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Mythic Structure in Screenwriting
Mythic Structure in Screenwriting
New Writing
To cite this Article Clayton, Sue(2007) 'Mythic Structure in Screenwriting', New Writing, 4: 3, 208 223
To link to this Article: DOI: 10.2167/new571.0
URL: http://dx.doi.org/10.2167/new571.0
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doi: 10.2167/new571.0
Keywords: mythology, screenwriting, cultural difference, narrative theory, storytelling
Introduction
As a cinema screenwriter and director I have always consciously worked
with mythological tropes in story material. Moreover, while film theory and
criticism has not focussed much on this aspect of the film text, there has been
for many years in the discourses of screenwriting practice (Campbell, 1949;
McKee, 1997; Vogler, 1992) a currency of ideas around mythic paradigms in
narrative structure, which claims that these paradigms are universally found
in cinema narrative. However these works, which draw on ideas from Propp,
Jung and a notion of the collective unconscious, tend to conflate analysis of
storytelling structure with the material of myth itself, identifying latent
systems and archetypes in current cinema, and offering prescriptive
formulas for screenwriting while having little to say about the actual process
of writing. How does a writer work with myth? At a conscious or unconscious
level? And similarly in what way, and at what level, do audiences and critics
respond to such references? Do only myths from our own history and culture
resonate? If not, what issues or problems might arise if one worked with
material or structure from an unfamiliar tradition? And is there a kind of
universal narrative and an underlying set of narrative principles suggested by
mythological material?
1479-0726/07/03 208-16 $20.00/0
INT. J. FOR THE PRACTICE AND THEORY OF CREATIVE WRITING
208
2007 S. Clayton
Vol. 4, No. 3, 2007
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I propose in this piece to give a brief summary of the texts mentioned above,
as they are core texts in the teaching of screenwriting and have exerted
considerable influence on the film industry itself (both McKee and Vogler run
high-profile programmes worldwide attended by not only writers but also
producers and studio executives, and Vogler himself has been an executive at
Fox Studios since 2000). I will then analyse the process of writing two of my
own screenplays in the context of working with mythic material and structure:
the first, The Disappearance of Finbar (1996) a magical realist tale which draws
eclectically on Irish, Scandinavian and Latin American references; and the
second, Jumolhari (2007), a collaborative work-in-progress which references
two very different traditions the Western individual hero quest story and the
non-linear, cause-and-effect discourse of Bhutanese Buddhist fairy-tale and
attempts to bring them into dialogue with each other.
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The most notable opposition to this critical tradition has not denied the
significance of mythic material and structure, but has rather sought to
universalise it. Campbells iconic Jungian-influenced The Hero With A Thousand
Faces (1949) attempted to consolidate the principles and themes of storytelling
across a variety of cultures in an engaging if not always scientific or rigorous
manner, embracing the core narratives of the Judaeo-Christian, Celtic, Islamic,
Buddhist and Hindu cultures. He presents his project thus:
Whether we listen with aloof amusement to the dream-like mumbojumbo of some red-eyed witch-doctor of the Congo, or read with
cultivated rapture thin translations from the sonnets of the mystic Laotse; now and then crack the hard nutshell of an argument of Aquinas, or
catch suddenly the shining meaning of an Eskimo fairy-tale: it will
always be the one, shape-shifting yet marvellously constant story that
we find, together with a challengingly persistent suggestion of more
remaining to be experienced than will ever be known or told. (Campbell,
1949: 3)
Campbell develops his monomyth of the hero and the quest as fundamental
to the narratives of all cultures. This notion comprises a number of stages
through which the individual hero passes: first the heros call to adventure
from the ordinary world and his initial refusal of the call, then encouragement from mentor figures to enter a different world or space in which the hero
endures sustained struggle against enemies to reach what Campbell calls the
Inmost Cave, the place where secrets and knowledge lie. Only then is he able
to take possession of the Elixir, a physical or spiritual gift or a privileged piece
of knowledge. Finally the hero must attempt to cross back to his home world
with this precious gift, at great and possibly ultimate cost to himself. This
notion of a single, universal and translatable myth was criticised by some
theorists for its ahistoricism:
Accepting, so to speak, myths own philosophy of time, for [some
contemporary approaches] history is at best an intrusion; the interpretive enterprise consists in finding the atemporal cores of meaning.
(Rose, 2001: 300)
However Campbells work appeared to resonate with the interests of cinema
practitioners in their work on story, and found favour not only with filmmakers such as George Miller, Stephen Spielberg and George Lucas,1 but also
with teachers of screenwriting via the work of Campbells protege Christopher
Vogler in his equally iconic The Writers Journey: Mythic Structure for Storytellers
and Screenwriters (1992).
