Summary
In this section of Vogler the approach to the inmost cave and the supreme ordeal are discussed. The approach is the final preparation in the story, as the hero must make him/her ready for anything prior to the supreme ordeal. The heroes are tested once more by a new set of threshold guardians because they are entering a new special world with different regulations. The tests they encounter may seem impossible because they are in life and death situations, since the approach also functions to heighten the stakes. Characters may switch roles as they encounter villains, and their encounters can help the hero regroup and encourage others. The ordeal is the point in the story when the hero faces the main crisis, but this is not the climax of the story. The hero is faced with some type of life or death situation, and the ability to survive it is the ultimate test of a hero. This crisis is usually the main event of the story and divides the story into two halves. After the hero faces life and death he/she is reborn and nothing is the same from this point on. The hero usually survives whatever the crisis may be because a taste of death is just as shocking and emotional for the audience. The ordeal is considered one of the deepest depressions and therefore leads to some of the highest rewards. The most common ordeal is a battle or confrontation with the enemy, however a hero's greatest opponent is his/her own shadow. A shadow represents the hero's flaws as well as fears and is projected in the form of demonizing. Other types of crises include love, negative animus/anima, an elder, a relationship, marriage, balance, or a parent. The hero's ability to overcome these crises make them stronger and ready for the next stage of the journey.
Reaction
I think it was interesting how Vogler laid out all of the different types of crises but only offered two examples of how the story can be structured, the central crisis and delayed crisis. I guess it makes sense that most stories follow a similar structure. But I think a story about the crisis of the heart is much different than a story with a hero battling a dragon. Regardless, I do agree with Vogler in that, "Good structure works by alternately lowering and raising the hero's fortunes and, with them, the audiences emotions" (161). I think that what the audience feels is definitely critical to the success of any story. I also liked the section on the hero's greatest opponent being himself/herself. Without being able to overcome personal fears or shortcomings the hero would never be able to deal with the ordeal and proceed with the rest of the story.
Reflection
So far throughout the hero's journey, the hero has had reoccurring relationships with many other characters, and specifically a villian figure. In this section of reading, that also holds true as the villian becomes the projection of the hero's downfalls and the human form of his/her fears. In many movies the villian dies instead of the hero to conform with keeping the audience happy, but occasionally the hero dies shocking the audience. Vogler warns about the dangers of doing this but I think it's a suitable alternative to provide variety and experiment with the audience's emotions. I think that a movie can still be good and successful even if the hero dies,such as Gran Tourino starring Clint Eastwood, it all depends on how it is executed; and this relates back to importance of the structure of a good story.
Questions
1. Vogler suggests Adriane's Thread as a way to connect the hero to loved ones in the story. Can you think of any other accessory structure to the hero's journey?
2. Do you agree with Vogler that the approach to inmost cave is a separate special world? Why or why not?
3. "The ordeal can be defined as the moment the hero faces his greatest fear" (Vogler 169), do you think that a hero can face his greatest fear prior to the ordeal? What about a hero overcoming a personal flaw in order to take the journey in the first place?
Sunday, March 29, 2009
Sunday, March 8, 2009
Volger pg.'s 127-141
Summary
In this section of Vogler crossing the first threshold and test,allies, and enemies are explored. Crossing the threshold is the point in any story when the hero is totally committed to the journey. To reach this point the hero might have experienced an event that brings on the story or escalates the situation. The hero will also be tested and trained in crossing the threshold by threshold guardians. Crossing the threshold can also be signified by crossing physical barriers such as bridges, canyons, cliffs, etc. As well, any transition such as a musical cue or stark visual difference between the first and second act is considered crossing the threshold. In order to cross the threshold the hero must be ready to make a leap of faith which requires an extraordinary amount of courage because from this point on nothing will be the same. Once this choice has been made the hero will be tested in many ways. The hero will face obstacles while in the special word but at first they are most likely not life and death situations. To aid the hero along the journey allies are usually made and enemies are confronted, learning who to trust is very important. The ally can take the form of a sidekick to provide camaraderie, comic relief, or whatever the hero may be lacking. Heroes can join forces with other people along the way and form teams to tackle the various obstacles they face. Upon officially being in the special world, new rules apply and must be learned quickly, which tests the adaptability of the hero. Lastly, Vogler discussed watering holes, such as bars and saloons, as a place for congregation and a way to get information about a new place.
