Evolution of topic selection
My initial research topic was about the impact of narrative documentary animation on social confilcts. However, during the search, I found that my topic was too broad, making it difficult to concentrate on a specific impact or field for detailed research. Therefore, I attempted to modify my keywords, narrative animation and its effects. Then, I came across a book.
Artical: The Hero’s Journey and Three Types of Metaphor in Pixar Animation by Artem Prokhorov
This book examines the distinctive ability of animation, in comparison to cinema, to employ metaphors more freely and boldly. It analyzes how metaphors impact the narrative and plot structures of both full-length and short-length animations.
The author reveals and describes three primary creative metaphor types within a narrative context: supportive, action-forming, and destructive. The primary focus is on examining the role of metaphors in storytelling and plot development within both full-length and short-length animations produced by Pixar. In reality, I believe that relying solely on Pixar’s individual animated works may not adequately encompass all types of contemporary productions. Given this limitation, the accuracy of the analysis results may not capture the broader landscape effectively. Moreover, Prokhorov’s metaphor types specifically address the narrative and plot aspects of animation, omitting other components such as effects and influences.
In my previous understanding, the narrative and plot of movies were divided into several parts: beginning-middle-end (illustrated). However, after reading Prokhorov’s article, I gained insights into a new concept: “the Hero’s Journey” proposed by Joseph Campbell (1949).
Campbell’s concept has become a universal template for the hero’s journey, significantly influencing world art, especially filmography. In essence, Campbell’s monomyth comprises sixteen stages: Initially, the hero hears the call to adventure (1) but refuses it (refusal of the call) (2). Then, with some supernatural aid (3), the hero crosses the first threshold (4) and begins the journey. Subsequently, the hero is swallowed and immediately enters the belly of the whale (5): an unknown and perilous place. Following this, the hero embarks on the road of trials (6), reaching a meeting with the goddess (7). At this stage, the image of the hero’s bride or mother may be embodied in this divine character (at this point, the hero may even be tempted to abandon the journey). Next comes the reconciliation with the father (8) and apotheosis (9): the symbolic moment of the hero’s death and resurrection. At the culmination of the journey, the hero receives the ultimate boon (10) and may even refuse to return to their own world (refusal of the return) (11). However, with the power of magical flight (12) and/or external rescue (13), the crossing of the return threshold occurs (14). As a result of the journey, the hero becomes the master of two worlds (15) and gains the right to live freely (16).