Voglers book takes the stages of Campbells heros journey the Call to
Adventure, Meeting with the Mentor, Return with the Elixir, and so on and
uses them both as a way of analysing existing films such as Titanic and Star
Wars, and to present a prescriptive model of screenwriting which incorporates
the structural framework of the journey, and identifies archetypical characters
who occur in it such as the Herald, the Trickster and the Threshold Guardian
(Vogler, 1992: 2935). Mindful of the shifts in global culture since Campbells
day, Vogler (1992: xvi) addresses issues of what may be construed as cultural
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which the film acquired in its writing, filming and in its audience and critical
reception.
Although we ultimately changed the heros name from Rory to Finbar for
plot reasons (the film makes a play on the name of Finbar and his ultimate
hide-out destination, the Finn Bar), my starting point in the interpretation of
the story was a comment made by Lombard in discussion that he had chosen
the heros name for a comedic touch as Rory, or Ruari, is considered in Irish
culture to be a heroic forename, meaning great king and personified by Rory
OConnor, the last High King of Ireland. By contrast the surname Brophy he
thought was popularly perceived as a more proletarian name (perhaps
because of its association with several renowned felons who were deported
to Australia). This tonal contradiction adds to the characters symbolism:
Rory/Finbar bears the resonance of past Irish heroes like Oisin and Finn Mac
Cumhail, also condemned to be wanderers, yet at the same time he remains
trapped on a mundane housing estate the ordinary world referred to by
Vogler (1992: 8198), overshadowed by a trans-European highway to a wider
world.
As I progressed the films story the narrative of Oisin in particular took on
further resonance. Having sojourned long in Tir na n-Og, the Land of Youth,
with the Kings daughter, Oisin declares his intention to return to Ireland to
visit his father. However his bride tells him this will be impossible because
Oisin has unwittingly spent three hundred years in Tir na n-Og and his past
life in Ireland is long gone. She provides Oisin with a magic steed on which to
return home, but warns that if his foot ever touches the ground he will be left
in Erin, and become his true age. Oisins foot does touch the ground and he is
left stranded there, old and isolated from the imaginary Land of Youth and of
dreaming. Thus in the legend the desire for home is something at once both
desirable and fraught with danger and uncertainty. In The Disappearance of
Finbar, Finbars attitude to home too is plagued by ambivalence: the film starts
with his being given a heros send-off as he goes to join a prestigious footballclub in Zurich. However he returns without any precious knowledge
(Campbells term); only a sense of failure and increasing alienation from his
school:
FINBAR
Ive already got one sentence- nine years in this
classroom. You wouldnt get it for armed robbery!
and from the mire of furtive coupling and early parenthood in which his
friend Danny is trapped:
FINBAR
So what will you do? Get married, and in no time at
all youll be pushing buggies. Jaysus, Danny! You
talk like a fuckin prat!
After this fight with Danny, Finbar scales the flyover, gives a two-fingered
gesture of scorn to his shadowy underclass world and vanishes. Yet when at
the end of the film Danny finds Finbar at the far side of Europe (briefly his
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own Tir na n-Og), Finbar grins sheepishly at news of Katie, his one-time
seducer, and is so affected by Dannys tales of home and his mothers grief that
he uproofs himself again and vanishes the next day. It is assumed he is on a
meat-truck headed for Murmansk (in other words, symbolically even further
from home) but in the final voice-over an emotional Danny ponders whether
Finbar will in fact return to Ireland.
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This brings us to the notion of history and to Roses criticism above of the
use of myths in an ahistorical context. As I said earlier, my concern with this
film and in others was not simply to reference past myths but to create
a structure where a multitude of related mythic allusions can be made.
