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	<title>Ten Thousand Films weblog &#187; Screenwriting</title>
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		<title>The Hero&#8217;s Journey</title>
		<link>http://www.tenthousandfilms.com/10k/2011/06/the-heros-journey/</link>
		<comments>http://www.tenthousandfilms.com/10k/2011/06/the-heros-journey/#comments</comments>
		<pubDate>Sat, 11 Jun 2011 09:14:48 +0000</pubDate>
		<dc:creator>10k films</dc:creator>
				<category><![CDATA[Quotes]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Story]]></category>
		<category><![CDATA[Christopher Vogler]]></category>
		<category><![CDATA[Joseph Campbell]]></category>
		<category><![CDATA[Myth]]></category>
		<category><![CDATA[The Hero of a Thousand Faces]]></category>
		<category><![CDATA[The Hero's Journey Memo]]></category>
		<category><![CDATA[the Writer's Journey]]></category>

		<guid isPermaLink="false">http://www.tenthousandfilms.com/10k/?p=696</guid>
		<description><![CDATA[




1.        						THE ORDINARY WORLD.  The hero,  						uneasy, uncomfortable or unaware, is introduced  						sympathetically so the audience can identify with the  						situation or dilemma.  The hero is shown against a  						background of environment, heredity, and personal  						history.  Some kind of polarity in the hero’s life is  						pulling in different directions [...]]]></description>
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<dt class="wp-caption-dt"><a href="http://www.tenthousandfilms.com/10k/wp-content//2011/06/hero_journey1.gif"><img class="size-medium wp-image-695" title="The Hero's Journey Diagram" src="http://www.tenthousandfilms.com/10k/wp-content//2011/06/hero_journey1-300x257.gif" alt="" width="300" height="257" /></a></dt>
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<p>1.        						THE ORDINARY WORLD.  The hero,  						uneasy, uncomfortable or unaware, is introduced  						sympathetically so the audience can identify with the  						situation or dilemma.  The hero is shown against a  						background of environment, heredity, and personal  						history.  Some kind of polarity in the hero’s life is  						pulling in different directions and causing stress.</p>
<p>2.        						THE CALL TO ADVENTURE.   						Something shakes up the situation, either from external  						pressures or from something rising up from deep within,  						so the hero must face the beginnings of change.</p>
<p>3.        						REFUSAL OF THE CALL.  The hero  						feels the fear of the unknown and tries to turn away  						from the adventure, however briefly.  Alternately,  						another character may express the uncertainty and danger  						ahead.</p>
<p>4.        						MEETING WITH THE MENTOR.  The  						hero comes across a seasoned traveler of the worlds who  						gives him or her training, equipment, or advice that  						will help on the journey.  Or the hero reaches within to  						a source of courage and wisdom.</p>
<p>5.        						CROSSING THE THRESHOLD.  At  						the end of Act One, the hero commits to leaving the  						Ordinary World and entering a new region or condition  						with unfamiliar rules and values.</p>
<p>6.        						TESTS, ALLIES AND ENEMIES.   						The hero is tested and sorts out allegiances in the  						Special World.</p>
<p>7.        						APPROACH.  The hero and  						newfound allies prepare for the major challenge in the  						Special world.</p>
<p>8.        						THE ORDEAL.  Near the middle  						of the story, the hero enters a central space in the  						Special World and confronts death or faces his or her  						greatest fear.  Out of the moment of death comes a new  						life.</p>
<p>9.        						THE REWARD.  The hero takes  						possession of the treasure won by facing death.  There  						may be celebration, but there is also danger of losing  						the treasure again.</p>
<p>10.    						  THE ROAD BACK.  About  						three-fourths of the way through the story, the hero is  						driven to complete the adventure, leaving the Special  						World to be sure the treasure is brought home.  Often a  						chase scene signals the urgency and danger of the  						mission.</p>
<p>11.    						 THE RESURRECTION.  At the  						climax, the hero is severely tested once more on the  						threshold of home.  He or she is purified by a last  						sacrifice, another moment of death and rebirth, but on a  						higher and more complete level.  By the hero’s action,  						the polarities that were in conflict at the beginning  						are finally resolved.</p>
<p>12.      						 RETURN WITH THE  						ELIXIR.  The hero returns home or continues the journey,  						bearing some element of the treasure that has the power  						to transform the world as the hero has been transformed.</p>
<p>Read the famous <a href="http://www.thewritersjourney.com/hero%27s_journey.htm">7 Page Memo</a> (Thanks D.M.)</p>
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		<item>
		<title>Books about filmmaking &#8211; a few recommendations</title>
		<link>http://www.tenthousandfilms.com/10k/2010/01/books-about-filmmaking-some-recommendations/</link>
		<comments>http://www.tenthousandfilms.com/10k/2010/01/books-about-filmmaking-some-recommendations/#comments</comments>
		<pubDate>Thu, 14 Jan 2010 18:02:29 +0000</pubDate>
		<dc:creator>10k films</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[recommendations]]></category>

		<guid isPermaLink="false">http://www.tenthousandfilms.com/10k/?p=262</guid>
		<description><![CDATA[On Film-making by Alexander Mackendrick and Paul Cronin
The Guerilla Film Makers Handbook by C Jones and G Jolliffe
The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje
The Film Director as Superstar by Joseph Gelmis
Screenwriters&#8217; Masterclass by Kevin Conroy Scott
The Film Director&#8217;s Intuition: Script Analysis and Rehearsal Techniques by Judith Weston
Directing Actors: Creating [...]]]></description>
			<content:encoded><![CDATA[<p><strong>On Film-making</strong> by Alexander Mackendrick and Paul Cronin<br />
<strong>The Guerilla Film Makers Handbook</strong> by C Jones and G Jolliffe<br />
<strong>The Conversations: Walter Murch and the Art of Editing Film</strong> by Michael Ondaatje<br />
<strong>The Film Director as Superstar</strong> by Joseph Gelmis<br />
<strong>Screenwriters&#8217; Masterclass</strong> by Kevin Conroy Scott<br />
<strong>The Film Director&#8217;s Intuition: Script Analysis and Rehearsal Techniques</strong> by Judith Weston<br />
<strong>Directing Actors: Creating Memorable Performances for Film and Television</strong> by Judith Weston<br />
<strong>Screenplay: The Foundations of Screenwriting</strong> by Syd Field<br />
<strong>Devotional Cinema</strong> by Nathaniel Dorsky<br />
<strong>David Mamet: On Directing</strong> by David Mamet<br />
<strong>Adventures in the Screen Trade</strong> by William Goldman<br />
<strong>Ozu: His Life and Films</strong> by D Richie<br />
<strong>The Films of Akira Kurosawa</strong> by D Richie<br />
<strong>A Hundred Years of Japanese Films: A Concise History</strong> by D Richie<br />
<strong>How to Read a Film: The World of Movies, Media, Multimedia: Language, History, Theory</strong> by James Monaco (Theory)<br />
<strong>Which Lie Did I Tell?</strong> by William Goldman</p>
<p><strong>Herzog on Herzog</strong> edited by Paul Cronin<br />
<strong>Save the Cat! </strong>by Blake Snyder</p>
<p><strong>The Citizen Kane Book</strong> by Pauline Kael<br />
<strong>Zen and the Art of Screenwriting 2: More Insights and Interviews</strong> by William Froug<br />
<strong>I Lost it at the Movies</strong> by Pauline Kael</p>
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