A Comparison Of The Film Extremely Loud And Campbell's Monomyth

The archetype of the Hero’s Journey holds a prevalent pattern in the works of “Initiation” by Sylvia Plath, “A & P” by John Updike, and “Everyday Use” by Alice Walker. These works all follow the 17 stages of Joseph Campbell’s Monomyth which are separated in three stages; separation, initiation, and return. The main characters have different characterizations; however, they all follow the basic structure of the Hero’s journey archetype. There are many similarities and differences between the stages that are shown through many context clues and literary devices in each work. The Hero’s Journey archetype expressed in these literary works follow a similar and direct narrative pattern.

On the return journey the hero sometimes has to be rescued from “death or a state of helplessness” (Heroes). When Tayo finally makes it onto the right path to returning he is now willing to accept help from animals and people regularly. The mountain lion’s tracks show him the way to his lost cattle. The woman helped Tayo by at first showing him the direction to find his cattle and then again when she corrals the sheep for him. This brings on the realization that he is ready to come back to the living figuratively.

In his book The Hero with a Thousand Faces, Joseph Campbell defines the key elements that he believes compose the journey of a hero. Campbell defines these steps as the “Heroic monomyth” which chronicles the specific events undertaken by a hero in their quest. Campbell’s monomyth appears not only in myths, but even in modern films. In the sci-fi film Donnie Darko, directed and written by Richard Kelly, a teenage boy named Donnie follows the same steps defined in Campbell’s monomyth as he becomes his hero self in order to save his family and the world from destruction. Throughout this journey Donnie struggles with his desire to remain on earth, and continue his life with his family and girlfriend. However,

During the course of this World Literature class, several stories have been covered that accurately describe Joseph Campbell's mono-myth, or basic pattern found in narratives from every corner of the world. The Hero's Journey in it's entirety has seventeen stages or steps, but if boiled down can be described in three; the departure, the initiation, and the return (Monomyth Cycle). Each stage has several steps, but the cycle describes the hero starting in his initial state, encountering something to change him, and this his return as a changed person. To further explain this concept, there are a few stories covered in this class that can be used.

The first stage of the monomyth is the departure. In this stage, the hero first receives “call to adventure,” either directly or sometimes unwittingly. In a real life example, this would be taking on a task, one that is assigned by someone else or one that is chosen by oneself. This could be an assignment at a job, or it could be the desire to pursue a new hobby. Campbell mentions the “refusal of the call,” or the turning away from the journey. In life, when taking on a task, it can seem too difficult or frightening, and the natural desire may be to turn away. Campbell warns that this “converts the adventure into its negative… [and] the subject loses the power of affirmative action and becomes a victim to be saved” (59). Though an adventure may be difficult, the hero will usually gain the assist of a supernatural aid. Many

Joseph Campbell’s treatise on the 12 stages of the making of a hero, introduced in The Hero with a Thousand Faces, formulates his classic archetype of the monomyth in describing the journey and transformation that a character must endure to emerge in triumphant fulfillment of an odyssey or quest. These journeys are deftly manifested in two works of different mediums, John Knowles’ A Separate Peace and Dead Poets’ Society, a film by Peter Weir (hereafter referred to as ASP and DPS, respectively). Both these works, though offered in different formats, closely follow Campbell’s template for the hero’s transformation. Using the universal themes of coming of age, the fall from innocence and ultimately a measure of redemption, these two tales

Have you ever wondered if the ordeals you went through could become a “rite of passage?” These ordeals could be a big event that could change a person’s entire foundation, such as marriage, or it can be something small, like being inspired to cook because of feedback. The novella, “The Body” written by Gordie Lachance, elaborates about the author’s childhood where he and his friends went through an ordeal that is a rite of passage. This ordeal was considered a journey for the boys as they believed in the frame and glory once they found the corpse of Ray Browser, a young boy around the same age as the author and his friends. The journey started out as an easygoing adventure, a playful type that could be considered as an innocent boy running in the park playing tag with his buddies. However, the journey changes into a more “serious business” for the author and his friends have to face many circumstances where it becomes flight-or-fight situations. In the novella, Gordie reveals many insights into the characteristics of his friends and himself

"A hero ventures forth from the world of common day into a region of wonder" said Joseph Campbell, who had identified the basic pattern found in many heroic tales and narratives called the monomyth, or the hero's journey. Although nine-year-old protagonist, Oskar Schell from the 2011 movie, Extremely Loud and Incredibly Close directed by Stephen Daldry, does not seem like the ordinary hero, he is definitely a heroic character and he goes on a hero's journey with the call to adventure, the crossing of the first threshold, and finally, the attainment of the ultimate boon.

The “hero’s journey”, coined by Joseph Campbell, is a pattern in the plot structure of literature, myths, and oral tradition in which the hero is consistently faced with similar obstacles and achieves many of the same goals. The first part of the hero’s journey is “The Call.” The hero is usually living a very comfortable and easy life, unaware of the journey ahead. The hero is then faced with a situation or dilemma which eventually causes them to seek change. The hero, at this point, tends to refuse the call to adventure in fear of the unknown. Once the hero has been given the strength to push past the unknown, they have entered the threshold. The hero will experience many challenges and temptations where the hero is tested, eventually reaching “The Abyss,” the most difficult challenge. The hero is then transformed by these trials and returns home to every-day life and begins to contribute to their society. The novel, Their Eyes Were Watching God by Zora Neale Hurston, the protagonist, Janie, experiences the hero’s journey first-hand through overcoming obstacles and transforming herself. In Their Eyes Were Watching God by Zora Neale Hurston, the heroine Janie overcomes many obstacles and is therefore transformed into a self reliant woman.

