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Mythic Structure Based on Joseph Campbell’s The Hero with a Thousand Faces And Chris Vogler’s The Writer’s Journey

Mythic Structure

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Mythic Structure. Based on Joseph Campbell’s The Hero with a Thousand Faces And Chris Vogler’s The Writer’s Journey. Storytelling and Myth. Carl Jung Strong correspondence between dreams and mythology Both come from a deeper source in the “collective unconscious” of the human race. - PowerPoint PPT Presentation

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Page 1: Mythic Structure

Mythic Structure

Based on Joseph Campbell’s The Hero with a Thousand Faces

And Chris Vogler’sThe Writer’s Journey

Page 2: Mythic Structure

Storytelling and MythCarl Jung

Strong correspondence between dreams and mythology

Both come from a deeper source in the “collective unconscious” of the human race.

Repeating characters such as young hero, wise old man or woman, shapeshifter, shadowy antagonist same as those who appear in our dreams.

Page 3: Mythic Structure

Storytelling and MythThis is why myths and stories based

on myths have a ring of psychological truth.

Deal with childlike universal questions such as:Who am I? Where did I come from? What

happens when I die? What is good? What is evil? What can I do about it? What will tomorrow be like? What is time?

Page 4: Mythic Structure

Hero’s JourneyHero’s story is always a journey. Leaves comforts of home to venture

into a challenging, unfamiliar world. Can be outward journey (actual place)Inward journey (of the mind, the heart,

the spirit.)

Page 5: Mythic Structure

Hero’s Journey 12 Stages1. Ordinary world2. Call to Adventure3. Refusal of the Call4. Meeting with the Mentor5. Crossing the First Threshold6. Tests, Allies, Enemies7. Approach to the Inmost Cave8. Ordeal9. Reward (Seizing the Sword)10. The Road Back11. Resurrection12. Return with the Elixir

Page 6: Mythic Structure

Hero’s JourneyAct One

Departure and SeparationOrdinary worldCall to AdventureRefusal of CallSupernatural Aid (mentor)Crossing the First Threshold

Page 7: Mythic Structure

Hero’s JourneyAct Two

Descent, Initiation, PenetrationRoad of Trials (Tests, Allies, Enemies)Ordeal (Meeting with the Goddess,

Woman as Temptress, Atonement with Father, Apotheosis)

Reward

Page 8: Mythic Structure

Hero’s JourneyAct Three

Return (The Road Back)Refusal of the ReturnMagic FlightRescue from WithinCrossing the ThresholdReturnResurrection (Master of the 2 Worlds)Return with the Elixir (Freedom to Live)

Page 9: Mythic Structure

1. Ordinary WorldTaking hero from ordinary world

(mundane) to special world. “Fish out of water” - Wizard of Oz, Trading Places, Star Wars.

Page 10: Mythic Structure

2. Call to AdventureProblem is presented. Can no longer

remain in the comfort of the Ordinary World.

Star Wars - Princess Leia’s holograph.

Central question. Will Luke rescue the princess?

Will they fall in love?

Page 11: Mythic Structure

3. Refusal of the Call(Reluctant Hero)

Fear! Terror of unknown.Need some other influence to

convince her -- change in circumstances, more disruption, encouragement of the Mentor. (Star Wars- Aunt and Uncle killed)

Page 12: Mythic Structure

4. MentorIntroduction of Merlin-like characterCommon in mythology and rich in

symbolic value. Bond between parent/child,

teacher/student, god/man.Coach in Rocky, Obi Wan/Yoda, Lou

Grant.

Page 13: Mythic Structure

5. Crossing the First Threshold

Hero commits to adventure.Story takes off/ Central question is

clear and looks hard to solve.Turning point between Act One

and Act Two.Axel Foley decides to defy his

boss’s order in Beverly Hills Cop.

Page 14: Mythic Structure

6. Tests, Allies and Enemies

Begin to learn the rules of the Special World.

Saloons, seedy bars, Rick’s Café in Casablanca, Cantina in Star Wars (meets Han Solo and Jabba the Hutt).

Tests continue in Star Wars when Obi Wan teaches Luke about the Force.

Page 15: Mythic Structure

7. Approach to the Inmost Cave

Hero at edge of danger where the object of quest is hidden.

The most dangerous spot in the Special World.

Crosses Second Threshold to enter this dangerous place. Approach.

Land of the Dead in mythology (Orpheus descending into Hell to rescue loved one), Arthurian stories - Chapel of Perilous, the chamber containing the Grail. Star Wars - ?

