Heroic Archetypes in Film: Symbolism and Adaption

Heroic Archetypes in Film symbolic repre moveationic representation and AdaptionCarl Jung (1939) described the personal unconscious mind as containing personal memories and ideas of the individual, and the collective unconscious the sh atomic number 18d ideas, and memories humanity, these sh bed memories and ideas emerge as themes and chip inresss, which Jung termed archetypes or Primordial Images. Joseph Campbell (1949) evolved these ideas creating the gun for hires move or monomyth. Campbells work in narratology and comparative mythology showed the use of for the first time precedents engage patterns we any unconsciously respond to in similar ways to a conscious level.The term archetype can be applied to images, themes, symbols, ideas and char exploiter types (Jung, 1969).This essay leave focus on the symbolism and adaption of Heroic archetypes in film examining the themes of Jung and Campbell and at that place portal over time, focusing in on how specific intimateity s are represented.The Architypes are present in our earliest images and motifs, provided Greek and roman mythology focuses largely on the hero with characters ilk Hercules compete the main role in their stories. These myths provide a clear sum of Jung and Campbells theories creating get in touchions with the hero, their quest and the many archetypal characters they allow interact with along their journey. These methodologies s slit repeatedly been adapted and are portrayed in the most(prenominal) made film franchises of the last sixty years. It is done the exploration of these franchises that I will examine the act of twain virile and fe manlike Hero Architypes.Jung (1969) believed archetypal themes impress, influence and fascinate our ego, invoking deep and intense emotional responses. If Jungs theories are cover the repeated portrayal of manlike dominance on screen has the authorization to impact the most important and central architype of the psychic, the self, a representation of unity and congeries, a unification of the conscious and unconscious mind (Jung, 1969).Jung (Stevens, 1990) emphasised the richness of non assuming the symbolic meaning of a potent or fe mannish character he believed it is off the beaten track(predicate) more important to grapple the characteristics and context of these symbols, establishing if you are dealing with the Animus or Anima, abstract symbol sets that formulate the archetype of the Self. Nevery male nor feminine they are a representation of the mannish and feminine aspects of the psychicDr. Stacy Smith (2014) realised the contain gender preconceived idea without borders this study looked at 120 films in the most influential films. The firmness of purposes of this study showed that 23.3 percent of contribute or co star topology roles in film are egg-producing(prenominal). These figures were mirrored off screen presentation that 20.5 percent of filmmakers were female. The results also showed when a film was created by a female, either in directing or writing there was an increase of lead females and the quality of their portrayal on screen.It is clear from these results that there is an issue of gender imbalance on screen. This imbalance could be explained by linking butt to Jungs hypothesis (1969), that architypes can influence our physic and comparing this to a statework forcet by Campbell (2004) All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. If all of our great mythologies are from the male point of view, it could be argued that this repeated influence has led to an over attach custodyt to the use of masculine nil in the portrayal of power, Smith (2004) alludes to this stating This explanation reflects the old age, spell what you k straight.To explore these theories, this essay will focus on two of the most successful films featuring female relay transmitters. The first unknown quantity is written from the male perspective. The southward Hunger games, is written from the female perspective. These films will be compared first to exertion to find a link between writer and character and guerrilla to explore the possible future portrayal of heroes.AlienRidley Scotts Ripley is commonly utilize as a reference to a positivist portrayal of a female hero, appearing on screen as the main protagonist of 1979 film Alien. Ripley however was originally created as male. In an interview with imperium magazine (2012) Ridley Scott explains the reasoning behind his female adaption stating She would be the last adept you would think to survive, shes beautiful This statement gives credence to the idea of the feminine in Alien being used to display weakness.Alien is widely cognize as the movie in which all sexual analyses have about basis. In the Alien saga (2002) Dan OBannon explains that sexual imagery was wielded as a tool to unsettle the audience stating One thing that muckle are al l disturbed about is sex. Everybodys always all in a cognise about sex. I s avail thats how Im going to onset the audience. Im going to fervidness them sexuallyEllen Ripley, is played by Sigourney Weaver , she fights once morest two antagonists, the first an outlander creature that arousely dawns both male and female reproductive organs, part the second