u64006 introduction to screenwriting week 4 narrative paradigms (2): voglers 12-step heros journey...

U64006 INTRODUCTION TO SCREENWRITING

WEEK 4

Narrative paradigms (2): Vogler’s 12-step “hero’s journey”

Case study – Shrek 2

THE FULL MONTY - THEMES• Cultural stereotypes on men and women (challenged and reversed)

• Old role of men as breadwinners• Men are repressed, inexpressive and deceptive• Self-defeating, disappointing as fathers/husband• Cross-section representation: labour/management,

white/black, hetero/gay, lean/stout, older/younger• Gaz is the protagonist, but plot(s) and

shared problems make the story focus on men in general

• Women are pragmatic/practical• Women as the new breadwinners

• Reversal of stereotypes (and plot)• In order to succeed in their goal, men must

emulate what women used to do

U64006 Introduction to Screenwriting

CHARACTERS & THEMES

Theme(s): relate to main problem and its possible or actual consequences

i.e. NOT just love, passion, revenge, friendship, etc. BUT context (setting) disturbance problem consequences

THROUGH: characters’ growth (what have they learnt) + subplots (what they could lose) + plot resolution (values embraced)


STORYLINES / PLOTLINES (from wk3)

• Action line = series of events change on protagonist• External enemy/antagonist• More physical problem

• Relationship line = character relationships, internal changes• Through external behaviour of 2 (or more) chars.• Public interaction• Events in the action trigger conflict/problems in the

relationship line• Internal conflict


TYPES OF CHARACTERS (from wk3)

PRIMARY CHARACTERS Protagonist(s)/hero Antagonist(ic force)/villain

SECONDARY CHARACTERS Helper(s)/sidekicks/allies Mentor Mentor antagonist Messenger/dispatcher

BIT PLAYERS Minor characters


CHARACTER – SUMMARY (from wk3)

Ontologic: gender, race, class, family background, name

Experience: education, abilities, own family, sexuality, back-story

Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions


CHARACTERIZATION (from wk3)

Ontologic traits (nature) Cultural traits (nurture + experience)

Present life of character = Now

BUT

Script Character’s arc challenge/change?


CHARACTERIZATION (from wk3)

CHARACTER’S ARC

Protagonist’s (and other characters’) internal journey Emotional Psychological Spiritual

Caused by (and in response to) events in both the AL and RL

Throughout whole film Setting (furthest point from change) Climax (moment of final change)

The bigger the arc, the more dramatic the film


CHARACTERIZATION

CHARACTER’S ARC

• Character transformation (problemchangeproblem solved, or not) essential to understanding of the narrative

• Character want (physical journey) Vs. Character need (emotional journey)• In contradiction, but also complementary

• Audience response to characters (structure of sympathy), 3 stages:• Recognition (perception of elements identifying

character)• Alignment (access to character’s action, feelings,

etc. – knowledge)• Allegiance (moral evaluation of character)


MODELS

• Field’s 3-act paradigm (Aristotle)

• Vogler’s 12-step hero’s journey• 7-step pattern (comedy)• Krevolin’s 15-step pattern (crime)• Short formats (TV)

[check diagrams]

• Field’s 3-act paradigm (Aristotle)

• Vogler’s 12-step hero’s journey• 7-step pattern (comedy)• Krevolin’s 15-step pattern (crime)• Short formats (TV)

[check diagrams]


THE HERO’S JOURNEY


http://www.youtube.com/watch?feature=player_embedded&v=g_SuA8zEWAs

Based on Joseph Campbell’s “monomyth” archetypal protagonist goes through a journey (separation, initiation, return) meaning






THE HERO’S JOURNEY – 1. ORDINARY WORLD

• Serves for later comparison with Special World (only “special” if in contrast to mundane world of everyday affairs); familiarity Vs. unknown (but also opportunity).

• Sets characters and setting (when/where); world seen through his eyes Create identification via universal goals, drives, desires, needs.

• Establishes routines, rules, patterns of living (often with negative associations) physical want to escape stated

• Establishes stakes: what does the hero stands to gain/lose (consequences)


THE HERO’S JOURNEY – 2. CALL TO ADVENTURE

• Usually in form of unexpected event/message/messenger-herald

• Ordinary world called into question, character’s need to transform

• Foresees danger/reassurance, trial, passage• Both positive and negative

Problem, challenge, adventure to undertake can no longer remain in the comfort of the Ordinary World establishes the goal (and path of action to be taken)• Action, sci-fi, epic: quest/mission to restore balance of the

universe• Revenge plots: offense against natural order of things, wrong to be

set right• Detective stories: crime to solve to right wrongs• Romantic comedies: first encounter with special but (initially)

annoying someone


THE HERO’S JOURNEY – 3. REFUSAL OF THE CALL

• Immediately after the call

• If call is positive TP alluding to wondrous journey of possible change, then Refusal suspends it into a negative (through dialogue and action)

• Mull over options (torn between two worlds, reluctance, fear of the unknown): stay or go, fail or succeed, wonder or find out and how much able to invest

Detective story: turn down the case Romantic comedy: pain of a previous relationship


