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Hero narratives essay
Hero narratives essay
Narrative about my hero
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Cinema has been producing the same hero narrative for centuries. Hero films follow a ten-step sequence to properly set up and execute their story. These movies range from stories of transformations, searches, or a journey back home. Archetypes help to add variety and depth to these stories. Ridley Scott directed Alien, in which Ellen Ripley embarks on a journey where she must survive an alien who is out on a murderous rampage. Alien adds originality to its storyline by choosing a female lead instead of a male, but it still incorporates the same heroic attributes that make a story successful. In this “going home journey” film, Scott is able to incorporate the hero myth and archetypes towards the official hero Ellen Ripley. In the opening scenes of Alien, we are taken on a five-minute tour of the Nostromo spacecraft. This sequence introduces and invites the audience into the astronaut’s ordinary world. We see the nooks and crannies of …show more content…
Ripley is now the last person standing on the Nostromo, and it is up to her to kill the alien, so she can return back to Earth. After Ripley believes she successfully blew up the Nostromo and is on her way back to Earth, she discovers the alien is on the shuttle with her, leading us to step nine in the hero’s journey: the chase scene. The ninth step, “is the point where the devil chases the hero has the last obstacle to overcome before really being safe and free” (Seger, 338). With quick thinking, Ripley jumps into a space suit, straps herself into a seat and opens the shuttle’s airlock, forcing the alien out into space. However, the alien is shown to be clinging on to the ship. When it tries to re-enter through the engine, Ripley switches on the engine, killing the alien instantly. With the alien destroyed and earth safe, Ripley finishes the hero’s journey by going into hypersleep, hoping her shuttle will return back to
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
Refer to specific examples. What sets your hero’s journey in motion? What elements of the hero’s journey does it conform to? Use distinctive examples of what you see on the screen. Include quotes from the movie.
"The Devil and Tom Walker" is a short story by Washington Irving that many wonder about. It teaches a lesson and has many archetypes in the characters. In literature, an archetype is a typical character, a type of action, or a situation that leads to the representation of such universal patterns of human nature. An archetype may be a character, a theme, a symbol or it can even be a setting. Tom walker is the protagonist of the story he is the main character.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
Throughout literature, there is a prevalent model found in various narratives that ensures its success. This archetype, called the “journey of the hero,” discovered by Joseph Campbell, serves as a guideline of three stages for authors to manipulate to their own desire. The departure, the initiation, and the return essentially create the same storyline, yet these formats can be molded into unique and refreshing works of art. Aspects of the “journey of the hero” in the movie Shrek 2 are highlighted as the main hero, Shrek, and his wife Princess Fiona depart from their accustomed residence, the swamp, rediscover the meaning of true love through peril, and return with Shrek being able to balance his identity between an ogre and royalty.
To fully appreciate the significance of the plot one must fully understand the heroic journey. Joseph Campbell identified the stages of the heroic journey and explains how the movie adheres meticulously to these steps. For example, the first stage of the hero’s journey is the ordinary world (Campbell). At the beginning, the structure dictates that the author should portray the protagonist in their ordinary world, surrounded by ordinary things and doing ordinary tasks so that the author might introduce the reasons that the hero needs the journey in order to develop his or her character or improve his or her life (Vogler 35). The point of this portrayal is to show the audience what the protagonist’s life is currently like and to show what areas of his or her life are conflicted or incomplete. When the call to adventure occurs, the protagonist is swept away into another world, one that is full of adventure, danger, and opportunities to learn what needs to be learned. T...
Like a contemporary Dorothy, Romancing the Stone's Joan Wilder must travel to Columbia and survive incredible adventures to learn that she had always been a capable and valuable person. Romancing the Stone (Robert Zemeckis, 1984) is part of a series of 1980s action comedies that disrupted previous expectations for female heroines. These female protagonists manage to subvert the standard action narrative and filmic gaze, learning to rescue themselves and to resist others' limited vision of them. Not only did these action comedies present strong female characters, they also offered a new filmic experience for female audiences. The commercial success of comic action heroines paved the way for women to appear in serious action roles--without the personal sacrifices required of Sigourney Weaver’s Ripley. Figures like Joan Wilder serve as an important link between previous strong yet feminine screen personas and current female stars.
In the first paragraph of Laurie Penny’s essay “What to do when you’re not the hero anymore” she tells the reader how she recently went to see the new Star Wars movie. To her surprise a female character, Rey, fought off a bad guy as an equal. Hollywood has incredible power in how messages are portrayed in books, TV shows, and movies. It is no secret that media representation normalizes the reality of white male power. Penny explores how it is becoming more common to see a women lead in books, movies, and TV shows, rather than the stereotypical male.
A new danger threatens the peace of a community. One brave hero takes it upon themselves to eliminate the threat and restore happiness among their people and become the master of themselves. Is this Jaws, Jurassic park, Godzilla, The Lion King, Spiderman, Harry Potter, or Beowulf, the Anglo-Saxon poem published in the eighth and 11th century? The truth is it is all of them. The heroes journey is the common template used by a broad category of tales that involve a protagonist hero who goes on an adventure, overcomes an ordeal, and comes back home rewarded and changed. Coraline, a 2009 American 3D stop motion dark fantasy horror film produced by Laika, follows much of the same template created almost 11 centuries ago.
The 1995 hit film Waterworld is a prime example of archetypes appearing in modern motion pictures. The movie displays three main characteristics that give it archetypal meaning. The first of these is the classic hero archetype. Secondly, many archetypal elements of nature are displayed. Lastly, many other archetypes such as safety, extremes, and topography appear in the film.
The hero theory conveys the message that upon understanding heroic ideals present in the texts of one culture, inferences can be made of the significant values of that society. One specific group whose literature conveyed important messages about heroic ideals were the Anglo-Saxons. They built their foundation of heroic ideals on physical strength, loyalty, revenge, bravery, and fame. Although their existence was over 1,000 years ago, the heroic ideals featured in many of their texts are still significant in modern culture. A more recent text, however, that depicts modern heroic traits, is the movie Wonder Woman, directed by Patty Jenkins. In this film, Diana, the main character leaves her home; an isolated community, to end World War One in
In 1979 an alien was born. Before 1979 the movie "Star Wars" showed the vastness of space where men and women fought among themselves for control of the universe. The aliens that were present in such movies were nothing more than secondary actors. These types of aliens were never truly frightening and the concept of extraterrestrial life as a threat to us was never believable. The movie "Aliens" presented a conception and perception of design of extraterrestrial life that was different from anything else. This movie introduced many revolutionary concepts; the two most prominent of these are the female heroine and the new design for a terrifying alien life form and its surroundings that gave a less perfect view of space.
In her poem "Myth," Natasha Trethewey uses mythology, a unique structure, rhyme pattern, and punctuation to make form and content inseparable. Each of these elements serves to share the stages of grief one goes through one feels at the death of a loved one as well as the feelings of deep loss and longing.
In movies, novels, and life, people are named as heroes. The heroes we establish and the heroes we recognize, however, may not meet the criteria for a mythic hero. A mythic hero ventures forth on his journey, and comes forth from the hero’s path to greatness. Joseph Campbell, a mythologist who studied many of the great human myths and religious tales, realized, in studying these myths and tales, that there were certain steps that every hero went through. Campbell called this “The Hero’s Journey”; it is based on Carl Jung's idea that all human beings have an archetype.