A2 Media StudiesTheoretical Evaluation of Production<br />Propp’s character types applied <br />Identify the character(s) who best fits the type from each text<br /><ul><li>The Lion, The Witch and The WardrobeCompare the market – Meerkat v MongooseThe villain — struggles against the hero.The donor — prepares the hero or gives the hero some magical object.The (magical) helper — helps the hero in the quest.The princess or prize — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. the hero's journey is often ended when he marries the princess, thereby beating the villain.her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father cannot be clearly distinguished.The dispatcher — character who makes the lack known and sends the hero off.The hero or victim/seeker hero — reacts to the donor, weds the princess.False hero — takes credit for the hero’s actions or tries to marry the princess.</li></ul>Is it easy to apply the model to different media forms?<br />Vogler – The Hero’s Journey<br />Can you identify different elements of the Vogler’s model of the hero’s journey to these 2 texts?<br /><ul><li>Vogler’s 12 stepsThe Lion, The Witch and The WardrobeCompare the market – Meerkat v MongooseOrdinary World The hero's normal world before the story beginsCall to Adventure - The hero is presented with a problem, challenge or adventure to undertakeRefusal of the Call - The hero refuses the challenge or journey, usually out of fearMeeting with the Mentor - The hero meets a mentor to gain confidence, advice or training to face the adventureCrossing the First Threshold - The hero crosses the gateway that separates the ordinary world from the special worldTests, Allies, Enemies - The hero faces tests, meets allies, confronts enemies & learn the rules of the Special World.Approach - The hero has hit setbacks during tests & may need to reorganize his helpers or rekindle morale with mentor's rally cry. Stakes heightened.Ordeal - The biggest life or death crisis – the hero faces his greatest fear & only through “death” can the hero be “reborn” experiencing even greater powers to see the journey to the end.Reward - The hero has survived death, overcome his greatest fear and now earns the reward he sought.The Road Back - The hero must recommit to completing the journey & travel the road back to the Ordinary World. The dramatic question is asked again.Resurrection - Hero faces most dangerous meeting with death – this shows the hero can apply all the wisdom he's brought back to the Ordinary WorldReturn with Elixir - The hero returns from the journey with the “elixir”, so everyone in the world can use to heal physical or emotional wounds.
lefttopMEDIA STUDIES 4 KEY CONCEPTS:FORMS & CONVENTIONS AUDIENCE REPRESENTATION MEDIA LANGUAGE098000MEDIA STUDIES 4 KEY CONCEPTS:FORMS & CONVENTIONS AUDIENCE REPRESENTATION MEDIA LANGUAGE</li></ul>“Media texts rely on cultural experiences in order for audiences to easily make sense of narratives”. Explain how you used conventional and / or experimental narrative approaches in one of your production pieces. <br /> <br />Essay planning task<br />Using the structure below, plan a response to this question based on either your AS or A2 coursework<br />State what coursework production you are going to discuss and what your argument is going to be.<br />Demonstrate what your understanding of conventional narrative approaches are (Propp / Levi-Strauss / Todorov / Vogler)<br />Example 1 – Propp & Levi-Strauss<br />Example 2 – Todrov<br />Example 3 – Vogler<br />Evaluate – what do your 3 examples show about how you have used conventional narrative approaches<br />Discuss – why didn’t you use experimental / alternative narrative approaches (Avant-garde – Un Chien Andalou)<br />Conclusion – summary of argument<br />