... Archetypes
... Character Arc
... Stages of a journey
... Dramatic Structure
... Linear Storytelling
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Archetypes
An archetype is more than a stereotype or a generic version of a
personality, and for the screenwriter, understanding fundamental
character archetypes is an essential tool for understanding the purpose
or function of characters in a story.
Archetypes can be found in nearly all forms of literature including
screenplays, with their motifs being predominantly rooted in folklore,
but it wasn’t until Swiss psychologist Carl Jung coined the term
archetypes when describing common character types, symbols, and
relationships. In Jung’s view, archetypes were patterns of personality
that are the shared heritage of the human race.
Jung proposed there is a collective unconscious shared by all, and when
we enter the world of fairy tales and myths, these stories begin to
reflect all times and cultures. And it is from this collective
unconscious where the same character types seem to occur: questing
heroes, heralds to call them to adventure, mentors to guide them,
guardians to block their path, shape shifting companions full of
surprises, and shadowy villains hell-bent on destroying them, and
mischievous tricksters to provide comic relief.
Although the number of archetypes is limitless, some characters may
switch from one archetype to another, and a character may even display
the qualities of more than one archetype, it is useful to examine with
the most significant, recurring archetypal images:
The Hero, The Child,
The Mother, The Sage, The Guardian, The Messenger, The Shapeshifter, The
Fox, and The Shadow.
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ARCHETYPES - CLASS EXERCISE (BLOGS)
In your blogs
1. define, understand & write out the above terms:
2. Give 5 examples of movie/tv show characters that is considered under each term:
The Hero, The Child,
The Mother, The Sage, The Guardian, The Messenger, The Shapeshifter, The
Fox, and The Shadow.
3. Name 3 characters from a movie/tv show and apply the character arc to these 3 characters
3. Name 3 characters from a movie/tv show and apply the character arc to these 3 characters
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A CHARACTER ARC
source: wikipedia
A character arc is the status of the character as it unfolds throughout the story, the storyline or series of episodes. Characters begin the story with a certain viewpoint and, through events in the story, that viewpoint changes. A character arc generally only affects the main character in a story, though other characters can go through similar changes.
More on character arc: http://youtu.be/9Su7TZFWkf4
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A CHARACTER ARC
source: wikipedia
A character arc is the status of the character as it unfolds throughout the story, the storyline or series of episodes. Characters begin the story with a certain viewpoint and, through events in the story, that viewpoint changes. A character arc generally only affects the main character in a story, though other characters can go through similar changes.
More on character arc: http://youtu.be/9Su7TZFWkf4
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The Writer's Journey: Mythic Structure for Writers
From Wikipedia, the free encyclopedia
| The Writers Journey | |
|---|---|
 |
|
| Author(s) | Christopher Vogler |
| Country | United States |
| Language | English |
| Genre(s) | Non-fiction |
| Publisher | Michael Wiese Productions |
| Publication date | 2007 |
| Media type | Paperback |
| Pages | 407 |
| ISBN | 978-1-932907-36-0 |
| OCLC Number | 154677482 |
| Dewey Decimal | 808.2/3 22 |
| LC Classification | PN1996 .V64 2007 |
The Writer's Journey: Mythic Structure For Writers is a popular writers' textbook by screenwriter Christopher Vogler, focusing on the theory that most stories can be boiled down to a series of narrative structures and character archetypes, described through mythological allegory.[1] Vogler based this work upon the writings of mythologist Joseph Campbell, particularly The Hero with a Thousand Faces, and holds that all successful films innately adhere to its principles. The book was very well received upon its release, and is often featured in recommended reading lists for student screenwriters.[2][3][4]
Contents |
Hero's Journey Overview
- Heroes are introduced in the ORDINARY WORLD
- they receive the CALL TO ADVENTURE
- They are RELUCTANT at first or REFUSE THE CALL, but
- are encouraged by a MENTOR to
- CROSS THE THRESHOLD and enter the Special World, where
- they encounter TESTS, ALLIES, AND ENEMIES.
- They APPROACH THE IN-MOST CAVE, cross a second threshold
- where they endure the ORDEAL
- They take possession of their REWARD and
- are pursued on THE ROAD BACK to the Ordinary World.
- They cross the third threshold, experience a RESURRECTION, and are transformed by the experience.
- They RETURN WITH THE ELIXIR, a boon or treasure to benefit the ORDINARY WORLD.
Stages of the Journey
Its stages are:1. THE ORDINARY WORLD. The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero’s life is pulling in different directions and causing stress.
2. THE CALL TO ADVENTURE. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.
3. REFUSAL OF THE CALL. The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly. Alternately, another character may express the uncertainty and danger ahead.
4. MEETING WITH THE MENTOR. The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey. Or the hero reaches within to a source of courage and wisdom.