Page 16: Mythic Structure

8. The OrdealFortunes of hero hit the bottom -

confrontation with greatest fear.Star Wars - Trapped in giant

trashmasher, ET - dies on operating table - death of a relationship in romance--things look bleak. Initiation.

Page 17: Mythic Structure

9. RewardSurvived death, take possession of

treasure, reap reward. Hero becomes hero.

“Sword” = knowledge, experience, understanding, reconciliation.

Star Wars - Rescue Leia, capture plans of Death star - keys to defeating Vader.

Return of Jedi - Reconciliation with Darth Vader/father.

Page 18: Mythic Structure

10. Road BackNot out of woods yet. Deal with consequences of

confronting the dark forces. Great chase scenes here.

Luke and Leia pursued by Vader. Moonlight bicycle ride in ET.

Decision to return to the Ordinary World. (Turning Point to Act Three)

Page 19: Mythic Structure

11. ResurrectionPurification, Rebirth, Cleansing before

returning to the Ordinary World.Almost replay of Ordeal. Final shot of

Death and Darkness. Final test.Final battle scene in Star Wars

movies.Beverly Hill Cop - Axel Foley rescued

by Beverly Hills police.

Page 20: Mythic Structure

12. Return with the ElixirThe Return to the Ordinary World

has meaning because of the Elixir hero brings back - treasure, lesson learned, knowledge, love.

ET - friendship, Star Wars - end of Vader, peace.

Journey must be repeated if no Elixir.

Page 21: Mythic Structure

Hero’s Journey1. Heroes introduced in ORDINARY WORLD,

where2. They receive the CALL TO ADVENTURE.3. They are RELUCTANT at first (REFUSE THE

CALL), but4. Are encouraged by a MENTOR to5. CROSS THE THRESHOLD and enter

Special world, where6. They encounter TESTS, ALLIES, AND

ENEMIES.

Page 22: Mythic Structure

Hero’s Journey7. They APPROACH THE INMOST CAVE, crossing

a second threshold8. Where they endure the ORDEAL.9. They take possession of their REWARD and10. Are pursued on THE ROAD BACK to the

Ordinary World.11. They cross the third threshold, experience a

RESURECTION and are transformed by the experience.

12. They RETURN WITH THE ELIXIR, a boon or treasure to benefit the Ordinary World.

Page 23: Mythic Structure

Mythic structure of Horror Films

“Be Afraid, Be Very Afraid.” Plays with our fears for one effect:

to terrify, horrify and sometimes just gross out the audience.

Audience expects to experience a horrifying journey. Relish a good scare.

Page 24: Mythic Structure

Mythic structure of Horror Films

Root of horror: PowerlessnessSometimes not the known monster

but the Shadow that cannot be apprehended.

Force of chaos must be defeated.

Page 25: Mythic Structure

3 Types of Horror Stories1. Man battles outside monster -

vampires, diseases, aliens, sharks.2. Man creates the monster -

Frankenstein, The Fly.3. Man is the Monster. Man

confronts the dark side of his nature. - Dr. Jekyll and Mr. Hyde, Halloween, Silence of the Lambs.

Page 26: Mythic Structure

Silence of the LambsScreenplay by Ted TallyBased on book by Thomas HarrisDirected by Jonathan Demme1991Starring Jody Foster and Anthony

Hopkins

Page 27: Mythic Structure

Silence of the LambsDr. Hannibal Lecter. Brilliant.

Cunning. Psychotic. In his mind lies the clue to a ruthless killer. - Clarice Starling, FBI. Brilliant. Vulnerable. Alone. She must trust him to stop the killer.

Page 28: Mythic Structure

The Journey1. Ordinary World - FBI Academy

Clarice aspires to work for jack Crawford in the FBI’s Behavior Science Division after graduation - her Outer Problem. She worshipped her father, a town marshal, and felt abandoned when he was murdered. Her Inner Problem is to come to terms with his death.

Page 29: Mythic Structure
Page 30: Mythic Structure
Page 31: Mythic Structure

The Journey2. Call to Adventure - Convince convicted

serial killer Hannibal Lecter to fill out a questionnaire - help catch Buffalo Bill

3. Refuse the Call (Reluctant) - Clarice is enthusiastic until warning from Crawford “Don’t want Hannibal Lecter in your head”

4. Mentor - Crawford encourages but warns her. Lecter is a Shadow Mentor

5. Cross the Threshold - On case to solve Buffalo Bill murders.

Page 32: Mythic Structure
Page 33: Mythic Structure

The Journey6. Tests, Allies and Enemies - Test -

locate the “Your Self Storage” Discovers a car and headless mannequin plus man’s head in a jar. More tests - autopsy, finds insect pupa in victim’s mouth. Allies: entomologists find clue - rare Death’s Head Moth.

