With the introduction of digital 3D animation in cinema and animation, there are no longer any limits to the freedom of camera movements and behaviors available to the director. Still constraints exist that keep the animated camera, with its possibilities to explore and construct any space and time, grounded to mimic the properties of its mechanical cousin.
This research is an attempt to examine how virtual cinematography is being used in animation and cinema in order to show its potential. I will do so by studying technological innovation and achievements in the use of narrative camera in both animation and cinema.
In “The Language of New Media” (Lev Manovich, 2001), Lev Manovich claims that “we do expect computer narratives to showcase new aesthetic possibilities that did not exist before digital computers” (Manovich, 237). He also claims that the directors refuse to give up the unique “cinema-effect” (Manovich, 310), an effect which according to Manovich depends upon three factors: the narrative form, the “reality” effect and the cinema’s architectural arrangement all working together.
This research will follow Manovich’s lead and discuss what role camera and constructed space plays in classic animation compared to modern animation and digital cinema.
Background
Lev Manovich, a professor at the Visual Arts Department at UCSD, gives us a critical insight into animation, cinema and compositing in his work “What is Digital Cinema?” (Lev Manovich, 1995), “Cinema and Digital Media” (Lev Manovich, 1996), “Assembling Reality: Myth of Computer Graphics” (Lev Manovich, 1999) and “The Language of New Media” (Lev Manovich, 2001).
In this research I am going to examine behavior of virtual camera in its relationship with the cinematic camera and constructed space. The term “virtual camera” is commonly used when describing the viewport of a computer generated 3D virtual space (“What is Digital Cinema?”, Lev Manovich,1995) and is used in related research papers when addressing topics surrounding simulated camera in computer animation (“Vanishing Point: Spatial Composition and the Virtual Camera”, Mike Jones, 2007).
“Virtual” is a term that is a reference to things that mimic their "real" equivalents, in this case a camera. So for the sake of this discussion I will use the term “virtual camera” as a broader definition than in those examples mentioned above, as this research will focus on simulated camera behavior and movement in constructed space in traditional 2D and digital 3D animation, as well as by motion control rigs and photo camera arrays. The similarity between these four different mediums is that they all simulate the functions of a cinematic camera, but in a constructed space.
I do not define the virtual camera as a thing by itself, but rather as the simulation of the properties of a real camera, in its relationship to its constructed environment. This phenomenon arises for examples when mimicking cinematic camera conventions through the viewport of a 3D renderer or when 160 photo cameras simulate one cinematic camera.
With the term “digital cinema” I refer to Lev Manovich’s definition. Manovich defines it as a cinematic production that has been digitally composited, where live-action material is composited with digital image processing, painting and animation.
Design of Work
In this research I will examine the specific grammars of virtual cinematography by studying technological innovation and achievements in the use of camera movements in both animation and cinema.
I will use the articles “What is Digital Cinema?” (Lev Manovich, 1991) and the book “The Language of New Media” (Lev Manovich, 2001) as primary sources for arguments about narrative grammars and cinematic reality. Both discuss the emergence of digital cinema and new media and their relationship with traditional mediums. Specifically I will take up Manovich’s discussion on the part virtual camera plays in this emergent context. I will also use “The Mouse Machine” (J.P. Telotte, 2008) as a secondary source in order to examine the history of animated cinema in order to find instances of the emergence of a virtual camera.
In order to examine the relationship between technical innovation and its relationship to changes in narrative grammar, I will look at the productions that introduced new narrative or technological innovation. I will attempt to use my findings to discuss how and where virtual cinematography is being used and how its properties are being explored, in order to show the differences and similarities between grammar of animated, virtual and cinematic camera.
Specifically I will examine the animated works “Gertie the Dinosaur” (Winsor McCay, 1914), “The Sinking of the Lusitania” (Winsor McCay, 1918), “Popeye the Sailor meets Sinbad the Sailor” (David Fleischer, 1936), “The Old Mill” (Wilfred Jackson, 1937), “Toy Story” (John Lassenter, 1995), “Tarzan” (Kevin Lima and Chris Buck, 1999) and “WALL-E” (Andrew Stanton, 2008). And I will be examine the cinematic productions “Love Me Tonight” (Rouben Mamoulian, 1932), “Star Wars: A New Hope” (George Lucas, 1977), “The Matrix” (Larry and Andy Wachowski, 1999) and “10,000 BC” (Roland Emmerich, 2008).
