Vogler Annotated Bibliography #8

Vogler, Christopher. “Book Two: Stage Nine: Reward and Stage Ten: The Road Back”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 175-194.

Summery
     The ninth stage of the Hero's Journey is the Reward.  After the hero makes it through the ordeal, the reward is usually signified by a celebration such as a party or a love scene.  The Reward can also be signified by new friendships and bonds formed after the hero and other characters survive the Ordeal together.  Vogler also refers to this moment as "Seizing the Sword" as the reward is commonly "an active movement of the hero who aggressively takes possession of whatever was being sought in the Special World" (178).  The image of the sword can stand for concrete rewards such as treasure or emotional rewards such as winning someone's love.  Vogler also says that "Seizing the Sword can be a moment of clarity" (180), as the Hero might find themselves with new insight or sharpened intuitions.  The Reward serves as a moment of new awareness and perception that the Hero gains after risking their life.

   After the Hero is able to enjoy their Reward, they continue on their Hero's Journey as they encounter Stage Ten: The Road Back.  When a hero starts on their road back they most commonly return to their original starting point as this "represents the resolve of the hero to return to the Ordinary World and implement the lessons learned in the Special World" (189).  After a quick pause to enjoy the success of the Reward, a hero must continue on with their adventure as they make their way home.  This point is commonly the marking point for the transition from Act Two to Act Three as "The road back causes the third act" (189).  The hero can have another encounter with the villain or be involved in extension of the ordeal such as a chase scene or another battle.  After enjoying the Reward, The Road Back can difficult as "heroes may encounter setbacks that seem to doom the adventure" (192).  This stage is where the hero must show their willingness to complete their journey while using what they learned from their Reward. 

Reaction
   Although the Reward seems to fit perfectly in its place, after the Ordeal, The Road Back is an interesting aspect of the Hero's Journey.  Once the hero faces the Ordeal it seems as if they should encounter smooth sailing until the end of the journey.  However, The Road Back, as harmless as it sounds can hold even more adventure and tests for the hero to pass.  For the Reward the notion of "Seizing the Sword" seems very fitting and actually helps to visualize this stage of the journey.  The "magical flight motif" mentioned in The Road Back is a very interesting concept as the transformations that Vogler mentions seem as if they belong in previous parts of the journey as well.  

Questions
1.  How does the "Seizing the Sword" metaphor help explain possible Reward experiences?
2.  Which previous stages of the journey does the knowledge that the hero gains with the Reward come from?

3. What are film examples of the hero facing a setback during The Road Back?

In Class: Reflect/Action

Reflection:
I have completed my volunteering. Still working on my 4-Modes as I don't particularly like my book or song and are looking for better ones. Have not yet started my presentation. Found interviewee but haven't done interview yet.

Action:
Today: completing my volunteer log. Finishing 4-Modes.
Before leaving for home on Monday: Start presentation.
Before Tues Dec. 2nd: Do interview and complete presentation.

By completing all aspects of Project Three before Tuesday Dec. 2nd I will have a complete presentation ready for Dec. 5th.

Project 3- 4 Modes

MODE ONE: FILM

Dazed and Confused. Dir. Richard Linklater. DVD. 1993.

In the film Dazed and Confused one of the first scenes is a group of senior high school girls hazing incoming freshmen girls. The hazing involves the younger girls preforming degrading actions and having disgusting concoctions poured all over them.

The purpose of this scene in the film is to show the older girls exerting their seniority over the younger girls by inadvertently forcing them to preform hazing tasks to be "cool" and to be socially accepted.

The audience for this movie is high school and college students, both male and female.

The appeal to ethos exists in two manners in this scene. Many students could regard this scene in a positive manner where the young high school girls are proving themselves to be "cool". Some students might share this value system that younger students should prove that they are equal to the older girls. Other people might find that this scene shows poor morals and ethics and that they do not agree with this scene. In a sense, this scene is created for students to relate to and gain humor from, and it is not expected that the audience will find it unfunny and harmful.