5. CROSSING THE THRESHOLD. At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.
6. TESTS, ALLIES AND ENEMIES. The hero is tested and sorts out allegiances in the Special World.
7. APPROACH TO THE IN-MOST CAVE. The hero and newfound allies prepare for the major challenge in the Special world.
8. THE ORDEAL. Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear. Out of the moment of death comes a new life.
9. THE REWARD. The hero takes possession of the treasure won by facing death. There may be celebration, but there is also danger of losing the treasure again.
10. THE ROAD BACK. About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home. Often a chase scene signals the urgency and danger of the mission.
11. THE RESURRECTION. At the climax, the hero is severely tested once more on the threshold of home. He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level. By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.
12. RETURN WITH THE ELIXIR. The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.[5]
Archetypes
According to Vogler's analysis, the Journey is populated by archetypes—basic functions that tend to appear in every story. They are recurring patterns of human behavior, symbolized by standard types of characters in movies and stories.1. HEROES Central figures in stories. Everyone is the hero of his or her own myth.
2. SHADOWS Villains, antagonist or enemies, perhaps the enemy within. The dark side of the Force, the repressed possibilities of the hero, his or her potential for evil. Can be other kinds of repression, such as repressed grief, anger, frustration or creativity that is dangerous if it does not have an outlet.
3. MENTORS The hero’s guide or guiding principles, for example Yoda, Merlin, Gandalf, a great coach or teacher.
4. HERALD One who brings the Call to Adventure. Could be a person or an event.
5. THRESHOLD GUARDIANS The forces that stand in the way at important turning points, including jealous enemies, professional gatekeepers, or your own fears and doubts.
6. SHAPESHIFTERS In stories, creatures like vampires or werewolves who change shape. In life, the shapeshifter represents change or ambiguity. The way other people (or our perceptions of them) keep changing. The opposite sex, the way people can be two-faced.
7. TRICKSTERS Clowns and mischief-makers, Bugs Bunny and Daffy Duck, Richard Pryor and Eddie Murphy. Our own mischievous subconscious, urging us to change.
8. ALLIES Characters who help the hero through the change. Sidekicks, buddies, girlfriends who advise the hero through the transitions of life.[5]
History
The book stems from a seven page studio memo, "A Practical Guide to The Hero with a Thousand Faces",[6] based on Campbell's work, which Vogler wrote while working for Disney. An earlier edition, The Writer's Journey: Mythic Structure for Storytellers and Screenwriters, was published in 1992. Vogler revised the book for a second release in 1998 and changed the title to The Writer's Journey: Mythic Structure For Writers. The third edition, published in 2007, included a new introduction, new artwork and analysis of recent, popular motion pictures.Title
The title of the book was influenced by a number of sources. The first came from Campbell's text, The Hero with a Thousand Faces. Later, in the 1980s, two documentaries would introduce the phrase, The Hero's Journey into popular discourse. The first, released in 1987, The Hero's Journey: The World of Joseph Campbell was accompanied by a 1990 companion book, The Hero's Journey: Joseph Campbell on His Life and Work. The second was Bill Moyers' series of seminal interviews with Campbell, released in 1988 as the documentary (and companion book) The Power of Myth.References
- ^ BBC Writers Room staff. "Christopher Vogler's screenwriting workshop". BBC Writers Room. Archived from the original on 2007-08-18. Retrieved 2007-08-18.
- ^ Exposure staff. "Recommended Reading". Exposure.co.uk. Retrieved 2007-08-06.
- ^ De Montfort University. "Recommended Reading". Demontfort University Official Website (Humanities). Archived from the original on 2007-02-17. Retrieved 2007-08-06.
- ^ Editing Service Staff. "Books about Writing". OgleMoore staff. Retrieved 2007-08-06.
- ^ a b The Writer's Journey, Christopher Vogler, http://www.thewritersjourney.com/hero%27s_journey.htm
- ^ Vogler, Christopher. "A Practical Guide to The Hero with a Thousand Faces". An online copy of the memo.
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story-telling techniques:
What is linear storytelling? (please google this)
Some story-telling techniques:
1. journey / quest or goal-achievement / education
2. rivalry / testing
3. discovery / coming of age
4. love / forbidden love
5. problem-solution / question-answer
below, source: wikipedia
Linear and non-linear narrative structures
A non-linear narrative is one that does not proceed in a straight-line, step-by-step fashion, such as where an author creates a story's ending before the middle is finished. Linear is the opposite, when narrative runs smoothly in a straight line, when it is not broken up.
Flashback movies are often confused with true non-linear narratives. Although they appear to open (very briefly) with the ending, flashback movies almost immediately jump back to the very beginning of the story to proceed linearly from there and usually proceed past the supposed "ending" shown at the beginning of the movie.
A classic example of a non-linear narrative is the 1994 film Pulp Fiction. The film is ostensibly three short stories, which upon closer glance are actually three sections of one story with the chronology broken up; no "flashbacks" are involved.
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