Further, I wanted to make a cinema that participates in the creation of new
myths-and the myth of Europe is one that looms large here. The Disappearance
of Finbar progresses from a kind of Irish consciousness, as detailed above a
questioning of the status of national and regional histories and cultures to
something larger as Danny forges across Europe trying to find Finbar and
bring him home. At one level I continued to make reference to traditional
legend for instance the dominant theme of the Finnish Kalevala cycle is
suicide, and in Finnish Lapland Finbar is thus lauded as a hero a would-be
suicide who lived to tell his tale; and Kullervo like Finbar is seduced by a
woman with whom he cannot remain (Achte & Lonnqvist, 1975: 98100). But
beyond these literary references I sought to work with newer tropes and
allusions. The deserted dock where Dannys grandfather recounts tales of his
long-dead Swedish sailing mates is contrasted with the anodyne new Stockholm airport, full of polite but bland faces. The flyover in Dublin rhymes with
another metaphor, not mentioned in the source-text a wind-farm in furthest
Lapland, which becomes Finbars new home and reinforces the idea of a panEuropean culture that reaches even to the margins. There is a definite political
edge to these accretions of myth and image: the film is set in a near-future
Europe which is at once a more open place with fewer nation-state boundaries,
and yet at the same time fraught with increasingly harsh divisions around race
and class. Dannys mother is courted by a policeman who seems to have
sinister and far-reaching knowledge of Finbar and unsettles Danny with his
questions. The bland Stockholm airport turns noir when Danny, in an
Immigration queue to ask about Finbar, is watched by serried rows of nervous
African and Asian migrants. And in the original script of the film, when
Danny reaches Stockholm he enters Rinksta, a fictional version of Rinkeby
which is Stockholms ghetto, a place teeming with refugees from all over the
world. The writing and production here threw up an interesting contradiction,
described by Wayne:
Investor pressure led to the dropping of a scene that would have helped
make the link between Finbars disappearance and the films allegory of
political and economic exile which is part of the hidden story of
migration into Europe Danny goes to [Rinksta where] the displaced
are ghettoised on mega-estates, where dozens of exiled nationalities
have come together. A Moroccan asks him whether hes got a campaign
and a poster because all the missing are here. Meanwhile a white racist
is shouting in the market square at the immigrants telling them they
are not really Swedish . . . The investors however found this scene too
blunt, detracting from the magical realist qualities of the film. (Wayne,
2002: 18)
To me there is a false opposition here between the films political intention (as
seen by Wayne and by the films producers) and the producers perceived
preference for what Wayne later calls whimsy (Wayne, 2002: 18). To me, what
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is termed magical realism is not simply whimsy and is not in opposition to the
realpolitik rather it can be a way of approaching political topics tangentially
and of speaking of them in a different register. Thus the Rinksta scene (which
was filmed but not, for reasons Wayne elaborates, included in the final cut)
would have worked mythically and metaphorically as a kind of Babel where
all the voices of the world articulate their loss and their messages home a
kind of transit-lounge of peoples through which Danny must pass to find
Finbar, to be likened perhaps to the Inmost Cave of Campbells structure. The
political point was being made from a left-field perspective, a magical
perspective. The Moroccan is both real and the creature of myth: his posters
and campaigns are tangible enough but the formulation of his clues to Danny
as to Finbars whereabouts are the stuff of fairy-tale and fable. His function is
to be the voice of babble, of energy, of excess, of chaotic community, in the
context of affluent, organised, white Sweden. To quote Dhaen (1995): 194):
Carlos Fuentes, in an article in which he describes how he came to write
about Mexico the way he does, says that one of the first things he learned
was that There are no privileged centres of culture, race politics. It is
precisely the notion of the ex-centric, in the sense of speaking from the
margin, from a place other than the or a center, that seems to me an
essential feature of that strain of postmodernism we call magical
realism.
In conclusion, in The Disappearance of Finbar I was able to draw on Celtic and
Scandinavian myth, and through other European myths and metaphors
produce something that audiences and critics saw as European. Though I
never make a direct allusion to any myth or mythic character in the screenplay,
its provenance is apparently understood.
There is, somewhere, a folk-tale genesis to our Shane, Home Alone, ET, but
it is lost in slick production, slick marketing, and a cultural distancing
from our folk-tale roots. We are a thin upper branch on a thick tree of
ancient lore. The Europeans are the trunk. The Disappearance of Finbar is a
delightful offshoot. It is tale, saga, myth, magic. (Reid, 1997)
At the same time the film evokes modern Europe, through shots of the transEuropean highway, the sterile culture of video games, the pop video through
which Finbar is finally located and the wind-farm which signifies the final
frontier of the new Europe.
The Disappearance of Finbar is shot through with translated elements of
popular culture while largely rejecting the clear generic markers of the
Hollywood paradigm. (Wayne, 2002: 74)
Dhaen argues that this ability to take given elements such as mythic tropes
and popular references and skew them, as it were, allow them room to
resonate with each other, is what allows texts to speak new meanings in
relation to what was perceived as the dominant culture:
Magical realist writing appropriates the techniques of the centr-al line
then uses them, not realistically to duplicated existing reality, but . . .
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No-one speaks. The only sound is the RAIN falling. Beneath her hood, Kencho
looks up at Jumolhari, now shrouded in mist, and says a moments prayer
under her breath, mustering all the force of her personality. Then speaks out
clearly
KENCHO
So, now you understand do you promise not to
climb?
Ellis doesnt look at her.
ELLIS (EVENLY)
No. Sorry.
There is a heavy SILENCE. Ellis keeps a neutral, bland expression. The Cook
avoids looking at Kencho not wanting to see the hurt in her eyes. Kencho bites
her lip, then HURLS her tin cup of scalding tea at Ellis in frustration. Ellis is so
shocked that he FALLS BACK into the soaking mud. He wipes the tea and rain
from his face. (Jumolhari, 2006)
In a reverse scene minutes later, Ellis explains his own perception of the
mountains significance.
