Structure in media
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The document summarizes the plot of the Pixar film Cars and discusses Vladimir Propp's theory of character archetypes in narratives. It describes the equilibrium of Lightning McQueen's racing success, his disruption when he gets lost in Radiator Springs, and his work to restore order by helping the town and racing again. It then outlines Propp's character roles of Hero, Villain, Heroine, Father, Helper, Donor, and Mentor and provides the characters fulfilling those roles in the Pixar film Monsters, Inc.
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ILS 4176Mise En sceneRefers to the staging of a scene (the.docx
ILS 4176
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Refers to the staging of a scene (theater), in relation to setting, arrangement of the actors, the lighting, etc. In film, it describes the arrangement of elements of within the frame of a single shot.
Composition
The arrangement of all the elements within the screen image to achieve a balance of light, mass, shadow, color, and movement.
Camera Angles
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· High Angle: camera looking down at subject
Back Lighting
Lighting which comes from directly behind the subject, placing it in silhouette.
Close-Up
A shot in which a face or object fills the frame.
Dolly Shot
A shot taken while the camera is in motion
Steadicam
Other camera movements
Pan: horizontal camera movement
Motion
· Accelerated (Fast) Motion: higher speed than in reality
· Superman train scene
· Decelerated
Continuity
Continuity Editing: A style of editing that maintains a continuous and seemingly uninterrupted flow of action
Flash back
· A shot or sequence that takes the action of the story into the past
· Woody Allen’s Annie Hall
Cross-Cutting
Jumping back and forth between two or more locations, inviting us to find a relationship between two or more events.
Cinema Verite
A way of filming real-life scenes without elaborate equipment, playing down the technical means of production (script, special lighting, etc.) and emphasizing the “reality” of the screen world.
Sound
· Non-diegetic: sound that only audience hears
· Score
· Very important in many sports movies
· Rocky
· Hoosiers
· The Natural
· Rudy
· Chariots of Fire
· Voice-over
· Shawshank Redemption
Identify Themes From :”Anaksning the Grant” by Seth wickersham
Why is this a story worthy to be Told
What do we learn about sport thorough the story
How does the sport story help us understand something beyond sports?
Take home Quiz
Identify and explain 3 firm techniques from “dare to dream”
Type and submit Monday 12/12
Please edit for grammar. 1-2pages.
2016/12/13
Joseph Campbell
· The hero with a Thousand Faces
· The monomyth
· Importance of myth and the idea of the journey
“What human beings have in common is revealed in myths...[and myths] help you to put your mind in touch with this experience of being alive”(The Power of Myth)
The Journey
· Journey as cycle-leaving and returning
· Salman Rushdie: every story is about either leaving home or returning home
Hero’s Call
1. Introduced in the Ordinary World
2. Call to adventure
3. Reluctant at first of the call
4. Encouraged by Mentor
5. Mentor encourages hero to cross first threshold
6. In the special world, they encounter tests, allies and enemies
7. They approach the Innermost Cave corssing a second threshold ....
9. They take possession of their Reward
10. And they are pursued on the road back to the ordinary world
11. They cross the third threshold, experience a resurrection.
Narrative theorists
Vladimir Propp studied Russian folk tales and identified a set of 31 narrative functions - character types and actions - that commonly recur across these stories. Some of the main character types he identified include the villain, hero, donor, and princess. Propp also found that while different tales may omit some functions, the functions always appear in the same sequence. His work was influential for structuralist ideas that stories have an underlying structure and can be created by arranging abstract plot elements.
Approaches to Narrative
This document discusses various approaches to analyzing narrative structure. It describes Aristotle's view that narratives have a beginning, middle, and end. It also outlines Todorov's theory of an initial equilibrium being disrupted and later resolved, as well as Propp's identification of 31 possible narrative functions and Campbell's concept of a monomyth involving a hero's departure, initiation, and return. The document provides examples of character and situation archetypes and describes how theorists like Levi-Strauss, Campbell, and Vogler have influenced narrative analysis.
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
THE HERO’S JOURNEY
Joseph Campbell, an American mythological researcher, wrote a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell discovered many common patterns
running through hero myths and stories from around the world. Years of research lead
Campbell to discover several basic stages that almost every hero-quest goes through (no matter
what culture the myth is a part of). He calls this common structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars is such a popular saga because it
taps into a timeless story-structure which has existed for thousands of years.
Many followers of Campbell have defined the stages of his monomyth in various ways,
sometimes supplying different names for certain stages. For this reason there are many different
versions of the Hero’s Journey that retain the same basic elements.
THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by those who live there. Often
the heroes are considered odd by those in the ordinary world and possess some ability or
characteristic that makes them feel out-of-place.
The Wonderful Wizard of Oz: Dorothy in Kansas
The Hobbit: Bilbo Baggins in Hobbiton
Star Wars: Luke Skywalker on Tatooine
The Lion King: Simba at Pride Rock
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be removed from their typical
environment. Most heroes show a reluctance to leave their home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that starts them on the heroic path.
Heroes find a mystic object or discover their world is in danger. In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than the old one. Campbell describes
this new world as a “fateful region of both treasure and danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This description may seem pretty vague,
but think of all the various fantasy realms characters have entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer space, a
haunted house, or the Matrix. Regardless of the details, the new world is sure to be filled with
adventure.
