Sunday, November 16, 2008
Friday, November 14, 2008
Reflection and Action
- As a reflection on the rhetorical analysis, I've noticed that there is a variety of ways to explore stress relief and ways to do it. Board games, relaxing songs, and exciting college frat movies all provide influences of stress relief.
- I plan on interviewing my roommate on one of his many stories to relieve stress. He has long busy days, and many times comes back to the room wore out. Him and I together have enjoyed relaxing in many ways and have a few stories of our own.
- I volunteer at Academy Prep as a teacher in the math classroom and as a coach for the baseball team. Being out on the field coaching young kids lets me enjoy my afternoon and lightens up the mood after a long day.
Monday, November 10, 2008
Annotated 10
Vogler, Christopher. “Epilogue: Looking Back On the Journey.” The Writer’s Journey:Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,2007. 231-291.
Summary
In Vogler's chapter "Looking Back on the Journey", he explains methods of how to analyze stories. First, Vogler states that a story does not necessarily have to follow the Hero's Journey model completely. The journey is more of a guideline. Just the same, the needs of a story dictate its structure. Other methods include choosing a metaphor for you to compare to the story, and designing a template to put the pieces of where the Journey may appear in the story.
Vogler then analyzes the movie the Titanic. He explains how it was expected to be a bust, and ended up making a huge profit and winning many awards. He went through the story pointing out all the times where the Hero's Journey was used. He then went through The Lion King, Pulp Fiction, and The Full Monty doing the same with each story. He also hit upon Star Wars.
Reaction
Vogler shows how stories can differ compared to one another as well as differ from the Hero's Journey. Great stories do not necessarily follow the guidelines completely, which keeps the audience on their toes. Each of the four stories use aspects of the Hero's Journey to make for an exciting story. The Titanic was difficult and not expected to do well, but the writers used Quantum Movie Events and people all over the world watched the movie over and over.
Questions
1) Like Titanic, what other movies were thought to bust but made a great profit?
2) Are there more ways Vogler could have explained to analyze a film?
3) What movies follow the Hero's Journey directly?
Summary
In Vogler's chapter "Looking Back on the Journey", he explains methods of how to analyze stories. First, Vogler states that a story does not necessarily have to follow the Hero's Journey model completely. The journey is more of a guideline. Just the same, the needs of a story dictate its structure. Other methods include choosing a metaphor for you to compare to the story, and designing a template to put the pieces of where the Journey may appear in the story.
Vogler then analyzes the movie the Titanic. He explains how it was expected to be a bust, and ended up making a huge profit and winning many awards. He went through the story pointing out all the times where the Hero's Journey was used. He then went through The Lion King, Pulp Fiction, and The Full Monty doing the same with each story. He also hit upon Star Wars.
Reaction
Vogler shows how stories can differ compared to one another as well as differ from the Hero's Journey. Great stories do not necessarily follow the guidelines completely, which keeps the audience on their toes. Each of the four stories use aspects of the Hero's Journey to make for an exciting story. The Titanic was difficult and not expected to do well, but the writers used Quantum Movie Events and people all over the world watched the movie over and over.
Questions
1) Like Titanic, what other movies were thought to bust but made a great profit?
2) Are there more ways Vogler could have explained to analyze a film?
3) What movies follow the Hero's Journey directly?
Tuesday, November 4, 2008
Four Modes
Stress and Stress Relief.
Song: "It's 5 O-clock Somewhere" ~ Alan Jackson & Jimmy Buffett
Visual Image 
:
:Movie: "Animal House"
Book: "Catcher in the Rye" ~ J.D. Salinger
Monday, November 3, 2008
Annotated Bib #9
Vogler, Christopher. “The Resurrection”, “Return with the Elixir”. The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary
"The Resurrection" part of the story is the most challenging for the writer as he has to have a climax and a change into a new world for the hero. The change shows a death and rebirth, and can be portrayed with a new personality. The climax can be a physical showdown or a difficult choice such as a sexual climax, musical crescendo, or highly emotional confrontation. Other types of climaxes include a quiet climax and rolling climaxes. Types of resurrection are the last chance for a hero to make a major attitude change, a potential misstep for a returning hero, proof of the claimant, sacrifice by the hero, and change and incorporation to show what the hero has learned throughout the journey.