70 INT. KENCHOS TENT NIGHT, LATER
The camp is quiet. Kencho lies in her sleeping-bag, wide awake. Thinking.
Suddenly she hears someone unfastening the tent-flap. She sits bolt upright.
Ellis creeps into the tent and crouches opposite her. Kencho looks at Ellis in
surprise. But when he speaks he doesnt meet her eye, instead he stares into
the darkness.
ELLIS (MEDITATIVE)
For you, I know, there are spirits everywhere. In
every house, tree or river. Everything you do, every
daily gesture, every ritual. In your meals, in your
speech. Everything means something. Do you
understand?
Theres a moments silence. Kencho continues to listen.
ELLIS (CONT.)
But thats not how it is for me, Maybe for most people
in the world. Most people live in a kind of blankness.
They dont know what the hell theyre doing, or why
theyre doing it. They just do it. They mostly dont
dare stop and ask themselves any questions But for
me, the mountain its a challenge, a journey I know
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ELLIS (contd)
I hope you wont get into trouble going back. Say hi
to Tashi for me. Hope he gets better soon.
Finally Kencho speaks, almost a whisper.
KENCHO
Tashi is perfectly healthy.
ELLIS
What? (realising) So why? Why did you come?
Kencho speaks so low that Ellis hardly hears her.
KENCHO
I didnt think he could stop you from doing
something stupid. (beat) I thought I could.
Kencho turns away from Ellis and lies down again. There is nothing Ellis can
say. He awkwardly gets up and stumbles out into the blackened night.
(Jumolhari, 2006)
This strategy pitting the values of one against the other in a kind of evenhanded debate took us so far, but seemed limiting in its formality and
reliance on the stated, articulated views of the characters. However by this
stage, certain concepts relating to Bhutanese Buddhism that figured in
research material we discussed, began to have an effect on the narrative
structure itself. These were concepts around time principally about cyclical
or non-linear time structures; around subjectivity; the dream; and the
Bhutanese take on the look or point-of-view, a topic much discussed in film
theory (see Bordwell, 1985).
So far Elliss story had been a kind of moralistic quest story, suggesting both
classical three-act structure, and Campbell and Voglers 12 steps of the heros
journey. Ellis has his hamartia or tragic flaw (his stubbornness); his irreversible
inciting incident (his decision to betray his guide and climb) which will lead
him into the second act of rising and falling action literally in Elliss case as
he ascends the mountain and meets his end-of-Act 2 climax when the storm
and avalanche occur. In Campbellian terms, Ellis has responded to the Call (of
the mountain), is about to face the Road of Trials in search of his Elixir (to see
everything from the highest place, and just once, even for a few moments,
know why I am there); and he will soon quite literally enter his Inmost Cave
the ice cave. However the notion of the hero as self-willing subject, in control
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Conclusion
I hope I have been able to illustrate by these two case histories a number of
points from a practitioners perspective. Firstly, that using myth in screenwriting and film-making is not, and need not be, the ahistorical transposing of
old story material into Hollywood paradigms; secondly, that mythic material
itself becomes continually new by being reused in different contexts and
alongside other sources. Thirdly, my view would be that the work of both
McKee and the classical structure advocates, and Campbell and the
exponents of the universal heros journey, have in some sense limited the
creative possibilities of working with myths, not by constraining their manifest
content, but by limiting their form of address in the context of prescribing
narrative structure, and assuming moreover that our associated film grammar,
based on fairly rigid notions of shot, cut, point-of-view and cinematic space,
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covers all voices, all universes, all points of view. Burgeoning new world
cinemas such as those of Bhutan and of, for instance, Iran, Korea and Thailand,
bring to the table not just new stories but new ways of telling them, which
challenge our preconceptions as viewers and practitioners. There are openings
not just for cultural differences of content, but for new aesthetic strategies
which allow cinema to re-evaluate its role as teller of myth and tale.
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2.
Campbell and Lucas met after a lecture of Campbells in San Francisco in 1983,
after which they met on a number of occasions. Campbell describes viewing
Lucass Star Wars trilogy at a screening arranged by the director, and his pleasure
at the way his mythological paradigms had been worked into the films: What I
saw was things that had been in my books but rendered in terms of the modern
problem, which is man and machine (Campbell, 1990: 181182).
This is a technique not very familiar to American or European cinema, though its
was used to great effect in Thomas Vinterbergs Festen (1998), where the houseparty for hero Christinas father is sometimes seen neutrally, sometimes through a
subjectivity which we finally identify as the ghost of his dead twin sister, whom
their father drove to suicide.
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