Reaction
I like the Disney metaphor,"A story is like an airplane flight, and Act One is the process of loading,fueling, taxiing, and rumbling down the runway towards takeoff. The First Threshold is the moment the wheels leave the ground and the plane begins to fly" (131). I think that is a good analogy for crossing the first threshold, and conveys the significance of this element of a story. The plane needs to leave the ground, but what happens if it doesn't? I think this is a reasonable consideration and I'm wondering where a story is supposed to go if this is the situation. However, I do agree with Vogler about testing, allies, and enemies. Testing the hero is a good way for the audience to get to know the hero and what they are going to be like. As well, how they encounter enemies and deal with such situations will continue to reveal character. I think the ally archetype is essential for this part of the hero's journey because allies can shape and influence the hero at this stage, which in turn affects who they are for the rest of the story.
Reflection
While reading this week's assignment the movie Shrek constantly came to mind. Shrek has leave his swamp and cross the first threshold begin his quest through the forest. This is brought about because his swamp is in danger of being taken away from him by Lord Farquad, and requires Shrek to take action. He goes to Dulock and finds out that he has to rescue a princess in order to keep the swamp, therefore raising the stakes and triggering the crossing. The adventure through the forest to get the princess is visually much different from the swamp and it is obvious that he has reached the special world. While rescuing the princess, Shrek's courage, strength, and determination are tested. He has to get pass the dragon to save her and this requires a special courage. Donkey is his ally and sidekick. Donkey has a sense of humor, is laid back, and a fun character who provides comic relief as well as making up for Shrek's lack of a personality. I think Shrek is a good contemporary example of what Vogler is describing in comparison to the Wizard of Oz in the text.
Questions
1. How would you change the hero's journey to accommodate if he/she never acquires the special courage to cross into the special world?
2. What is an example of "transitioning" into the special world that Vogler did not mention?
3. Why does a hero need to be tested in the special world if he/she has already crossed the threshold? How does a test function to build character?
In this section of Vogler crossing the first threshold and test,allies, and enemies are explored. Crossing the threshold is the point in any story when the hero is totally committed to the journey. To reach this point the hero might have experienced an event that brings on the story or escalates the situation. The hero will also be tested and trained in crossing the threshold by threshold guardians. Crossing the threshold can also be signified by crossing physical barriers such as bridges, canyons, cliffs, etc. As well, any transition such as a musical cue or stark visual difference between the first and second act is considered crossing the threshold. In order to cross the threshold the hero must be ready to make a leap of faith which requires an extraordinary amount of courage because from this point on nothing will be the same. Once this choice has been made the hero will be tested in many ways. The hero will face obstacles while in the special word but at first they are most likely not life and death situations. To aid the hero along the journey allies are usually made and enemies are confronted, learning who to trust is very important. The ally can take the form of a sidekick to provide camaraderie, comic relief, or whatever the hero may be lacking. Heroes can join forces with other people along the way and form teams to tackle the various obstacles they face. Upon officially being in the special world, new rules apply and must be learned quickly, which tests the adaptability of the hero. Lastly, Vogler discussed watering holes, such as bars and saloons, as a place for congregation and a way to get information about a new place.
Reaction
I like the Disney metaphor,"A story is like an airplane flight, and Act One is the process of loading,fueling, taxiing, and rumbling down the runway towards takeoff. The First Threshold is the moment the wheels leave the ground and the plane begins to fly" (131). I think that is a good analogy for crossing the first threshold, and conveys the significance of this element of a story. The plane needs to leave the ground, but what happens if it doesn't? I think this is a reasonable consideration and I'm wondering where a story is supposed to go if this is the situation. However, I do agree with Vogler about testing, allies, and enemies. Testing the hero is a good way for the audience to get to know the hero and what they are going to be like. As well, how they encounter enemies and deal with such situations will continue to reveal character. I think the ally archetype is essential for this part of the hero's journey because allies can shape and influence the hero at this stage, which in turn affects who they are for the rest of the story.