The appeal to pathos is perhaps the strongest of the rhetoric appeals. The scene of the younger girls doing whatever it takes to gain respect from the senior girls draws on both empathy and humor. Many students can relate to wanting to fit in with the "cool" crowd.

MODE TWO: ARTWORK
Camplin, Todd. A Highschool Hazing. Blog: Arts, Artists, and Galleries. 22 July 2007. 6 Nov. 2008.

MODE THREE: SONG

Pink, "Hazard to Myself"

MODE FOUR: BOOK

The Bell Jar

Vogler Annotated Bibliography #11

Vogler, Christopher. “Epilogue: The Writer's Journey and Appendices: Stories Are Alive”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 293-312.

Summery
"The Writer's Journey" explains the connection between the Hero's Journey and the journey a writer must go through to write a story. Vogler explains that "Writing is often a perilous journey inward to probe the depths of one's soul and bring back the Elixir of experience- a good story" (293). Each of the stages of the Hero's Journey is reflected in the Writer's Journey as they help or inhibit the writer to come up with their story. The stages, such as the Shadow as low self esteem, can be found both within story and within the lives of those who write them. Vogler also comments on the power of letters and words and goes as far as to say that "Writers, like shamans or medicine men and women of their cultures, have the potential to be healers" (294). A certain combination of letters and words can create stories for present generations to enjoy and stories that can serve as time capsules as they are read and interpreted for generations.

One of Vogler's final observations is that "Stories Are Alive". He lists many qualities of stories such as how they show and help the evolution of human thought, how they can help humans deal with emotions, and most importantly how "stories are somehow alive, conscious, and responsive to human emotions and wishes" (300). Stories are not just words strung into sentences that form a story, but they have underlying meanings and agendas. Most stories come off as entertainment sources, yet are meant to teach lessons and help connect the reader to the world through these lessons. Vogler suggests that "wishing may be an underlying principle of storytelling" (304). Many times stories are based on a wish that is acknowledged by a character in the first act that leads them into their Hero's Journey. In conjunction with making wishes, many stories are based on characters discovering, through their journey, not what they wish for, yet what they truly need.

Reaction

Vogler makes an interesting connection between the Hero's Journey and the Writer's Journey. Just as the Hero's Journey can be compared to real life, it can be compared to the Writer's Journey in the same manner. I like how this helps the writer visualize how both the writing process and the Hero's Journey can be utilized in creating a good story. When Vogler says that stories are alive it gives storytelling another meaningful aspect. Most of Vogler's book is about the specific parts of the journey and how to use them to write a good story, now he gives the journey a greater purpose than just entertainment. When stories have a meaning it gives the writing process a greater purpose than when Vogler discusses it for pure money and entertainment successes.

Questions
1. What are examples of the stages of the Hero's Journey that writers commonly encounter?

2. What are the similarities and differences between "wishing" and "willing"?

3. Why should the audiences "wishes" be considered when writing a story? How are their wishes usually reflected in the outcomes of stories?

Vogler Annotated Bibliography #10

 

**Get out of jail free card**

Vogler Annotated Bibliography #9

*Get out of Jail Free Card*

The Bell Jar - Paragraph

     In Silvia Plath's The Bell Jar, the main character Esther is trying to regain her Ordinary World.  During chapters 19 and 20, Esther is focussed on living away from the asylum and returning to her college.  When Esther looses her virginity, she feels that it is a step in the right direction for her to become a "normal" college student again.  Although her Ordinary World has been changed, her attempts to regain her old life reflect the step of Returning with the Elixir.  Esther has learned enough in the asylum that she can return to her previous life as a "normal person", yet has changed so that she will not resort to her old ways that originally landed her in the asylum.    

Vogler Annotated Bibliography #7

Vogler, Christopher. “Book Two: Stage Seven: Approach to the Inner Most Cave and Stage Eight: The Ordeal”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 143-173.