Summary
"The Resurrection" part of the story is the most challenging for the writer as he has to have a climax and a change into a new world for the hero. The change shows a death and rebirth, and can be portrayed with a new personality. The climax can be a physical showdown or a difficult choice such as a sexual climax, musical crescendo, or highly emotional confrontation. Other types of climaxes include a quiet climax and rolling climaxes. Types of resurrection are the last chance for a hero to make a major attitude change, a potential misstep for a returning hero, proof of the claimant, sacrifice by the hero, and change and incorporation to show what the hero has learned throughout the journey.
Wednesday, October 29, 2008
Annotation 8
Vogler, Christopher. “Reward,” “The Road Back.” The Writer’s Journey:Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,2007. 175-194.
Summary
In the "Reward" section of The Writer's Journey, Vogler explains a reward happens most often after a hero experiences living through a crisis such as near death. A reward can consist of a celebration such as a barbeque which refuels the hero and his men. Similarly, campfire scenes could be another way to celebrate with reflection upon the ordeal. Other rewards consist of love scenes, taking possession and seizing the sword, elixer theft, initiation, new perceptions, seeing through deception, clairvoyance, self-realization, and distortions. Epiphanies may happen as a reward in cases where the hero becomes a god and realizes his immortality. Gods connect to all things, including the people around him.
After the hero realizes the reward, its time for him and his men to make the journey back to the starting point, or to continue on the journey. Sometimes a hero decides to stay in the Special World, but most times he leaves. Their motivation to stay in the Special World is usually lost, and the hero wants to return home. If the hero had not completely finished off the villain, the villain may return more powerful on the hero's road back. The situation could lead to a hard fought battle and chase scenes. Chases could involve a magic flight, pursuit by admirers, or an escape by a villain. There are also many setbacks on the hero's journey home which could change his good fortune.
Reflection
A reward symbolizes a gift from one that is saved, such as love or a sword. It can also be a realization and epiphany of life. The reward is celebrated and reflected upon, and then the hero sets back to his journey home. While on the road back, the hero can run into villains that were not finished off. Also, the hero can run into obstacles that would keep him on his toes for the rest of the way.
Questions
1. What is an example of a hero that stays in the Special World, instead of returning home?
2. What ways would the road back be interesting if there is not a villain or other obstacle to get in his way after receiving the reward?
3. Does the hero necessarily have to use the road back, or can a story skip and go straight to the resurrection?
Summary
In the "Reward" section of The Writer's Journey, Vogler explains a reward happens most often after a hero experiences living through a crisis such as near death. A reward can consist of a celebration such as a barbeque which refuels the hero and his men. Similarly, campfire scenes could be another way to celebrate with reflection upon the ordeal. Other rewards consist of love scenes, taking possession and seizing the sword, elixer theft, initiation, new perceptions, seeing through deception, clairvoyance, self-realization, and distortions. Epiphanies may happen as a reward in cases where the hero becomes a god and realizes his immortality. Gods connect to all things, including the people around him.
After the hero realizes the reward, its time for him and his men to make the journey back to the starting point, or to continue on the journey. Sometimes a hero decides to stay in the Special World, but most times he leaves. Their motivation to stay in the Special World is usually lost, and the hero wants to return home. If the hero had not completely finished off the villain, the villain may return more powerful on the hero's road back. The situation could lead to a hard fought battle and chase scenes. Chases could involve a magic flight, pursuit by admirers, or an escape by a villain. There are also many setbacks on the hero's journey home which could change his good fortune.