antagonist, modify, an mechanical man possess no reproductive organs though he is portrayed as a male character. This mix of genders and sexual symbolism makes this film an interesting tool for the exploration of gender bias and architypes.The first base to the cast of this film is representative of the accepting of a child. The work party rest in hyperbolic domiciliates shaped like basinets. These chambers are set in a circular pattern at the core of this circle is a locking mechanism, controlled by have, the moves navigator. As mother awakens the clump the room is flooded with light.This sequence of images could be fitful as a representation of the Self-Architype and its symbolic circular image (Jung, 1978). The crew, placed in the circle could be seen as the re nascenceing and unification of the psychic as it prepares to deal with the path ahead (Henderson 1963).We then see the crew in their ordinary world eating breakfast. The crew are habituated their bring forward to adventure when mother informs has awoken them due a manoeuvre received from a derelict ship. Many of the crew Refuse the call believing this signal could be a warning.Mother performing as the supernatural embolden knows the true(p) reason for sending them on this questOnce the crew being to explore their environment as H.R Gigers sexual Imagery becomes clear. The crew approach the on the fence(p)ings of the Alien ship, which Giger (2011) admittedly designed to resemble the vaginal entrance. They crabby the sceptre and enter.The crew enter the control heart and soul of the ship, in the centre of this chamber sits a l arge phallic protrusion inside sits an outsider pilot. The placement of this phallic symbol is particularly interesting as the first sexual representation of masculine energy (Fink, 2004) it is depicted in a place of power and control.The crew comes across a derelict chamber resembling the womb or Belly of the whale which holds a large clod of eggs, one of the crew is attacked by a face hugger and rushed back to the ship. Ripley refuses to allow the face hugger, now attached to a crew member, onto the ship. Ash, Ripleys male counterpart dismisses her command and opens the ship doors.Ash determines that the deliver Hugger is holding Kane awake(p) via the penetrative insertion of a proboscis to his throat according to Bannon (2002) this was a deliberate representation of male oral rape .Im going to attack them sexually Im going to put in every image I can think of that I know will make the men in the audience cross their legs, Homosexual oral rape. Dan O Bannon This act is an intriguing aspect in regards to gender, on one side men are made as vulnerable a women, but on the opposing side this penetrative act gives dominant power to the masculine energy of the Alien (Dworkin , 1987 ) .Later the corpse of the face hugger is discovered, Ripley does not extremity the corpse examined but again Ash ignores her command. In this examination the Face huggers underbelly is shown, now in a submissive positon its proboscis is forswear exposing a representation of the female genitalia.The crew are united again for a meal and enter the way of trials as a phallic shaped Chest Burster is birthed from a crewmate. Bannon (2002) stated that his use of birth in this scene was designed to create discomfort in male viewers, however his process of using a female act to add vulnerability to a male character could be perceived as weakening the feminine.Ripley Later learns the secret kept by Mother and Ash in her meeting with the goddess The Weyland Yutani Corporations true mis sion is to collect alien specimens acting as the Temptress they view the crew as expendable.Ripley Confronts Ash, in a classic Attornment of the Father scene. The confrontation becomes aggressive. Ash is exposed as an android becoming the Shape Shifter Architype he overpowers Ripley, rolls up a clutch of papers into a phallic shape and forces them down Ripleys Throat , this adds to alter of Masculine energy and weakling of the feminine. Ripley is saved by a male crew mate. She reconstructs Ash, entering the Apotheosis stage she gains information from him. Ripley realises their ship mustiness be destroyed for the crew to escape with their lives the ultimate boon.The remaining crew are destroyed Ripley the sole survivor enters the Magical Fight with the Alien as she tries to make her way to an escape pod before the ship self-destructs. Ripley reaches the escape pod, standing now as a powerful hero she begins to undress, she then bends over in a pose that resembles an animistic dis play of submission, this scene could be interpreted as a remotion of Ripleys power (Fazio, 1986)Ripley realises the alien on-board the escape pod, earning the Freedom to live she rejects the alien into space. Re-entering hibernation, Ripley is shown in the fetal position this could suggest her return to the womb to be rebirthed as a new character. (Jung, 1978)The Hunger Games The Hunger game is a apprehension fiction novel written by Suzanne Collins, this novel was adapted into a series of films under the same name. This story follows Katniss Everdeen as she embarks on Campbells Heros journey.We are first introduced to The Ordinary demesne , ruled by chairwoman puff the archetypical Old