WEEK TWO 05/02/2018
PRESENT SUMMARIES OF ‘THE WRITER’S JOURNEY’ BY CHRISTOPHER VOGLER
+ COMPARE WITH ‘THE HERO’S JOURNEY’ BY JOSEPH CAMPBELL
+ EXAMPLES OF CONTEMPORARY CINEMA TO ILLUSTRATE
+ IN PECHA KUCHA FORMAT
Team Eight; Ben, Neale and Paul, and foundation students Tanith and Josh.
Below are the slides I created (pg. 187 – 190) along with the transcript.
above ‘The Road Back’ is the hero’s re-dedication to their journey after the lull of the reward stage, reinvigorating the energy and pace of the narrative.
Reasons to go back can be a decision to take the true quest or to escape.
In Campbell’s chapter ”Return” there is similar discussion stating the hero must return home with his ‘trophy’ to continue to the stage of change (Resurrection).
above The payoff from the Ordeals may cause hesitation on pursuing the rest of the quest for the greater good. So why would he leave?
A new piece of information that drives the hero forward – be it morality or guilt – or fear of the undefeated foe.
A new piece of information/a posthumous note from Ellie that emotionally motivates Carl in ‘UP’ after he completes the main goal – Ellie’s adventure. He is then prompted to live his own adventure, rescuing his new companions he met during the adventure.
Campbell writes of two narrative outcomes for the hero’s Road Back; The hero will be supported by the world itself if they are to make good with the balance of nature, or if the hero takes from an opposing force they will have more obstacles to overcome to reach the end.
above The undefeated foe, can mean another final Ordeal the hero must face. In retaliation the villain can come back stronger or with a taste of revenge. Coming in the forms of a loved one of the destroyed villain earlier in the narrative or can even be the hero’s own repressed flaws.
In ‘Fight Club’, the Narrator is eventually revealed to have dissociative personalities, manifesting ‘Tyler Durden’ as an embodiment of all things he wishes he was. He must somehow destroy Tyler – a part of himself – to stop his plans to destroy the credit company buildings.
above Expendable Friends represents the companion or tertiary characters that the avenging force can attack that will weaken the hero indirectly, allowing for the continued survival of the hero, tension and narrative to build into a chase scene or rescue mission.
In this part of the trilogy, Frodo and his companions split off – Frodo decides to continue to Mordor without his friends whilst Merry and Pippin are captured and Boromir dies. Frodo has been weakened without being unable to complete his quest.
Campbell notes that at this point a hero may need a guide to help them continue.