I will follow Lev Manovich’s lead and ask: What role does camera and constructed space play in classic animation compared to modern animation? How does the virtual camera in digital cinema represent a shift in the narrative grammar? In what ways has cinema introduced virtual spaces into its grammar?
Results
Cinema has always been about creating illusions, but at the same time they have hidden the illusions and special effects behind an accepted “reality” associated with traditional cinematic grammar.
In a way, little has changed since the 1930s. Unorthodox camera behaviors are being reserved for “special effects” shots, constructed virtual space is reserved for the “fantastical” and high-budget animated productions are still working hard to mimic the conventions of live-action cinema. This is because productions today still follow the same cinematic grammar as then.
Virtual camera as a part of cinema, still obeys these conventions. Where camera movements are liberated in space, which is the unique quality virtual camera contributes to cinema, it is used to promote an “out-of-this-world”-feel (“The Matrix) or a depiction of something “fantastical” (“Star Wars: A New Hope”).
Discussion
It is no longer the mechanical constructions available to the cinematographers, but the creativity and visions of the directors that set the boundaries of what is possible to depict in cinema. Pixar-director Andrew Stanton claims that since “The Lord of the Rings: The Fellowship of the Ring” (Peter Jackson, 2001), it is no longer any technical obstacles when it comes to creating photo realistic virtual worlds. But the cinematic language does not change in pace with the technological inventions. Digital cinema still depends on the “reality effect” the use of the traditional cinematic grammars brings to the screen.
Virtual cinematography as a part of digital cinema is superset to traditional cinematography in that aspect as with digital cinema, the directors have full artistic freedom to compose (and recompose) a scene. And as upcoming movies like “Avatar” (James Cameron, 2009) are using virtual camera to diffuse the borders between animation and live-action, I am certain that the use of the freedom of virtual camera in cinema and animation will broaden beyond the use as a special effect, and with that the grammars for what is accepted as screen reality will change.
Conclusion
With the introduction of digital 3D animation, there are no longer any limits to the freedom of virtual camera in digital cinema. But cinematic grammar keeps the virtual camera grounded to mimic the properties of its mechanical cousin, or to stand out proposing an “out-of-this-world”-feel. If current cinematic grammar is going to change drastically, cinema narrative has to be influenced by the narrative grammar of computer games, and thus introducing the spatial limitlessness of virtual camera as part of the convention for cinematic reality.
It will be interesting to see how virtual camera’s shift from post-production to the real-time recording in upcoming productions like “Avatar”, will contribute to create new narrative grammar specific for virtual camera in cinema and animation. As generations now grow up understanding and accepting new media languages, the virtual and computer generated will be more accepted as “reality”, without the need to hide behind old cinematic conventions to make them believable.
A further way to improve on this research will be to take the inclusion of music videos, anime, comic books and 3D cinema into to the study. It would also be interesting to compare the history camera narrative in computer games to the camera narrative in cinema and animation. A free roaming virtual camera is a natural part of the computer game narrative, so we have to look at current computer games to get a glimpse at the possibilities of future cinematic conventions for the virtual camera.