Reflection
While reading this week's assignment the movie Shrek constantly came to mind. Shrek has leave his swamp and cross the first threshold begin his quest through the forest. This is brought about because his swamp is in danger of being taken away from him by Lord Farquad, and requires Shrek to take action. He goes to Dulock and finds out that he has to rescue a princess in order to keep the swamp, therefore raising the stakes and triggering the crossing. The adventure through the forest to get the princess is visually much different from the swamp and it is obvious that he has reached the special world. While rescuing the princess, Shrek's courage, strength, and determination are tested. He has to get pass the dragon to save her and this requires a special courage. Donkey is his ally and sidekick. Donkey has a sense of humor, is laid back, and a fun character who provides comic relief as well as making up for Shrek's lack of a personality. I think Shrek is a good contemporary example of what Vogler is describing in comparison to the Wizard of Oz in the text.
Questions
1. How would you change the hero's journey to accommodate if he/she never acquires the special courage to cross into the special world?
2. What is an example of "transitioning" into the special world that Vogler did not mention?
3. Why does a hero need to be tested in the special world if he/she has already crossed the threshold? How does a test function to build character?
Sunday, March 1, 2009
Vogler pg.'s 105-127
Summary
In this section of the reading Vogler describes the "Refusal of the Call" and "Meeting with the Mentor." Refusal of the call is a temporary road block along the heroes journey that is a natural response until the refusal is overcome or the stakes are raised. Heroes may try and avoid the call with excuses or another conflicting call. However, some heroes are more willing than others and may even seek out adventure themselves, but they may be halted by a threshold guardian along the way. Threshold guardians serve to question the hero's motives and willingness for adventure before they begin their journey, as well as creating emotional suspense in the story. Meeting with the mentor is critical to the story because the hero acquires knowledge, tools, confidence, and guidance from this figure in order to prepare for some aspect of the journey. The mentor may not be a person but rather a source of wisdom that the hero consults such as a map or chart. In myth mentors are usually known for giving magical gifts or being magical protectors themselves; Chiron, the half-man/half-horse is a popular Greek mentor who is a prototype for wise old men and women. The true "Mentor" is actually Odysseus' friend but the manifestation of the mentor archetype is seen through the character Athena. She helps Telemachus out of many situations while Odysseus is away, intervening throughout the story with guidance, wisdom, and gifts. Her appearances are important to get Telemachus past his doubts and fears, an essential function of the mentor. Although the mentor is usually seen as a positive influence on the hero sometimes the relationship can take a turn for the worst.
Reaction
Although Vogler incorporates "The Refusal of the Call" into one of the steps of the heroes journey I don't necessarily think that it is needed in every story. If a hero is willing and ready to take on the quest then the refusal of the call isn't really applicable. Although, I do agree it is an important time to signal to the audience the journey may be risky, I also think in "The Call to Adventure" the dangers of the journey are already made obvious. When I think of a hero refusing a call I tend to think of the tragic hero and think this part of the journey makes the most sense to that specific hero. But, I do think "Meeting with the Mentor" is necessary to every story. I could not agree more with Vogler, "Some stories don't need a special character solely dedicated to perform the functions of this archetype, but at some point in almost any story, the Mentor functions of helping the hero are performed by some character or force, temporarily wearing the mask of the mentor" (124). Vogler's statement sums up the function of the mentor character and why he/she/it is important. A mentor can be the center of the story, or a hero that has gained enough experience to share it with others. Whoever or whatever the mentor is is not significant, yet the role they take on in the story will critically change and shape the heroes journey.
Reflection
Not only do "Refusal of the Call" and "Meeting with the Mentor" apply to stories, books, movies, and plays, they also are important in life. I can think of several times when I have thought I couldn't achieve something such as a grade in a certain class, and I sought out advice from a teacher or mentor figure to encourage me along. Eckerd has its own mentoring system here which is unlike other colleges. I think this is a great idea and a good alternative to leaving a student with no guidance throughout college on what classes to take or internship/job to get involved with. Eckerd recognizes the importance of the mentor figure in giving support and guidance and it's nice to know I can talk to someone when I need to. Also, having a mentor can push me to do something I normally wouldn't or give me the necessary tools to succeed. I have had a very positive experience with my mentor while at Eckerd and have done an independent study with his help.
