic relief in a story as well as pointing out the flaws a hero / situation may have. Tricksters are often catalyst characters which means that they remain unchanged in a story while changing other characters lives.
Reaction
I like Vogler's statement, "The archetypes are an infinitely flexible language of character [...] The archetypes can be used to make characters who are both unique individuals and universal symbols of the qualities that form a complete human being" (79). I think archetypes are essential components to any story because of the combination of relatability and uniqueness. One thing that I started to notice in this section of the archetypes was that Vogler repeatedly said any character can become the shadow, trickster, etc. It seems that there is definitely a lot of overlap between some of these archetypes. But, this can also lead to the complexity and lure of a story; if a character keeps switching "masks" throughout, I find myself more on my toes, unless it becomes confusing.
Reflection
I really enjoyed the Trickster section and I thought Vogler's connection with native folktales was really interesting. I never thought of Bugs Bunny as the modern day version of the hare, but after reading this section it totally makes sense. Bugs Bunny is an archetype echoing the past, but his character showcases his witty ability to weasel out of any situation. His character has ancient roots and a purpose, as well as providing entertainment as a cartoon. Being a fan of Disney, I think that Vogler was right on about some of my favorite villians: Cruelle D'Eville, the queen from Snow White, and Captain Hook. He states, "They are even more deliciously sinister because of their dashing, beautiful, or elegant qualities" (67). I could not agree more with that statement; the vision of Cruelle D'Eville in her long fur coat smoking a cigarette will always be engrained in my mind as the ultimate villan.
Questions
1. After this week's reading do you think that there is an archetype that should be added to Vogler's list? Why?
2. Or do you think that one of the archetypes has become fazed out of our contemporary movies & stories?
3. Do you agree with Volger's statements about these archetypes coming from ancient wisdom, such as the trickster character being seen as early as the hare and the tortoise?
The remaining archetypes: the threshold guardian, herald, shapeshifter, shadow, ally, and trickster were discussed in this section of the reading. Threshold guardians function to test and challenge the hero in a story. They can come in many forms such as a bodyguard, watchmen, or doormen, and they represent the obstacles that we face in the world. Heralds are characters that announce a danger or challenge to the hero, recognizing the need for change. The herald will usually enter the story towards the beginning to engage the hero in "the call to adventure", therfore providing motivation to the hero and bringing the story to action. The shapeshifter archetype can be male/female and is characterized by a changing appearance, mood, or the ability to keep the hero guessing. A common shapeshifter is the femme fatale which portrays the women as a temptress or destroyer, this can also be expressed as a homme fatale. The shapeshifter is one of the most flexibile archetypes because any character can become one for a temporarily when given the appropriate situation. The shadow represents the dark side and is most commonly depicted as the villian or enemy in the story. The shadow functions to challenge the hero and give him/her some resistance. The Ally is the character that the hero can talk to, be consoled, or questioned by and is typically the "sidekick" in a story. A hero can acquire many allies, and the hero-ally relationship plays a critical role to the story because of its diverse qualities. The trickster character provides comic relief in a story as well as pointing out the flaws a hero / situation may have. Tricksters are often catalyst characters which means that they remain unchanged in a story while changing other characters lives.
Reaction
I like Vogler's statement, "The archetypes are an infinitely flexible language of character [...] The archetypes can be used to make characters who are both unique individuals and universal symbols of the qualities that form a complete human being" (79). I think archetypes are essential components to any story because of the combination of relatability and uniqueness. One thing that I started to notice in this section of the archetypes was that Vogler repeatedly said any character can become the shadow, trickster, etc. It seems that there is definitely a lot of overlap between some of these archetypes. But, this can also lead to the complexity and lure of a story; if a character keeps switching "masks" throughout, I find myself more on my toes, unless it becomes confusing.
Reflection
I really enjoyed the Trickster section and I thought Vogler's connection with native folktales was really interesting. I never thought of Bugs Bunny as the modern day version of the hare, but after reading this section it totally makes sense. Bugs Bunny is an archetype echoing the past, but his character showcases his witty ability to weasel out of any situation. His character has ancient roots and a purpose, as well as providing entertainment as a cartoon. Being a fan of Disney, I think that Vogler was right on about some of my favorite villians: Cruelle D'Eville, the queen from Snow White, and Captain Hook. He states, "They are even more deliciously sinister because of their dashing, beautiful, or elegant qualities" (67). I could not agree more with that statement; the vision of Cruelle D'Eville in her long fur coat smoking a cigarette will always be engrained in my mind as the ultimate villan.
Questions
1. After this week's reading do you think that there is an archetype that should be added to Vogler's list? Why?
2. Or do you think that one of the archetypes has become fazed out of our contemporary movies & stories?
3. Do you agree with Volger's statements about these archetypes coming from ancient wisdom, such as the trickster character being seen as early as the hare and the tortoise?