”Disney's Tarzan” in relation to the Mythic Circle
Disney's Tarzan describes the adventure of an orphaned infant raised by gorillas. A quite different story than The Lord of The Rings with a much more limited gallery of characters. The real events in the movie are few but major, which makes it hard to separate them into a specific stage in the Mythic Circle.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
Tarzan, still just an infant, gets his parents killed by a leopard and is being saved, adopted and raised by the female gorilla, Kala. Tarzan befriends the other animals, most noteably the gorilla Terk and the elephant Tantor. Tarzan takes a lot of effort in selfimprovement as he struggles to keep up with them.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
The life in the jungle is about to change as a group of explorers arrives. Professor Porter and his daughter Jane, is accompanied by the triggerhappy Clayton. Jane gets lost and Tarzan saves her from a gang of baboons. Through her he’s being exposed to the world and existence of humans.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
Kerchak warns Tarzan and tell him to stay away from the humans, as they may be a major threat to the safety of gorillas.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
Through Jane and Porter, Tarzan learns about world according to the western society as well as how to speak English. But his real guide giving him advise is Kala, his gorilla mother, telling him to follow his heart and is the one to introduce him to his past.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
When the ship arrives to pick up Jane, Porter and Clayton, bringing them back to England, Clayton (villain) convinces Tarzan (hero) that if he leads them to the gorillas, Jane will stay with him. Tarzan agrees and lead the humans to the gorillas. Meanwhile, Tarzan’s animal friends is tricking Kerchak (threshold) away from the other gorillas.
6. Tests/Allies/Enemies + 7. The Approach
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
As the humans mingle with the gorillas, a furrious Kerchak returns. This event tests the alliance and personality of both Tarzan and Kerchak. Tarzan uses force to hold down Kerchak to protect the humans while they are running of. This action alienates Tarzan from the rest of the gorillas, as he is using offensive force against their previously common leader. Having nothing to lose, Kala shows Tarzan the house where his parents lived, and as a mentor encourage him to leave with Jane and Porter.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Arriving at the ship, the humans led by Tarzan is ambushed and captured by Clayton and his pirates, who plans to capture and sell the gorillas. His animal friends hear Tarzan’s cries for help, but Turk still upset about Tarzan’s interaction with the humans is about to leave Tarzan trapped, when Tantor pushes them both in the water to break Tarzan, Jane and Porter free.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Tarzan and the others all rush back into the jungle, back to the gorillas. Kerchak and Tarzan for the first time join forces and together battle Clayton.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
Clayton shoots Kerchak and chases Tarzan into a dense part of the jungle, where Clayton accidently gets a vine wrapped around his neck and hangs himself. Rushing back, Kerchak announces Tarzan as the new leader for the gorillas before he dies.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Jane and her father is preparing to leave the jungle on the ship, Tarzan tells them he will be staying in the jungle with the gorillas. But as the ship leaves Jane and Porter jumps overboard and swim back to land.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
The two new humans are accepted among the gorillas and Tarzan gets his girl and his new role as king of the jungle.
A little experiment
What happens to the story of Tarzan if we remove a character from the plot? If we remove the antagonist, Clayton, Tarzan would than not end up as the leader of the group of gorillas as Kerchak would still be alive. Without Clayton convincing Tarzan, Jane and the professor would not have the chance to be introduced to them either. So they would head back to London instead of be staying in the jungle. As he would already be alienated from the gorillas by his recent actions, Tarzan would be likely to follow Jane back to civilisation.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
Tarzan, still just an infant, gets his parents killed by a leopard and is being saved, adopted and raised by the female gorilla, Kala. Tarzan befriends the other animals, most noteably the gorilla Terk and the elephant Tantor. Tarzan takes a lot of effort in selfimprovement as he struggles to keep up with them.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
The life in the jungle is about to change as a group of explorers arrives. Professor Porter and his daughter Jane, is accompanied by the triggerhappy Clayton. Jane gets lost and Tarzan saves her from a gang of baboons. Through her he’s being exposed to the world and existence of humans.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
Kerchak warns Tarzan and tell him to stay away from the humans, as they may be a major threat to the safety of gorillas.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
Through Jane and Porter, Tarzan learns about world according to the western society as well as how to speak English. But his real guide giving him advise is Kala, his gorilla mother, telling him to follow his heart and is the one to introduce him to his past.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
When the ship arrives to pick up Jane, Porter and Clayton, bringing them back to England, Clayton (villain) convinces Tarzan (hero) that if he leads them to the gorillas, Jane will stay with him. Tarzan agrees and lead the humans to the gorillas. Meanwhile, Tarzan’s animal friends is tricking Kerchak (threshold) away from the other gorillas.