THE HERO’S JOURNEY – 4. MEETING W/MENTOR

• Mentor (wise old man): symbolic value, parent/child, teacher/student, doctor/patient, god/man bond

• Protects, teach (advice), tests, trains, equips, prepares the hero (tools, weapon, guidance, a kick in the pants)

• Wisdom/experience/knowledge gained in previous story (hero)• Emotional relationship with hero (?)• Eventually the hero will have to face the unknown alone


THE HERO’S JOURNEY – 5. CROSSING THE 1st THRESHOLD

Threshold:into the Special World, unknown, or “belly of the whale” (e.g. Pinocchio, Finn MacCool, Red Riding Hood)

• Character tested physically and emotionally when approaching threshold give up ego, relinquish normal life

• Act of final commitment, decision to act (start of the real journey) the story takes off (the ships sails, the spaceship soars off, the romance begins, etc.)

• Frequent metaphoric function of physical barriers: doors, gates, arches, bridges, deserts, canyons, walls, cliffs, oceans, rivers, etc.


THE HERO’S JOURNEY – 6. TESTS, ALLIES, ENEMIES

Path literally laden with (progressive) obstacles and dangers (Road of trials)

First encounters with enemy forces (agents) Lessons learned (rules of the Special World)

Different feel/rhythm, values Importance of locations Importance secondary characters

Friends can be made and help, but especially emotional relationships are developed


THE HERO’S JOURNEY – 7. Approach to the inmost cave

Dangerous place or situation, where the object of the quest is hidden

• Towards first climax and crisis (two halves of story)

• Usually downward spiral, pushes characters to limit mentor’s tools and newly acquired knowledge (from step 6) to react

• Face to face with deepest fears (and enemy forces), everything to lose


THE HERO’S JOURNEY – 8. Ordeal

Direct confrontation with fears/antagonistic force “black moment” hero at the bottom hold tension and suspense live or die, win or lose, succeed or give up

Death of the ego (death or near-death moment) Blackest moment, but hero reborn (new life, new

knowledge) physically and emotionally healed Hero understands problem, confronts own emotional

turmoil experiences (or seeds) change Death of past / Birth of new future


THE HERO’S JOURNEY – 9. Reward

Immediately after (or ending) the Ordeal

Object, love (reconciliation), greater knowledge, justice/order restored hero becomes a “hero” Emotional (universal value) Physical (specific to character’s situation)


THE HERO’S JOURNEY – 10. The Road Back

OR, Refusal to return (to the Ordinary World); OR, Last threshold

• Pace revved up again to escape the Special World, usually with physical pursuit• Deal with the consequences of confronting the vengeful

forces chase scenes

• Propelled by emotional growth / change, from physical to emotional danger

• Chooses wisdom/knowledge vs. tools, clear will to overcome dangers (goal now achievable) shift from physical want to emotional need


THE HERO’S JOURNEY – 11. Resurrection

Often, final moment of 10 (Road back)

Second life-and-death moment, final exam/test/hurdle

Final purification (catharsis), hero is reborn (new with new insights/internal growth highlighted) Providing proof/outward sign of change (e.g.

sacrifice, old Self is dead) Re-entering Ordinary World


THE HERO’S JOURNEY – 12. Return with the elixir

Elixir = treasure, love, knowledge, crime punished, etc.

• Sometimes a physical token represents change, knowledge gained comparison with beginning

• Absorbed back into society and share experience• New life (forever different) commences• Sense of closure


PLOTTING / STORYLINES

Prologue - Summary of Shrek 1

Antagonist AL, Plot A (main plot) action (goal/quest) Charming / Fairy Godmother

Romance RL, Plot B (subplot) themes (moral, change) Fiona / Family

Themes and character pattern/relations structure (parallel threads A/B)


WHY SHREK?- Shrek (2001) (Elliot, Rossio, Stillman, Schuman,

Cameron, Miller, Vernon)- Budget: $60M - Gross: $455M- Won Oscar. Another 29 wins & 44 nominations

- Shrek 2 (2004) (Adamson, Stillman, Weiss, Stem, Miller)- Budget: $150M - Gross: $880M- Nominated for 2 Oscars. Another 13 wins & 34 nominations

- Shrek the Third (2007) (Miller, Adamson, Price, Seaman, Warner, Gohrn, Zack, Gould, Klausner, Cameron, Porter, Smith)- Budget: $160M - Gross: $790M- Nominated for 2 Oscars. Another 13 wins & 34 nominations


HOMEWORK FOR WK 5

SEMINAR- Watch/Analyse George Lucas’s “Star Wars (IV: A

New Hope)”- Prepare presentations (booked students)

- 3-act structure (both action and relationship lines)- Characters (functions, arcs, dynamics, etc.)- Hero’s journey pattern

LECTURE- Watch “When Harry Met Sally”


u64006 introduction to screenwriting week 4 narrative paradigms (2): voglers 12-step heros journey...

Documents

screenwriting slide

film u64006 introduction

delusions u64006 introduction

characters action

meaning slide

types of characters

characters growth

screenwriting http