In 1949, Joseph Campbell popularized his version of the monomyth, or the hero’s journey. In this version, there were seventeen stages which were split into three distinct categories including the Departure, the Initiation, and finally, the Return. Over the course of several years, there have been numerous versions of the hero’s journey; most of them derived from Joseph Campbell’s initial version. After watching “The Perks of Being a Wallflower”, I was able to categorize the events in the movie into Christopher Vogler’s version of the hero’s journey which consists of twelve stages. The twelve stages are 1. The ordinary world, 2. The call to adventure, 3. Refusal of the call, 4. Meeting the master, 5. Crossing the threshold, 6. Tests, allies, and enemies, 7. Approaching the dragon’s den, 8. The ordeal, 9. Seizing the treasure, 10. The road back, 11. Resurrection, and finally, 12. Return with the treasure. However, modern film tends to stray from the typical hero’s journey more than the usual traditional epic poem.

It is these extreme behaviours, which challenge and contradict the values that most individuals have been taught from the very beginning. The values the boy must carry into the future. After the mother’s death, all that stands between him and death is his father’s light. It is this light at the end of the tunnel, which allows the man to continue his quest. Despite all the wrong deeds occurring around the world, the boy progresses through his quest whilst also upholding his values such as dignity, perseverance, justice and faith. But it is a greater story of survival, it is the story of the world surviving with the morals, beliefs and laws that are at risk of losing. This concept of the story profoundly confronts my values and how others reject them for their own survival at any cost. Having experienced the environments of a refugee camp, if people were to abandon their values and beliefs just as the characters in The Road, then there would be no hope or future left for them to look forward to.

In the very beginning, the protagonist, Liesel, is faced with her first tragic encounter. On a train traveling toward Munich to live with foster parents, Liesel endures the death of her six year old brother. “There was an intense spurt of coughing. Almost an inspired spurt. And soon after-nothing” (Zusak 20). Her brother’s death happens so quickly that Liesel and her mother are left in disbelief and despair. This incentive moment began the tragic journey for Liesel or as Death named her, the Book Thief. After leaving her mom and being brought to her foster home, Liesel clings to the hope that this is just temporary. Because her foster father, Hans, taught her how to read and write, she desperately attempts to reach out through letters to her mom with no response. Even though Liesel is in this tragic journey, she has comfort and companionship from her foster parent, Hans, Rudy, a neighbor boy, and finally Max, the hidden Jew. Each of these relationships causes a chain reaction towards tragedy. As for Hans, “Liesel observed the strangeness of her foster father's eyes. They were made of kindness, and silver. Like soft silver, melting” (Zusak 34). Because of his kindness, Liesel also observes the tragedy. Having seen Hans being whipped multiple times in front of many people for helping a Jew and then drafted into war for also helping a Jew, Liesel sees the consequences for standing up for your own beliefs. Hans also developed in Liesel the love of reading which causes her to stand in horror and watch the burning of the book ceremony. Rudy, on the other hand, has a different relationship with Liesel. A love hate relationship that dealt with stealing and a childhood of mischievousness, these two characters bring joy in each others’ lives. Not knowing what they would do without each other, Liesel and Rudy depend on each other only to have that

The Hero’s journey, or in its more correct terminology the Monomyth is an object from the area of comparative mythology. Its definition in the most basic of forms, it is a pattern or outline that is used in storytelling, usually the myth. This pattern is found in many famous pieces from all around the world. In the book The Hero with a Thousand Faces from 1949 by author Joseph Campbell, this pattern is described in detail. Campbell describes that numerous myths from different times and areas of the world seem to share an identical structure in their storytelling. He summarized this with a well-known quote found at the intro of his book:

The novel begins with the tightrope walker high above the city. McCann uses this image to illustrate human daring and human fear. Some of the spectators expect the aerialist to fall; they expect a tragic outcome. Others see the performer’s extraordinary confidence and bravery; he is willing to risk his life betting on his skill and practice to do the

Two minor characters in this novel also decide to live depressing lifestyles after losing their loved ones. They are Mr. Black in the apartment above Oskar and Ruth Black in the Empire State building. These two feel they cannot function anymore and hid from the world. Mr. Black has not left his apartment in “twenty-four years” because “there hasn’t been any reason too” now that his wife died (162.) He turned off his hearing aids “a long, long time ago…[to] save batteries” (165.) Oskar finds tree stumps in his bed that contain nails representing each day his wife had been dead. The man is over 100 years old and has been through so much in his life. He explains that for most of it he was at ward and “treated [his wife] as though she didn’t matter.” The bed was “the first thing [he] got her when he came back”(161.) As Mr. Black continues to put nails in it and shut the world out, he is always thinking of his wife. He no longer explores or interacts because she is not there.