Summery

  The seventh stage of the Hero's Journey is the "Approach to the Inner Most Cave".  This approach takes place as the hero continues farther and farther into the "Special World" after encountering their tests, allies, and enemies.  During the approach, heroes will take time to prepare themselves both physically and mentally for what is to come next.  Once again, the hero might encounter the archetypal Threshold Guardians as they stand between the hero and the impending "cave" or ordeal.  At this point there is second "Special World" to be entered, which much like the first has not only the threshold but new rules as well.  As heroes "Approach the Inner Most Cave", they find themselves "on the edge between life and death" (148).  At this point the hero might once again call on their allies and lessons learned in past stages of their journey.  Once the hero finally finds themselves fully within the Inner Most Cave, there is no way out and the must face the next part of the journey, "The Ordeal".

     The "Ordeal", or the eighth stage of the Hero's journey, is the most challenging part of the whole journey.  The main emphasis of this stage is that "Heroes must die so that they can be reborn" (155).  This survival of death is shown by a literal or metaphoric rebirth of the hero.  "The Ordeal" is placed in the middle of the second act, yet is not the climax to the whole journey.  This is what Vogler refers to as the "Central Crisis" (157).  In stories, The Ordeal is used as a strategic method to break up a long or tedious second act, as it brings back the audiences attention.  There is usually a point during The Ordeal where the hero appears to die and the audience gets "a taste of death" (160).  Though the hero's death is only in appearance, there is usually a death of another key character (or ally) that provokes even more emotion from the audience.  Up until this point in the story, the whole journey has been adding up to a point where the Hero and the Shadow face each other full on.  

  

Reaction

     The high amount of referring to "The Wizard of Oz" that occurs during Vogler's description of the "Approach to the Inner Most Cave" is almost confusing at times.  He spends more time talking about one specific case of this stage than generalizing different scenarios as he did in the previous stages.  It is interesting how there is a whole new Threshold to cross during this stage, that almost parallels the first with Threshold Guardians and a new "Special World".  Until reading about The Ordeal stage of the Hero's Journey, I would have expected that it would be referred to as the main climax of the story instead of just a "crisis".

Questions

1.  What role does comic relief play during the stage of the "Approach to the Inner Most Cave"?  Is comic relief necessary?

2.  How is the placement of the Ordeal used as a strategic method in story telling?

3.  Why is the Ordeal referred to as the "Crisis" rather than the "Climax"?

Vogler Annotated Bibliography #6

Vogler, Christopher. “Book Two: Stage Five: Crossing the First Threshold and Stage Six: Tests, Allies, and Enemies”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 127-141.

Summary

The fifth stage in the Hero's Journey is known as "Crossing the First Threshold".  This is the part of the Hero's Journey where the archetype of the Threshold Guardian appears.  There is usually a specific point in the journey or a "turning point" that convinces the hero to take on the journey that is before them.  This can be inflicted by an internal or external force or "a combination of external events and internal choices" (128).   In order for the hero to cross into the unknown world represented by the threshold they usually need a good deal of courage and to take "a leap of faith" (130).  Crossing the First Threshold usually signifies the end of Act One.

     Once the hero crosses the first threshold, he finds himself in a new and different place.  This new place can either represent a new state of mind or a new physical place altogether.  Here, the hero finds a whole new set of trials and tribulations as he encounters "Tests, Allies, and Enemies", the sixth stage of the Hero's Journey.  This new world can be called the "Special World" and "should strike a strong contrast with the Ordinary World" (136).  It is in this new world that "the conditions and rules of survival change" (136).  

     The "Tests" that the hero encounter are to test the hero and to prepare the hero for trials later on in their journey.  The tests can also be built upon the teachings of a mentor.  In this stage, the hero makes both Enemies and Allies.  At first, the two can be hard to distinguish between.  In conjunction with archetypal allies, heroes can meet sidekicks and even form teams with other people.  The enemies that the hero meets can also become their rivals.  The archetype of the Shadow is usually the enemy as they represent something dark and villainous.  In this stage of the journey, though passing "Tests" and meeting "Allies and Enemies",  the hero learns the new rules of the "Special World" that help them for the rest of their journey.