The Wonderful Wizard of Oz: The tornado
The Hobbit: Gandalf the wizard arrives
Star.
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
THE HERO’S JOURNEY
Joseph Campbell, an American mythological researcher, wrote a famous book entitled The
Hero with a Thousand Faces. In his lifelong research Campbell discovered many common patterns
running through hero myths and stories from around the world. Years of research lead
Campbell to discover several basic stages that almost every hero-quest goes through (no matter
what culture the myth is a part of). He calls this common structure “the monomyth.”
George Lucas, the creator of Star Wars, claims that Campbell’s monomyth was the inspiration
for his groundbreaking films. Lucas also believes that Star Wars is such a popular saga because it
taps into a timeless story-structure which has existed for thousands of years.
Many followers of Campbell have defined the stages of his monomyth in various ways,
sometimes supplying different names for certain stages. For this reason there are many different
versions of the Hero’s Journey that retain the same basic elements.
THE ORDINARY WORLD
Heroes exist in a world is considered ordinary or uneventful by those who live there. Often
the heroes are considered odd by those in the ordinary world and possess some ability or
characteristic that makes them feel out-of-place.
The Wonderful Wizard of Oz: Dorothy in Kansas
The Hobbit: Bilbo Baggins in Hobbiton
Star Wars: Luke Skywalker on Tatooine
The Lion King: Simba at Pride Rock
THE CALL TO ADVENTURE
For heroes to begin their journeys, they must be called away from the ordinary world.
Fantastic quests don’t happen in everyday life. Heroes must be removed from their typical
environment. Most heroes show a reluctance to leave their home, their friends, and their life to
journey on a quest. But in the end they accept their destiny.
Usually there is a discovery, some event, or some danger that starts them on the heroic path.
Heroes find a mystic object or discover their world is in danger. In some cases, heroes happen
upon their quest by accident. Campbell puts it like this, “A blunder—the merest chance—reveals
an unsuspected world.”
The new world the hero is forced into is much different than the old one. Campbell describes
this new world as a “fateful region of both treasure and danger…a distant land, a forest, a
kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop,
or profound dream state…a place of strangely fluid and polymorphous beings, unimaginable
torments, superhuman deeds, and impossible delight”. This description may seem pretty vague,
but think of all the various fantasy realms characters have entered throughout the years:
Middle-Earth, Oz, Narnia, Wonderland. It could even be outer space, a
haunted house, or the Matrix. Regardless of the details, the new world is sure to be filled with
adventure.
The Wonderful Wizard of Oz: The tornado
The Hobbit: Gandalf the wizard arrives
Star.
Graphic Narrative Evaluation
Vladimir Propp analyzed character types in narratives and identified 8 common types including the hero, villain, princess, donor, and dispatcher. Propp's theory describes the hero's journey and tasks. Todorov's narrative theory proposes that stories follow a three-step structure of equilibrium, disruption, and new equilibrium or a five-step structure involving recognition and repair. Strauss argued stories require two opposing sides. The analyzed story section features a hero, villain, and donor and aligns somewhat with Propp's and Todorov's theories despite its brevity.
Section a narrative worksheet
The document discusses various character archetypes from Propp's morphological analysis of folktales. It identifies the villain, donor, magical helper, princess/prize, dispatcher, and hero as common character types. It then asks how easily Propp's model can be applied to different media forms. Next, it outlines the 12 steps of Vogler's "Hero's Journey" monomyth model and asks how elements of this model can be identified in The Lion, The Witch and The Wardrobe and a Compare the Market TV commercial. Finally, it provides planning questions for an essay on using conventional vs experimental narrative approaches in a media production piece.
Narrative theory’s
The document outlines the typical structure of narratives according to Tomorrow, including an initial equilibrium that is disrupted by an interruption which is then resolved, restoring a new equilibrium. It also discusses Propp's theory that stories typically involve 7 character roles - the villain, false hero, hero, donor, helper, dispatcher, and princess. The hero seeks to correct the disrupted equilibrium with help from the donor and often marries the princess in the end.
Vladmir Propp
Vladimir Propp was a literary critic who identified common character archetypes that frequently appear in narratives. He proposed that stories generally involve 8 character types performing specific roles: the hero, villain, dispatcher, donor, helper, false hero, princess, and struggle scene. Propp's theory influenced many filmmakers by providing a structure for crafting successful storylines.
Similar to Structure in media (20)
ILS 4176Mise En sceneRefers to the staging of a scene (the.docx
ILS 4176Mise En sceneRefers to the staging of a scene (the.docx
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
THE HERO’S JOURNEY Joseph Campbell, an American mythol.docx
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Structure in media
- 7. Character Type Role within Narrative Hero Leads the narrative, is normally on some kind of a quest or trying to solve a mystery (not always male). Villain Conflicts with hero. Heroine Is usually a prize or reward for the hero (not always female). Father A figure of authority who offers a reward to the hero for completing the quest. Reward could be a prince/princess or a cool new job. Helper Helps the hero – often a sidekick. Donor Gives the hero something – a clue, a talisman, a special power – which helps them complete their quest. Mentor Teaches and guides the hero.
- 8. Character Type Character Hero Sulley Villain Randall/ Henry J. Waternoose III Heroine Boo Father Henry J. Waternoose III Helper Mike Donor Yeti Mentor Henry J. Waternoose III