Sunday, February 8, 2009
Vogler pg.'s 23-47
Summary
Archetypes are a concept introduced by Carl Jung and refer to the collective unconscious patterns of personality. In storytelling these common prototypes give way to a shared experience among everyone, in addition to being the various aspects of a hero's personality. A hero is someone that we can identify with through universal qualities but he/she must also be unique. A hero is usually of two types: willing and unwilling, and can take many forms in a story such as group-oriented, loner, anti-hero, tragic hero, and catalyst hero. But, the hero must grow or change in someway. The hero doesn't have to be perfect and through his/her flaws he/she will become humanized and much more appealing to the audience. Along the hero's journey and transformation hep and guidance will be needed, and this is where the mentor figure intervenes. A mentor functions to aid the hero and even act act as a conscience, but their teachings and help should be earned. The mentor must motivate the hero although the mentor may have some internal struggles or might still be trying to find their way as well.
Reaction
I think that Vogler did a good job laying out what a hero is and what his/her function is in a story. He provides many examples of the diversity of the role of the hero but also identifies necessary qualities that this character must have to be a "hero." I agree that there are many varieties of a hero but, "Heroes are symbols of the soul in transformation, and of the journey each person takes through life" (37). I think that is what separates the hero from another character in a story, and allows the audience to be able to pick out that character. I thought it was interesting how Vogler also presented many different faces of the mentor. I never really thought of there being a mentor role in a romantic comedy or the mentor as growing or changing himself; he had good examples in the text that opened up my eyes to new things.
Reflection
When you asked us who our childhood heroes were everyone in the class had such different answers from the little mermaid to yours as Dolly Parton. I think that the responses just in our own class are proof for many of Vogler's points in the reading. The hero is widespread yet functional in such a broad range of ways. There isn't a specific molding that has to be fit which is why I think we have so many different types of heroes that we look up to. And this allows for every person to be able to find someone that they can relate to. Whenever I think of a mentor character I can't help but think of Jiminy Cricket from Pinocchio. In my mind he fits the typical description of what a mentor should be, always guiding and interferring whenever Pinocchio needed help.
Archetypes are a concept introduced by Carl Jung and refer to the collective unconscious patterns of personality. In storytelling these common prototypes give way to a shared experience among everyone, in addition to being the various aspects of a hero's personality. A hero is someone that we can identify with through universal qualities but he/she must also be unique. A hero is usually of two types: willing and unwilling, and can take many forms in a story such as group-oriented, loner, anti-hero, tragic hero, and catalyst hero. But, the hero must grow or change in someway. The hero doesn't have to be perfect and through his/her flaws he/she will become humanized and much more appealing to the audience. Along the hero's journey and transformation hep and guidance will be needed, and this is where the mentor figure intervenes. A mentor functions to aid the hero and even act act as a conscience, but their teachings and help should be earned. The mentor must motivate the hero although the mentor may have some internal struggles or might still be trying to find their way as well.
Reaction
I think that Vogler did a good job laying out what a hero is and what his/her function is in a story. He provides many examples of the diversity of the role of the hero but also identifies necessary qualities that this character must have to be a "hero." I agree that there are many varieties of a hero but, "Heroes are symbols of the soul in transformation, and of the journey each person takes through life" (37). I think that is what separates the hero from another character in a story, and allows the audience to be able to pick out that character. I thought it was interesting how Vogler also presented many different faces of the mentor. I never really thought of there being a mentor role in a romantic comedy or the mentor as growing or changing himself; he had good examples in the text that opened up my eyes to new things.
Reflection
When you asked us who our childhood heroes were everyone in the class had such different answers from the little mermaid to yours as Dolly Parton. I think that the responses just in our own class are proof for many of Vogler's points in the reading. The hero is widespread yet functional in such a broad range of ways. There isn't a specific molding that has to be fit which is why I think we have so many different types of heroes that we look up to. And this allows for every person to be able to find someone that they can relate to. Whenever I think of a mentor character I can't help but think of Jiminy Cricket from Pinocchio. In my mind he fits the typical description of what a mentor should be, always guiding and interferring whenever Pinocchio needed help.
Sunday, February 1, 2009
A Practical Guide
Summary
A practical guide introduces the idea of the "hero" and the many steps of his/her "journey". Vogler suggests that the hero's journey is something universally felt in our unconsciousness and that is why we can empathize and sympathize for any given character. He then goes on to describe the process of the journey where the hero if first introduced into the ordinary world to establish a comparison. Then the hero has a call to adventure but they at first refuse until a guiding figure intervenes and encourages the hero to go. The hero must then cross the threshold into their new world where he/she crosses paths with enemies or is tested in some way to develop character. Next, the hero must plan and approach the in most cave which is some type of dangerous place before he/she is faced with a brush of death or a critical point in the journey. After that the hero recieves some type of reward and then starts to journey back where the hero is again confronted with a "dark force". The hero then decides to return back to the ordinary world where he/she will encounter one last life or death moment until the hero can return home. The hero must return with some type of knowledge or treasure taken from the journey or else it will become meaningless. These steps aren't definite and can be rearranged/changed, which is why we have so many new stories.