Page 34: Mythic Structure

The Journey7. Approach Inmost cave (cross second

threshold) - Catherine Martin is kidnapped by Buffalo Bill. Stake are raised, Crawford and Clarisse need to make a deal with Lecter--a room with a view in exchange for a profile of Buffalo Bill. Lecter accepts on condition that Clarice answers his questions (quid pro quo). She must allow Lecter to get into her mind. She accepts and tells of her father’s death.

Page 35: Mythic Structure

The Journey8. Ordeal - Dr. Chilton reveals that the FBI’s

deal is bogus, ruining the relationship between Clarice and Lecter.

Resurrection - Clarice give Lecter back his drawings and stands up to him, demanding the truth.

Lecter gives some information, but demands one more Ordeal - forces her to tell about her nightmare of the spring lambs an dhow saving Catherine would silence the screaming.

Page 36: Mythic Structure
Page 37: Mythic Structure

The JourneyClarisse presses Lecter to reveal Buffalo Bill’s name, but

Chilton interrupts. Clarice breaks free, grabs case file from Lecter’s outstretched hands. His fingers linger on hers. THIS IS A VERY TENSE ORDEAL! - SHE TOUCHES DEATH AND HE SETS HER FREE.

9. Reward - Buffalo Bill knew his victims.10.Road Back - Discovers diamond shaped

darts in dress, phones Crawford. He already knows identity of Buffalo Bill. She is asked to stay to find a connection between Buffalo Bill and latest victim.

Page 38: Mythic Structure
Page 39: Mythic Structure

The Journey11. Resurrection - FBI looks in wrong spot.

Clarice stumbles upon actual home and sees the Death’s Head Moth, leading to Clarice’s resurrection sequence. Clarice pursues Buffalo Bill into house, discovers Catherine, finds skinning room, lights go out. Surrounded by darkness and death, clarice is unaware that Gumb pursues her with infrared goggles. He taunts her, points gun at her. Clarice hears the metallic click of gun, turns and shoots--Resurrection complete.

Page 40: Mythic Structure

The Journey12.Return with Elixir - Several Elixirs

1. Case is solved2. Buffalo Bill is dead3. Catherine is rescued4. Clarice graduates5. Earns Crawford’s respect6. Mentor Crawford tells Clarice her father would be

proud.7. Phone call from another proud Mentor - Lecter8. Lecter tells Clarice she is safe (Elixir of Life)

Page 41: Mythic Structure

ArchetypesCharacters that populate the world

- ancient patterns of personality that are the shared heritage of the human race.

Change throughout a story

Page 42: Mythic Structure

Facets of the Hero’s personality

Classic archetypes = facets of personality.

Higher self, shapeshifter, threshold guardian, trickster, shadow, herald, allies, mentor.

Plus Good Mother, Wicked Stepmother, Witch, Fairy Godmother, Prince, etc.

Page 43: Mythic Structure

Nature of archetypesWhat psychological function or

part of the personality does it represent?

What is the dramatic function in a story?

Page 44: Mythic Structure

HeroGreek - “To protect and to serve.”Self-sacrificePsychological Function:

EgoPart of personality that separates from

the mother, distinct from the rest of humans

Heroes start as all ego and learn to transcend the illusions of ego.

Page 45: Mythic Structure

HeroDramatic Function:

Window into the StoryWe are invited to identify with the

Hero, to see the world through her eyes.

Universal qualities, emotions and motivations.

Page 46: Mythic Structure

HeroGrowth

Hero learns or grows in the story. Main character is the one who learns

the most.Action

Hero is most active person in the script.Should perform the decisive action of

the story, taking the most risk or responsibility.

Page 47: Mythic Structure

Hero Sacrifice - “making holy”

Sacrifice is the true mark of the Hero.Willing to give up something of value on

behalf of an ideal or a group. Dealing with Death

Confrontation with death at heart of the story (real, threat of death, symbolic death).

Hero models how to deal with death.Martin Luther King, Gandhi

Page 48: Mythic Structure

HeroHeroism in other characters

Not just in main characterObi Wan becomes hero when he

sacrifices himself to save Luke.Character Flaws

Interesting flaws make us human help audience identify with protagonist.

Give character somewhere to “go”.Hero restored to “wholeness”.