6. Tests/Allies/Enemies + 7. The Approach
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
As the humans mingle with the gorillas, a furrious Kerchak returns. This event tests the alliance and personality of both Tarzan and Kerchak. Tarzan uses force to hold down Kerchak to protect the humans while they are running of. This action alienates Tarzan from the rest of the gorillas, as he is using offensive force against their previously common leader. Having nothing to lose, Kala shows Tarzan the house where his parents lived, and as a mentor encourage him to leave with Jane and Porter.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Arriving at the ship, the humans led by Tarzan is ambushed and captured by Clayton and his pirates, who plans to capture and sell the gorillas. His animal friends hear Tarzan’s cries for help, but Turk still upset about Tarzan’s interaction with the humans is about to leave Tarzan trapped, when Tantor pushes them both in the water to break Tarzan, Jane and Porter free.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Tarzan and the others all rush back into the jungle, back to the gorillas. Kerchak and Tarzan for the first time join forces and together battle Clayton.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
Clayton shoots Kerchak and chases Tarzan into a dense part of the jungle, where Clayton accidently gets a vine wrapped around his neck and hangs himself. Rushing back, Kerchak announces Tarzan as the new leader for the gorillas before he dies.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Jane and her father is preparing to leave the jungle on the ship, Tarzan tells them he will be staying in the jungle with the gorillas. But as the ship leaves Jane and Porter jumps overboard and swim back to land.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
The two new humans are accepted among the gorillas and Tarzan gets his girl and his new role as king of the jungle.
A little experiment
What happens to the story of Tarzan if we remove a character from the plot? If we remove the antagonist, Clayton, Tarzan would than not end up as the leader of the group of gorillas as Kerchak would still be alive. Without Clayton convincing Tarzan, Jane and the professor would not have the chance to be introduced to them either. So they would head back to London instead of be staying in the jungle. As he would already be alienated from the gorillas by his recent actions, Tarzan would be likely to follow Jane back to civilisation.
”The Lord of the Rings” in relation to the Mythic Circle
The Lord of the Rings trilogy is three feature films based on the book with the same name that describes a quest to destroy a powerful and corruptous ring, making the wearer invisible. We wil try to split up the plot in the Lord of the Rings trilogy and relate it to the 12 stages of the Mythic Circle, as propounded by Joseph Campbell. As we will see, it easily conforms to the Mythic Circle approach even though some stages might be a bit overlapping. Sometimes maybe because of the strong character gallery in The Lord of The Rings. We could do a Mythic Circle approach for each major character as many of them have their own goals and journey in the story.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
The protagonist Frodo lost both his parents at a young age and was adopted by his uncle Bilbo, an excentric outsider in the hobbit community of the Shire.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
During Bilbo’s birthday party, he hands over the ring to Frodo, in a suspiciously reluctant manner, which inspires Gandalf to search for the true nature behind the ring. Gandalf returns to the Shire to tell Frodo that it was infact the ring made by Sauron (the antagonist), who wants his ring back to become powerful again and conquer Middle-earth. Frodo decides to leave and take the ring to Rivendell, home of a mighty elf lord. Frodo leaves with some of his friends, most importantly Sam.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
The nine Riders, Sauron's undead and most powerful servants, are sent out in the quest to find the ring. Frodo escapes just in time and is nearly intercepted. But knowing that the Riders have reached the Shire, their hometown is no longer safe and there is no way back without finishing of the mission they have started.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
In the village of Bree, Frodo meets Aragorn. He saves the hobbits from an attack by the Riders, and becomes their guide and protector on the remaining journey towards Rivendell.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
While camping they are attacked by the Riders and Frodo uses the corruptous ring before being stabbed by an magic blade, that will turn him into a evil wraith if not healed. Once again, Aragorn helps them to.
6. Tests/Allies/Enemies
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
In Rivendell, the council decides that the ring needs to be thrown into a volcano located in Mordor, the realm of Sauron. Frodo realizes that he is destined for this task. He is accompanied by nine companions to guide and protect him and together they set out from Rivendell.
Gandalf sacrifice himself while battling a monster, allowing the fellowship to flee, and Boromir tries to steal the ring from Frodo, which leads Frodo to run off in an attempt to continue the quest alone. He is soon joined by Sam, at this seemingly impossible journey to Mordor.