Reaction
I really enjoyed the reading and particularly Vogler's style of writing. I think that it was clever to construct this book around popular movies because it is so relatable. Everything that he explained was supported by something in a movie. The only problem with this is that I havent seen Star Wars, An Officer and a Gentlemen, or Beverly Hills Cop which he heavily relied on in this section; so sometimes I couldn't really relate to what he was saying, but when I had seen the movie things became crystal clear. I agree with Vogler's ideology and the hero's journey. I think its a very good explanation for the set-up and execution of the story of any hero. As I was reading I felt that everything started to make sense as to why I react a certain way when it appears that the hero might die and I truly agree with the statement, "What happens to the hero happens to us."
Reflection
I took intro to human development at Eckerd and have read about Carl Jung and his theory about archetypes and a universal unconsciousness before. I thought it was interesting that Vogler chose to back up his theory with Jung's ideas and this leads to the fact that so many different disciplines are interrelated. I think that Vogler was pretty dead on with the statement that, "They are psychologically valid and emotionally realistic even when they portray fantatastic, impossible, or unreal events." I think that statement can be linked to why people can relate to Superman or Cinderella and it is also why people are drawn to such fantasy characters when they think of a hero. This is personally true for me and seems to be the case after the discussion that we had in class on Friday.
Questions:
1.Why do you think the repeating characters such as the young hero or the wise old man have such an appeal generation after generation?
2. Why have these characters become engrained in our dreams and fantasies in the first place and not something else?
3. What step would you add or delete to the hero's journey and why?
A practical guide introduces the idea of the "hero" and the many steps of his/her "journey". Vogler suggests that the hero's journey is something universally felt in our unconsciousness and that is why we can empathize and sympathize for any given character. He then goes on to describe the process of the journey where the hero if first introduced into the ordinary world to establish a comparison. Then the hero has a call to adventure but they at first refuse until a guiding figure intervenes and encourages the hero to go. The hero must then cross the threshold into their new world where he/she crosses paths with enemies or is tested in some way to develop character. Next, the hero must plan and approach the in most cave which is some type of dangerous place before he/she is faced with a brush of death or a critical point in the journey. After that the hero recieves some type of reward and then starts to journey back where the hero is again confronted with a "dark force". The hero then decides to return back to the ordinary world where he/she will encounter one last life or death moment until the hero can return home. The hero must return with some type of knowledge or treasure taken from the journey or else it will become meaningless. These steps aren't definite and can be rearranged/changed, which is why we have so many new stories.
Reaction
I really enjoyed the reading and particularly Vogler's style of writing. I think that it was clever to construct this book around popular movies because it is so relatable. Everything that he explained was supported by something in a movie. The only problem with this is that I havent seen Star Wars, An Officer and a Gentlemen, or Beverly Hills Cop which he heavily relied on in this section; so sometimes I couldn't really relate to what he was saying, but when I had seen the movie things became crystal clear. I agree with Vogler's ideology and the hero's journey. I think its a very good explanation for the set-up and execution of the story of any hero. As I was reading I felt that everything started to make sense as to why I react a certain way when it appears that the hero might die and I truly agree with the statement, "What happens to the hero happens to us."
Reflection
I took intro to human development at Eckerd and have read about Carl Jung and his theory about archetypes and a universal unconsciousness before. I thought it was interesting that Vogler chose to back up his theory with Jung's ideas and this leads to the fact that so many different disciplines are interrelated. I think that Vogler was pretty dead on with the statement that, "They are psychologically valid and emotionally realistic even when they portray fantatastic, impossible, or unreal events." I think that statement can be linked to why people can relate to Superman or Cinderella and it is also why people are drawn to such fantasy characters when they think of a hero. This is personally true for me and seems to be the case after the discussion that we had in class on Friday.
Questions:
1.Why do you think the repeating characters such as the young hero or the wise old man have such an appeal generation after generation?
2. Why have these characters become engrained in our dreams and fantasies in the first place and not something else?
3. What step would you add or delete to the hero's journey and why?
* My Childhood Hero *
Ever since I've been little I haven't lived far from the beach and I've always had a fascination with the ocean and all the creatures it holds. My family has a beach cottage where I've spent many hours playing in the sand, crabbing, building zoos for animals, and swimming. Also, my Mom used to tell my brother and I that she was formerly a mermaid until she met my Dad. My Dad then took her out of the ocean and brought her to land where she kept her fin in the closet at our house. I believed this for quite sometime until I was old enough to realize the truth. The Little Mermaid is definitely one of my favorites and as a child a movie that I was always watching. Ariel was my childhood hero because she was able to live underwater and interact with the fish and crabs, as a little girl I thought that was so cool. I thought that mermaids were beautiful (well I still do) and of course she had an amazing voice. I was amused by all her trinkets and her friend Sebastian. I thought that she was brave when she encountered Ursula and also that she was smart to be able to get away from her. I thought that Eric was a major hottie and she was also a rebel in my eyes. Ariel was everything that I wanted to be, afterall my Mom was a mermaid too.
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