Page 49: Mythic Structure

Varieties of HeroWilling/Unwilling

Gung ho hero vs. doubtful, hesitant, passive, needing motivation.

Page 50: Mythic Structure

Varieties of HeroAnti-hero

Outlaw from viewpoint of society, but person who audience sympathizes with.

Two types1. Characters who behave like a hero but are

cynical or flawed (Bogart in Casablanca, James Dean in Rebel without a Cause, Sean Penn in Dead Man Walking)

2. Tragic heroes who we don’t like or who aren’t admirable - often brought down in story. (Macbeth, Al Pacino in Scarface, Joan Crawford in Mommie Dearest)

Page 51: Mythic Structure

Varieties of HeroGroup-Oriented Hero

Begin as part of society with journey taking them far from home. Act One is about the separation from the group.

Loner HeroBegin with hero as loner, journey is

re-entry into the group. (Westerns)

Page 52: Mythic Structure

Varieties of HeroCatalyst Hero

Central figures who may act heroically, but who do not change much themselves.

They function to bring about transformation in others. (Eddie Murphy in Beverly Hills Cops, comic strips and TV series)

Page 53: Mythic Structure

MentorCampbell: Wise Old Man or Wise

Old WomanPositive figure - God inspiredFrom “The Odyssey” Mentor

guides Telemachus on his journey.

Page 54: Mythic Structure

MentorPsychological Function

Self - the god within us, connection with all things. Higher self is wiser, nobler.

Conscience Guide (Jimminy Cricket)Hero’s highest aspirations.Related to image of the parent.

(Dumbledore is like a parent to Harry Potter)

Page 55: Mythic Structure

Mentor Dramatic Functions

TeachingGift-giving - temporarily aids the hero, often by

giving some gift. (Obi Wan giving his father’s light saber to Luke)

Gifts should be earned by learning, sacrifice or commitment.

Mentor as Inventor--gifts are devices or inventionsHero’s conscienceMotivates heroSexual initiation (shakti)

Page 56: Mythic Structure

Types of MentorsDark Mentors

Used to mislead the audience, lures hero into danger.

In anti-hero stories, anti-Mentor guides the anti-hero on road of crime

Fallen MentorsStill on hero’s journey of their own.

(Tom Hanks in A League of their Own)

Page 57: Mythic Structure

Types of MentorsContinuing Mentors

Used to give assignments in continuing stories (Alfred in Batman, “M” in Bond movies)

Multiple MentorsCan be used to express different

functions of the archtype. (Bond, “M” gives assignments, “Q” gives gadgets, “Miss Moneypenney gives advice).

Page 58: Mythic Structure

Types of MentorsComic Mentors

In romantic comedies. Friend or colleague who gives advice or helps with schemes

Inner MentorsUnspoken code in Westerns or film noir.

Flexibility Mentor comes in many forms

Mentor as ShamanRelated to healer in tribal cultures.

Page 59: Mythic Structure

Threshold GuardianGuardian at the gateway to a new

world, keeps unworthy from entering.

Psycological Function - neuroses, scars

Dramatic Function - testingSuccessful heroes learn to recognize

this as an ally.

Page 60: Mythic Structure

HeraldIssues the challenge and announces the

coming of a significant change.Can be a person or a force.Psychological Function: Shifts the hero’s

balance to entice them to begin journey.

Dramatic Function: motivation Types of heralds:

Positive, negative or neutral.

Page 61: Mythic Structure

ShapeshifterChange appearance or moodDifficult to pin down or understand.Keeps hero guessing.Dramatic function - doubt and

suspenseHero can become shapeshifter

(Whoopi Goldberg in Sister Act)Villain can shape shift (Snow White)

Page 62: Mythic Structure

ShadowEnergy of the dark sideProjected onto villains,

antagonists, enemies.In conflict with hero

Page 63: Mythic Structure

ShadowPsychological function

Repressed feelings.Psychoses that threatens to destroy

us.Shady part of ourselves

Dramatic functionFunction or Mask that can be worn by

any character.Shadow mentor (Hannibal Lecter)

Page 64: Mythic Structure

ShadowPsychological function

Repressed feelings.Psychoses that threatens to destroy us.Shady part of ourselves

Dramatic functionFunction or Mask that can be worn by

any character.Shadow mentor (Hannibal Lecter)Humanizing the shadow

Page 65: Mythic Structure

TricksterMischief and desire for change.Psychological function

Cut egos down to sizeBring heroes and audience down to

earthDramatic function: comic reliefTrickster heroes (Bugs Bunny,

Chaplin)