Artistic Screenwriting: Hero's Journey and so the Apotheosis
The Hero's Journey is that the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. Understanding this template is a priority for story or screenwriters:
The Hero's Journey:
o Makes an attempt to faucet into unconscious expectations the audience has relating to what a story is and how it ought to be told.
o Gives the author additional structural parts than merely three or four acts, plot points, mid point and so on.
o Interpreted metaphorically, laterally and symbolically, allows an infinite number of various stories to be created.
The Hero's Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a better chance of manufacturing quality work once they mirror the recurring patterns found in successful screenplays.
The Hero's Journey is additionally a study of conventions. Before screenwriters can decide whether or not to simply accept or reject the conventions, they must appreciate their purpose and value.
Contemplate this:
o Titanic (1997) grossed over $600,000,000 - uses the Hero's Journey as a template.
o Star Wars (1977) grossed over $460,000,000 - uses the Hero's Journey as a template.
o Shrek two (2004) grossed over $436,000,000 - uses the Hero's Journey as a template.
o ET (1982) grossed over $434,000,000 - uses the Hero's Journey as a template.
o Spiderman (2002) grossed over $432,000,000 - uses the Hero's Journey as a template.
o Out of Africa (1985), Terms of Endearment (1983), Dances with Wolves (1990), Gladiator (2000) - All Academy Award Winners Best Film are based on the Hero's Journey.
o Anti-hero stories (Raging Bull (1980), Goodfellas (1990) etc) are all primarily based on the Hero's Journey.
o Heroine's Journey stories (Million Dollar Baby (2004), Out of Africa (1980) etc) are all primarily based on the Hero's Journey.
Hero's Journey and additionally the Apotheosis
The Apotheosis is the core of any story - it is where the hero becomes has his epiphany, his insight, the seminal illumunation.
In Casablanca (1942), Rick's insight is that if you're keen on somebody, you sacrifice yourself for his or her happiness. That sacrifice will embrace selling your most prized material possessions (he sells his bar), allowing your love to look for out happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is seemingly that his ultimate actions will see him to a concentration camp), leaving expensive friends (he can have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca). He learns this insight from each Ilsa and Victor, who are ready to do the same for every other.
In Al Pacino Scarface (1983), Tony Montana's insight is that the rewards of the path he's chosen are not price the religious price he's paying, expressed with the words (within the restaurant scene): "is that this it? Is that what it's all regarding Manny? Eating, drinking, f*cking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?"
In The Shawshank Redemption (1994), Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the jail wall with Red (Morgan Freeman), but it is preceeded by the sooner insight that he can never get out of prison (Warden Norton can never let him go). The apotheosis is preceded by the physical processes of submersion (being locked in the hole for two months; the Belly of the Whale of the Ordeal) and rebirth through death (symbolised by the death of Tommy). The apotheosis is preceded by the crossing of the First Threshold and thus the Ordeal in general.
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Kal Bishop, MBA
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Jerald Powell has been writing articles online for nearly 2 years now. Not only does this author specialize in Screenwriting, you can also check out latest website about
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