Questions
1. Is there a story/movie where the hero does not come in contact with some source of wisdom before committing to the adventure?
2. What consequences/benefits does the hero gain from meeting with a mentor or source of wisdom?
3. In the example of the three little pigs refusing to open the door for the big bad wolf , do you agree with Vogler that they were wise or do you think they were cowardly heroes?
In this section of the reading Vogler describes the "Refusal of the Call" and "Meeting with the Mentor." Refusal of the call is a temporary road block along the heroes journey that is a natural response until the refusal is overcome or the stakes are raised. Heroes may try and avoid the call with excuses or another conflicting call. However, some heroes are more willing than others and may even seek out adventure themselves, but they may be halted by a threshold guardian along the way. Threshold guardians serve to question the hero's motives and willingness for adventure before they begin their journey, as well as creating emotional suspense in the story. Meeting with the mentor is critical to the story because the hero acquires knowledge, tools, confidence, and guidance from this figure in order to prepare for some aspect of the journey. The mentor may not be a person but rather a source of wisdom that the hero consults such as a map or chart. In myth mentors are usually known for giving magical gifts or being magical protectors themselves; Chiron, the half-man/half-horse is a popular Greek mentor who is a prototype for wise old men and women. The true "Mentor" is actually Odysseus' friend but the manifestation of the mentor archetype is seen through the character Athena. She helps Telemachus out of many situations while Odysseus is away, intervening throughout the story with guidance, wisdom, and gifts. Her appearances are important to get Telemachus past his doubts and fears, an essential function of the mentor. Although the mentor is usually seen as a positive influence on the hero sometimes the relationship can take a turn for the worst.
Reaction
Although Vogler incorporates "The Refusal of the Call" into one of the steps of the heroes journey I don't necessarily think that it is needed in every story. If a hero is willing and ready to take on the quest then the refusal of the call isn't really applicable. Although, I do agree it is an important time to signal to the audience the journey may be risky, I also think in "The Call to Adventure" the dangers of the journey are already made obvious. When I think of a hero refusing a call I tend to think of the tragic hero and think this part of the journey makes the most sense to that specific hero. But, I do think "Meeting with the Mentor" is necessary to every story. I could not agree more with Vogler, "Some stories don't need a special character solely dedicated to perform the functions of this archetype, but at some point in almost any story, the Mentor functions of helping the hero are performed by some character or force, temporarily wearing the mask of the mentor" (124). Vogler's statement sums up the function of the mentor character and why he/she/it is important. A mentor can be the center of the story, or a hero that has gained enough experience to share it with others. Whoever or whatever the mentor is is not significant, yet the role they take on in the story will critically change and shape the heroes journey.
Reflection
Not only do "Refusal of the Call" and "Meeting with the Mentor" apply to stories, books, movies, and plays, they also are important in life. I can think of several times when I have thought I couldn't achieve something such as a grade in a certain class, and I sought out advice from a teacher or mentor figure to encourage me along. Eckerd has its own mentoring system here which is unlike other colleges. I think this is a great idea and a good alternative to leaving a student with no guidance throughout college on what classes to take or internship/job to get involved with. Eckerd recognizes the importance of the mentor figure in giving support and guidance and it's nice to know I can talk to someone when I need to. Also, having a mentor can push me to do something I normally wouldn't or give me the necessary tools to succeed. I have had a very positive experience with my mentor while at Eckerd and have done an independent study with his help.
Questions
1. Is there a story/movie where the hero does not come in contact with some source of wisdom before committing to the adventure?
2. What consequences/benefits does the hero gain from meeting with a mentor or source of wisdom?
3. In the example of the three little pigs refusing to open the door for the big bad wolf , do you agree with Vogler that they were wise or do you think they were cowardly heroes?
Subscribe to:
Posts (Atom)