7. The Approach
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
Stage 6, 7 and 8 in ”The Lord of the Rings” is very much overlapping each other as the characters are continuously put to test and as a result shows off different masks.
As Frodo and Sam makes their way towards Mordor, they are attacked by Gollum. Overcoming the confrontation, Frodo takes pity on him, and makes the decision to spare his life. Gollum changes from being their enemy to become their guide, mentor and ally to Sam's objections. After entering wood elf territory, Frodo allowes Gollum to be captured in an act too prevent Gollum from being killed. But this leaves Gollum feeling betrayed. The wood elves let them go, but warns Frodo about Gollum's treacherous nature.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Frodo gets stung by a giant spider, sedating him, and after unsuccesfully trying to wake him up, Sam believes Frodo is dead. Some orcs found the paralyzed body, knowing he was not dead, they took him back to their tower where Frodo wakes up. Sam rescues Frodo from the tower.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Sam rescues Frodo, an intimate moment. Dressed up in orc-armour, a comedic moment, they escape.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
As they are getting closer to the volcano, Frodo became progressively weaker from the ring and they run out of water. When they finally reach the volcano, Gollum reappear and attacks.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Sam continous to fight Gollum, Frodo continous towards the volcano. But he finds himself unable to destroy the ring, but instead claiming it for himself. Gollum gets past Sam, attacks Frodo, gets the ring but falls down into the lava with it. The hobbits are then saved by some giant eagles just before the volcano errupts.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
Aragorn is crowned king. The hobbits return home to the Shire, where Sam marries Rosie. Frodo leaves Middle-Earth for the elven kingdom with Gandalf and Bilbo, leaving all his property with Sam who stays in the Shire.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
The protagonist Frodo lost both his parents at a young age and was adopted by his uncle Bilbo, an excentric outsider in the hobbit community of the Shire.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
During Bilbo’s birthday party, he hands over the ring to Frodo, in a suspiciously reluctant manner, which inspires Gandalf to search for the true nature behind the ring. Gandalf returns to the Shire to tell Frodo that it was infact the ring made by Sauron (the antagonist), who wants his ring back to become powerful again and conquer Middle-earth. Frodo decides to leave and take the ring to Rivendell, home of a mighty elf lord. Frodo leaves with some of his friends, most importantly Sam.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
The nine Riders, Sauron's undead and most powerful servants, are sent out in the quest to find the ring. Frodo escapes just in time and is nearly intercepted. But knowing that the Riders have reached the Shire, their hometown is no longer safe and there is no way back without finishing of the mission they have started.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
In the village of Bree, Frodo meets Aragorn. He saves the hobbits from an attack by the Riders, and becomes their guide and protector on the remaining journey towards Rivendell.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
While camping they are attacked by the Riders and Frodo uses the corruptous ring before being stabbed by an magic blade, that will turn him into a evil wraith if not healed. Once again, Aragorn helps them to.
6. Tests/Allies/Enemies
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
In Rivendell, the council decides that the ring needs to be thrown into a volcano located in Mordor, the realm of Sauron. Frodo realizes that he is destined for this task. He is accompanied by nine companions to guide and protect him and together they set out from Rivendell.
Gandalf sacrifice himself while battling a monster, allowing the fellowship to flee, and Boromir tries to steal the ring from Frodo, which leads Frodo to run off in an attempt to continue the quest alone. He is soon joined by Sam, at this seemingly impossible journey to Mordor.
7. The Approach
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
Stage 6, 7 and 8 in ”The Lord of the Rings” is very much overlapping each other as the characters are continuously put to test and as a result shows off different masks.