Reaction

It is interesting how Vogler discusses the uses of cinematography to show "Crossing the First Threshold" and the end of act one.  Everyone can relate to seeing an old film fade-out at this point or a newer film cut directly to another scene with a whole new tone to it.  I enjoy how Vogler points out the importance of "watering holes", namely bars, because this is a concept that I had never really considered before.  I've never noticed the importance of bars and the stereotypical watering to so many different stories, as they serve many different purposes within a journey.

Questions

1.  Why do directors use effects such as fading-out or cutting directly to a new scene with noticeable changes to portray "Crossing the First Threshold" and the end of Act One?

2.  What is the difference between a typical ally and a sidekick?

3.  Who seems more influential on the Hero, the Ally or the Enemy?

Kafka Quiz

1. Connect the Ordinary World and the Call to Adventure to your reading of Book 1 of The Metamorphosis.  Explain the connection.

Gregor Samsa's "Ordinary World" is represented by his dreary day to day job of being a traveling salesman.  When Gregor first wakes up and finds himself having turned into a "monstrous verminous bug" he still tries to function in his Ordinary World.  However, this waking up and the realization that comes with it are his "Call to Adventure". 

2. Are there any social issues being critiqued in the story? How does "The Red Scare" relate to Kafka's work?

The issue of differences in social and economic classes are be critiqued in The Metamorphosis.  Gregor's family is lower class, and he works for a boss that is in a higher socioeconomic class than he is.  Gregor has no power to stand up to this boss or to do anything that his boss would not like.  "The Red Scare" relates to this because McCarthy was targeting the opinions of the mid and lower classes.

3. What does Gregor turn into in the story?
Gregor turns into a creature that is described as a “vermin”, the description sounding to be similar to a cockroach.

Vogler Annotated Bibliography #5

Vogler, Christopher. “Book Two: Stage Three: Refusal of the Call and Stage Four: Meeting with the Mentor”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 107-125.

Summary
    The third stage of the Hero’s Journey is the “Refusal to the Call”. This stage is where the hero hesitates to continue on their journey and tries to avoid the “Call to Adventure” from the previous stage. Heroes that do not refuse the call to adventure are rare and are called “willing heroes”. Usually in the case of “willing heroes”, the refusal stage is represented by other characters who have previously refused to do what the hero is doing. This is the stage in which the archetype of the Threshold Guardian can be introduced, as they can further deter the hero before they even start on the journey. The Mentor archetype can also occur at this point, either apart, along side, or even doubling as the Mentor and Threshold Guardian. The “Refusal of the Call” functions in stories “to let the audience know the formidability of the challenges ahead” (113).
After the “Refusal to the Call”, come the fourth stage of the Hero’s Journey, “Meeting with the Mentor”. In this stage “the hero gains the supplies, knowledge, and confidence needed to overcome fear and commence the adventure” (117). The mentor archetype serves to prepare the hero for what is to come on their journey. However, the mentor does not always have to be positive and can even be misleading to the hero. Not all mentors follow the archetype of being helpful, insightful, and caring towards the hero. Mentors serve the purpose of getting “things rolling with gifts, encouragement, guidance, or wisdom” (123).

Reaction
    It is interesting how Vogler makes a point to mention “avoiding mentor clichés” (120). When I think of a mentor my mind automatically goes to the “wise old man (or woman)” stereotype that Vogler is referring to when he mentions clichés. It is very clear that the mentor can be one of the most fleeting characters in the Hero’s Journey, yet at the same time one the most important. Another point that is very interesting is how mentors can be “evolved heroes” (122). After completing the heroes Journey themselves, a hero can turn around and turn into a mentor as they help a new hero go through what they themselves already did. I like how Vogler even mentions using mentors in real life when facing problems with writing, such as a writer’s block.