Reflection
A reward symbolizes a gift from one that is saved, such as love or a sword. It can also be a realization and epiphany of life. The reward is celebrated and reflected upon, and then the hero sets back to his journey home. While on the road back, the hero can run into villains that were not finished off. Also, the hero can run into obstacles that would keep him on his toes for the rest of the way.
Questions
1. What is an example of a hero that stays in the Special World, instead of returning home?
2. What ways would the road back be interesting if there is not a villain or other obstacle to get in his way after receiving the reward?
3. Does the hero necessarily have to use the road back, or can a story skip and go straight to the resurrection?
Monday, October 13, 2008
Annotated #6
Vogler, Christopher. “Crossing the First Threshold- Tests, Allies, Enemies.” The Writer'sJourney: Mythic Structure for Writers. Third. Studio City, CA: Michael WieseProductions, 2007.
Summary
Crossing the First Threshold is at the end of part 1 of the story. The first threshold is compared to the when a plane's wheels take off to get the journey started. The hero is committing fully to the adventure, and there is no turning back after the threshold. Some thresholds are externally imposed such as in North by Northwest, or they can be internal events such as in Ordinary People. Not only are they just external or internal, the events leading to the crossing of the first threshold could be a combination of both. The hero also reaches a threshold guardian who occupies the entrance of the threshold as a test.
After passing the first threshold and heading into the Special World there must be a contrast between the Ordinary World and the Special World. There has to be a "different feel, a different rythm, different prioties and values, and different rules." Then the hero runs into tests. These tests are meant to prepare the hero. Along with tests, allies and enemies are introduced. The allies will help with advice along the journey. Many allies are sidekicks to the hero, and they normally give the story a humorous side as the hero stays serious in the adventure. Then, enemies happen through a chain of events and are usually underlings of the villain. Enemies can also perform functions of other archetypes.
Reaction
To me, crossing the first threshold takes a will within the hero to want to move forward out of the ordinary world. He has to be able to get through his first test, which he may not be in control of such as a loss to a family member. The threshold guardian could have forced the threshold upon the hero, or he could be waiting for the hero. Each test after the threshold involves an enemy. These tests build the character and makes him grow. Allies are found between the tests as well as during. They help guide the hero.
Questions
1. Is there an instance in a movie where an ally or sidekick shapeshifts into the enemy?
2. Is there a certain number of tests that make for a good story?
3. How do we know when the hero is ready and has begun to face the villian and not his underlings?
Summary
Crossing the First Threshold is at the end of part 1 of the story. The first threshold is compared to the when a plane's wheels take off to get the journey started. The hero is committing fully to the adventure, and there is no turning back after the threshold. Some thresholds are externally imposed such as in North by Northwest, or they can be internal events such as in Ordinary People. Not only are they just external or internal, the events leading to the crossing of the first threshold could be a combination of both. The hero also reaches a threshold guardian who occupies the entrance of the threshold as a test.
After passing the first threshold and heading into the Special World there must be a contrast between the Ordinary World and the Special World. There has to be a "different feel, a different rythm, different prioties and values, and different rules." Then the hero runs into tests. These tests are meant to prepare the hero. Along with tests, allies and enemies are introduced. The allies will help with advice along the journey. Many allies are sidekicks to the hero, and they normally give the story a humorous side as the hero stays serious in the adventure. Then, enemies happen through a chain of events and are usually underlings of the villain. Enemies can also perform functions of other archetypes.
Reaction
To me, crossing the first threshold takes a will within the hero to want to move forward out of the ordinary world. He has to be able to get through his first test, which he may not be in control of such as a loss to a family member. The threshold guardian could have forced the threshold upon the hero, or he could be waiting for the hero. Each test after the threshold involves an enemy. These tests build the character and makes him grow. Allies are found between the tests as well as during. They help guide the hero.
Questions
1. Is there an instance in a movie where an ally or sidekick shapeshifts into the enemy?
2. Is there a certain number of tests that make for a good story?
3. How do we know when the hero is ready and has begun to face the villian and not his underlings?
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