King. This kings dominance is depicted in the cultural determine of this society. Split in two classes the frown districts, shown to be inhabited by a struggling class of humble and moral people and the capital, Snows domain, lavished in decadence and modernity.Snow rules though intimidation an d manipulation. The soulless genius of The metropolis is highlighted by its unwavering support of The Hunger Games.These games are cruel and violent, created by Snow, they point to the absence of the Queen archetype. Snow rules alone, he is purely masculine, abstracted in totality, with no feminine counterpart. This absence of feminine qualities leaves the people certified as according to Jung (1995) permanent loss of the anima, means a decay of vitality of flexibility and of human kindness. The capitol is surrounded by the Lower districts these districts are forced to participate in The Hunger Games, sacrificing one male and female tribute. To survive these tributes must garner sponsorship, typically from the people of the capital. They must ex salmagundi themselves by fulfilling the desires of their captors.Katniss Everdeen is the protagonist of this story her very name draws associations to her character type. true cat an association of the feminine power (Fontana, 1993) sl eek, and cunning and evergreen, symbolising natural sustenance the nourishing soil of the soul (Sabini, 2002). Katniss is a young woman, innocent and open she exhibits feminine energy. In her first introduction she appears trusting and humble, unlike the touch raped and soulless society. The feminine side of Katniss could represent the potentiality birth of the new generation, placing her in the role of potential Queen.Katniss also exhibits masculine energy she shows courage in The Hunger Games while exhibiting physical attributes strength and focuses to reign her sill with a bow, a s eliminate she learned to provide for and protect her family. This masculine energy also highlights her ability to fulfil the role of King.Katniss is reminiscent of Artemis, the Greek Goddess, skilled with a bow, strong, nurturing, protective and connected to nature (DEste, 2005). Our first introduction to Katniss shows her hunting a deer, a symbol commonly liked to the portrayal of Artemis.This mix of feminine and masculine energy leads to a potentially interesting dynamic. It could be said that Panem does not merely need a female leader, but a unified one, both male and female, mother and father.Katniss is born(p) in the twelfth district, xii in Gematria, is a representation of totality (Dennis, 2007), a symbol of synergy between the anima and animus (Jung, 1969).This coal miner district is also similar in design to Nazareth, the domain of Jesus. She understands through her experiences the darkness minorities face under the rule of Panem. Archetypically this could be linked to Judeo-Christian tradition and the tale of Job seeing the dark side of God. (Jung 1969) When in the capital Katniss is a link back to nature, the light in the dark, a place to be purified, embodying what Jung called the the two million-year-old man within.Katniss receives her Call to Adventure when her sis is chosen as tribute. She displays warmth and reason, sacrificing herself to free her. This s ymbol of courage is the form of what Jesus believed is needed in a world filled with difficulties she is as shrewd as serpents and as innocent as doves. (Matthew 1016)Katniss Crosses the threshold as she boards a train to take her to the capital. She is visibly disturbed by the opulence in front of her which starkly contrasts the modest home she is going behind.According to Campbell (1949) every hero needs allies Katniss is no exception to his rule. Traditionally these allies are unexpected with a unique understanding of the world. It is in his fashion that Katniss meets her literal and archetypal Mentor the drunken Haymitch Abernathy. Katniss before long learns that the Haymitchs battle with alcoholism and disconnected nature is a direct result of his assimilation into the society of the capital, a soulful man in a soulless world , forced to train tributes who will be sent to their death .As Haymitch begins to train Katniss he begins to notice the unique nature of her personally , this is where he transforms into the archetypal mentor teaching Katniss the importance of presentation and cater to the whims of the sponsors.Early in the story we are shown that Katniss does not view her mother in the archetypical sense, it is only when she arrives at the capital that we are introduced to the true Mother Architype, the anima to Haymitchs animus and a symbol of societal oppression, the African American male, Cinna.Cinnas introduction marks the entry to Campbells Tests, Allies and Enemies stage of the Monomyth (1949). Cinna is a polished and nurturing character, wielding his knowledge in beauty, grace and sensuous flare he, along with Haymitch, trains Katniss, who now captivates the Capital. Cinnas techniques to transform Katniss are very similar to that of Cinderellas Fairy Godmother. He does not change Katniss he instead reflects her inner self and beauty to the audience. Cinna supports and balances Katniss keeping her grounded and disconnected from the temptat ions and power of the