As Frodo and Sam makes their way towards Mordor, they are attacked by Gollum. Overcoming the confrontation, Frodo takes pity on him, and makes the decision to spare his life. Gollum changes from being their enemy to become their guide, mentor and ally to Sam's objections. After entering wood elf territory, Frodo allowes Gollum to be captured in an act too prevent Gollum from being killed. But this leaves Gollum feeling betrayed. The wood elves let them go, but warns Frodo about Gollum's treacherous nature.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Frodo gets stung by a giant spider, sedating him, and after unsuccesfully trying to wake him up, Sam believes Frodo is dead. Some orcs found the paralyzed body, knowing he was not dead, they took him back to their tower where Frodo wakes up. Sam rescues Frodo from the tower.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Sam rescues Frodo, an intimate moment. Dressed up in orc-armour, a comedic moment, they escape.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
As they are getting closer to the volcano, Frodo became progressively weaker from the ring and they run out of water. When they finally reach the volcano, Gollum reappear and attacks.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Sam continous to fight Gollum, Frodo continous towards the volcano. But he finds himself unable to destroy the ring, but instead claiming it for himself. Gollum gets past Sam, attacks Frodo, gets the ring but falls down into the lava with it. The hobbits are then saved by some giant eagles just before the volcano errupts.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
Aragorn is crowned king. The hobbits return home to the Shire, where Sam marries Rosie. Frodo leaves Middle-Earth for the elven kingdom with Gandalf and Bilbo, leaving all his property with Sam who stays in the Shire.
Who is Kat Mew?
After leaving her home town of Bendigo, Kat Mew studied at Swinburn School of Design where she completed her undergraduate in Graphic Design. Continuing her studies Kat took part in the AIM postgraduate masters program here at RMIT.
Kat kick started her professional career in the era of the dotcom boom. Working on a variety of commercial web design projects Kat continued to refine her skills until the web bubble finally burst.
After a brief stint in the Advertising industry Kat secured a job with ACMI as an Interactive Designer. She has since worked her way up the ranks at ACMI and currently holds the title Head of Design.
Over her career as a artist and designer Kat has produced work in a variety of forms including short film, interactive web, music video and live video performance. Kat was part of a VJ group The Sex Pixels. The Sex Pixels were a Melbourne-based video performance crew knowned for their unique ephemeral style. They mixed their self-made animation and video footage with live video feeds to make engaging and dynamic performance artwork.
katmew.com
Kat kick started her professional career in the era of the dotcom boom. Working on a variety of commercial web design projects Kat continued to refine her skills until the web bubble finally burst.
After a brief stint in the Advertising industry Kat secured a job with ACMI as an Interactive Designer. She has since worked her way up the ranks at ACMI and currently holds the title Head of Design.
Over her career as a artist and designer Kat has produced work in a variety of forms including short film, interactive web, music video and live video performance. Kat was part of a VJ group The Sex Pixels. The Sex Pixels were a Melbourne-based video performance crew knowned for their unique ephemeral style. They mixed their self-made animation and video footage with live video feeds to make engaging and dynamic performance artwork.
katmew.com
Inspirational pictures
http://theroxor.com/2009/11/19/40-quality-space-wallpapers/
http://theroxor.com/2009/12/14/30-great-examples-of-data-visualisation/
http://theroxor.com/2010/01/12/30-breathtaking-long-exposure-photos-with-water/
http://theroxor.com/2010/02/01/15-quality-apple-wallpapers/
http://theroxor.com/2010/03/30/15-gorgeous-abstract-nature-wallpapers/
http://theroxor.com/2009/07/17/30-awesome-abstract-wallpapers/
http://theroxor.com/2009/11/30/15-awesome-and-inspiring-offices/
http://www.pxleyes.com/ext-tutorial/photoshop/6871/Creating-an-Awesome-Retro-Collage-.html
http://theroxor.com/2009/12/14/30-great-examples-of-data-visualisation/
http://theroxor.com/2010/01/12/30-breathtaking-long-exposure-photos-with-water/
http://theroxor.com/2010/02/01/15-quality-apple-wallpapers/
http://theroxor.com/2010/03/30/15-gorgeous-abstract-nature-wallpapers/
http://theroxor.com/2009/07/17/30-awesome-abstract-wallpapers/
http://theroxor.com/2009/11/30/15-awesome-and-inspiring-offices/
http://www.pxleyes.com/ext-tutorial/photoshop/6871/Creating-an-Awesome-Retro-Collage-.html
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