Questions
1. Why is the “Refusal to the Call” so important to stories that even if the hero does not experience it, another character does?
2. What is an example of a “mentor driven story”? Where the journey is built around the thoughts and actions of the mentor?
3. Can a story benefit from having more than one mentor?

Vogler Annotated Bibliography #3

Vogler, Christopher. “Book One: Threshold Guardian, Herald, Shapeshifter, Shadow, and Ally”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 49-80.

Summary
  In this section, Vogler continues discussing some of the main archetypes including the Threshold Guardian, Herald, Shapeshifter, Shadow, and Ally. Vogler describes the Threshold Guardian as protector of the “new world” that the hero enters during his journey. In some examples, these guardians can be hostile and work for the villain. In other instances, however, Threshold Guardians can simply represent “ordinary obstacles we all face in the world around us” (50). Some of examples of these ordinary obstacles can be the weather, oppression, or just plain bad luck. The most effective heroes use this guardian as a learning experience for future encounters with the true villain.
    The Herald is another archetype that does not necessarily have to be a person. The Herald is the point in the story in which the hero realizes that a change is going to be made. This is usually reflected in the “Call to Adventure” section of the Hero’s Journey as the Herald tries to “get the story rolling” (56). The Shapeshifter is a very hard archetype to identify, as they are “shifting and unstable” (59). The Shapeshifter can change internally or externally, as they can change frame of mind, appearance, and are very hard for the hero to keep track of. Most commonly, the Shapeshifter is the opposite sex from the hero.
The Shadow archetype is associated with darkness and evil. The shadow “can be as mask which is worn by any character” (66), and can be part of another archetype such as the mentor. It is representative of repressed feelings or something that the hero spends a great amount of their time trying to change or running from. The Ally, the hero’s travel buddy, is someone who fights at the heroes side, yet is not as strong or important as the hero during the journey. The ally is usually a concrete character, whether it is a human, ghost, or animal.

Reaction
    In continuing to learn about different archetypes, it is easy to distinguish them in my narrative writing project for class. As I was reading the descriptions for archetypes of the herald, the shadow, and the ally, I could see each of them distinctly representing a character or idea that is included in my narrative. For example, the Herald in my story is represented by a simple telephone call.
One of the most interesting comments on the archetypes that Vogler makes is that a successful hero uses the Threshold Guardian as an ally; To test themselves and to prepare for what is coming out of the new world that they are entering. This same idea is frequently brought up in life, as people commonly learn more about themselves as they overcome challenges set by others.

Questions
1. Are there any archetypes that you can recognize from your own personal “Hero’s Journey” narrative?
2. Why is the shapeshifter most often portrayed as a member of the opposite sex?
3. Which archetype do you like the best? Which one can you relate to the best?

Which Disney Character Am I?

  The Disney character that I find most like myself is Ariel from The Little Mermaid.  The most outward and obvious comparison between her and myself is our love (or obsession) for the ocean.  Although I've never witnessed the ocean depths as she has, I have spent much of my life on or next to the ocean.  Growing up less than a mile from the beach, it was never a good day if I didn't get at least once glimpse of the water.  The ocean is what calms me down when I have had a bad day, or makes a good day even better.  In the same sense, when Ariel leaves the ocean for a brief amount of time to woo Prince Eric, she starts to miss the sea a great deal and instantly feels that something is not right with her.

  Aside from our mutual love of the ocean, there are other comparisons between myself and Ariel as well.  Ariel has a very eclectic group of friends, specifically Flounder and Sebastian, with personalities much different than her own.  In the same sense, my best friends are nothing like me.  We have completely different interests, different family backgrounds, and yet still get along great. 

  The last similarity is that she always enjoys a good adventure.  She continuously wanders off to parts of the ocean that have been forbidden to her by her father.  When I was younger I always enjoyed wandering into the woods behind my house and where we vacationed in Maine, to find anything that could be new or exciting.  I would always try to venture as far as I could, much farther than my parents had allowed me.  I always enjoy a good adventure out on the water whether its in a motor boat, a sail boat, or just swimming.