capital. Cinna offers her a symbol of comfort, her Mocking Jay pin, as she enters The cozy Most Cave , the arena.When Katniss enters the games she acquires a young ally Rue The detached Child.Rues entry to the story marks the beginning of The Ordeal as she directs Katniss to the white Anglo-Saxon Protestant nest she uses against her attackers. Rue is an African American girl, from the agricultural district district eleven. Rue could be seen as a representation of slavery and racism in Panem. Despite the attempts of Katniss to protect the child, she soon becomes The Sacrifice, used to empathetically connect the twelve districts.After the death of her friend the game makers change the rules, stating that there may be two victors of the games, as long as they both come from the same district. Katniss seeks out Peeta her fellow tribute from district twelve and soon makes a new ally. Earlier in the story we were shown Katniss and Peeta rearing together, but she suspected, to save himself, he had turned against her. Peeta is redeemed when he suggests a group of competitors wait her out rather than climbing a direct to kill her. Peeta like Katniss is an interesting mix of feminine and masculine energy, he is strong but does not wish fight, instead he chooses for bedim from his competitors. Peeta decorates cakes for a living, this shows his delicate side, but he is also stubborn, insisting the games will not change who he is.Peeta confesses his love for Katniss he is injured and fetching on the role of Damsel in Distress requires her aid. Katniss is now approach with a moral dilemma the audience views the pair as the Shakespearean Star crossed lovers. Katniss deceives the audience and goes along with this charade to receive aid from the sponsors. Meanwhile her true love, Gale, who name suggests a well-developed anima, is waiting and watching these events circulate from district twelve. This is a difficult decision and turning point for Katniss she manipulates the people to get what she needs, a very masculine move, more suited to President Snow. This arguably is a skill needed in a potential leader.Katniss retrieves medicine and Peeta is healed now their only competitor left in the arena is Cato. It is in this final confrontation that we see Katniss Seizing the blade as she knocks Cato into a pack of creatures and Receives her reward leaving Katniss and Peeta as the victors, at least for a short time. The game makers suddenly change the rules forcing Katniss into The Road Back. There can be only one victor of the hurt games. Peeta offers himself as a sacrifice but Katniss refuses. She shows her cunning side as she enters the resurrection stage of the Monomyth. Katniss decides they will both consume poison berries this act would kill both competitors leaving the games with no victor. As Katniss predicts the rules are changed again, both competitors win the games.Peeta and Katniss will now live a life of luxury t his could be seen as The Return with the Elixer, but the elixir in this story is far more important. Katniss has openly defied President Snow becoming an example to the lower districts. This act could lead to a rebellion. The true elixir of this journey is given to the lower classes at the moment of her victory, hope.Characters like Katniss Everdeen have the potential to change the assumed characteristics of the hero architypes, but this type of portrayal is still an singular occurrence, is that occurrence due to a misunderstanding of the hero architype or an boilersuit issue of gender imbalance in media.This character could be gull Jungs substitution class shift and what he believed would be the necessary emergence of positive archetypal feminine energies (Rowland, 2009), a true female hero.RefrencesJung, Carl and Dell, S.M. (1939). The Integration of the disposition (English translation). New York Farrar Rinehart.Joseph Campbell in The Hero with a Thousand Faces (1949),Collec ted kit and caboodle of C.G. Jung. Routledge. Retrieved 2014-01-19.Jung quoted in Anthony Stevens On Jung (London 1990) p. 206Gender Bias without Borders. shared by UNWomen on Sep 22, 2014 An investigation of female characters in popular films across 11 countries.Sep 22, 2014Joseph Campbell, Pathways to Bliss Mythology and Personal Transformation, Edited by David Kudler. Novato, California New World Library, 2004, pp. 145, 159.The Alien saga 2002 special editonC. G. Jung ed., Man and his Symbols (London 1978) p. 120The Wisdom of the Serpent, retain by Joseph L. Henderson and Maud Oakes ,Originally published 1963Lacan to the Letter,April 14, 2004 by Bruce Fink (Author) p 169Intercourse is a 1987 agree by Andrea Dworkinon the Automatic Activation of Attitudes (1986) Russell H.Fazio, David M. Sanbonmatsu, Martha C. Powell, and Frank R. KardesC.G. Jungs Complex kinetics and the Clnical Relationship One Map for Mystery p 55 Brenda A. Donahue , Charles C Thomas Publisher, 2003 Psycho logy 287 pagesThe Archetypes and the Collective Unconscious By Carl Gustav Jung Page 4 1995P1 Meredith Sabini 2002The Encyclopedia of Jewish Myth, Magic and Mysticism Second Edition Book by Geoffrey W. Dennis 2007Journal of Analytical Psychology,2009, 54 ,697-715 Ghost and self Jungs paradigm shiftand a response to Zinkin , Susan Rowland,London