Manrique_Adriana_The Hero Must

The Hero Must Fail
A Thesis Submitted to the Faculty of the Animation Department
in Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts in Animation
at
Savannah College of Art and Design
Adriana Manrique
Savannah, GA
©November, 2015
Jose Silva, Committee Chair
Debra Moorshead, Committee Member
Matthew Rutland, Committee Member
ACKNOWLEDGMENTS
I would like to offer my most sincere thanks to my friends, family and faculty, thank you for your
unwavering support and cheering for me from the very beginning of this journey.
TABLE OF CONTENTS
I.
List of Figures
1
II.
Thesis Abstract
3
III.
Introduction
4
IV.
Our Hero
6
A. The Hero
6
B. The Hero in Animation
8
C. The Business of Animation
13
D. Challenging the Status Quo
15
V.
Conclusion
18
VI.
Relevance to Personal Work: NAHUAL
19
A. Symbolism
20
B. Story
24
VII.
Bibliography & Filmography
27
I. List of Figures
Figure 1 the Hero's Journey. .......................................................................................................................... 6
Figure 2 Batman and Superman. Superman is often seen as boring in comparison to Batman, he is just
too perfect, a Demigod almost. .................................................................................................................... 7
Figure 3 Red Line, above ridiculous odds, He saves the day and gets the girl. ............................................. 7
Figure 4. Disney Princesses, always with a "happily ever after". .................................................................. 7
Figure 5 Princes Mononoke. A pro-environment film in which the main characters fail to save the god of
the forest. ...................................................................................................................................................... 7
Figure 6 Curious George. The protagonist often gets into life threatening situations or causing great
problems to other characters. But in the end everything is forgiven with a smile. ...................................... 7
Figure 7Up. Elderly man falling to his death. ................................................................................................ 7
Figure 8 Beauty and The Beast. Falling to their death is a classic method to finish off the bad guys. ......... 7
Figure 9 Toy Story 3. Instead of dying, he gets to endure an implied lifelong torture. He might wish he
had died instead... ......................................................................................................................................... 7
Figure 10 The Lion King. Scar gets eaten alive and the hyenas possibly burned alive as well. ..................... 7
Figure 11. Inside Out ..................................................................................................................................... 7
Figure 12 It Is a Beautiful Day. Absurd in nature, it tells the story of a man losing his mind and gaining
immortality; something which he gets bored of. .......................................................................................... 7
Figure 13 Vampire Hunter D. A bounty hunter set on rescuing a girl from a vampire lord. Instead, the girl
dies and acknowledging true love between her and the vampire lord, our bounty hunter lets him flee with
her corpse. ..................................................................................................................................................... 7
Figure 14 Grave of The Fireflies. A Dramatic film where the hero loses absolutely everything. .................. 7
Figure 15 The Simpsons. A great example of teaching through fables. Some episodes do come off as
"preachy", though. ........................................................................................................................................ 7
1
Figure 16 Power Puff Girls. "Twisted Sister" Bunny is created by accident by the other girls, despite saving
the day she does die at the end... This makes her a Tragic Hero. ................................................................. 7
Figure 17 Concept Art for "Nahual" by Adriana Manrique ........................................................................... 7
Figure 18 Mesoamerican Stela depicting a Nahual during shapeshifting. ................................................... 7
Figure 19 Amini ............................................................................................................................................. 7
Figure 20 Toy Warrior Figurine .................................................................................................................... 7
Figure 21 Coyotl ............................................................................................................................................ 7
Figure 22 Ocelotl ........................................................................................................................................... 7
Figure 23 Coatl .............................................................................................................................................. 7
Figure 24 Xoloitzcuintli .................................................................................................................................. 7
2
II. Thesis Abstract
The Hero Must Fail
Adriana Manrique
November 2015
In conventional storytelling, the overwhelming majority of the time, the hero or protagonist will come
out successful. This thesis argues for the benefits of the imperfect and ultimately failed hero. When the
protagonist fails, he becomes a more relatable character. The possibility of failure enlivens storytelling
and challenges the status quo where heartbreak and disappointment are replaced by the cliché of the
Hollywood Happy Ending where the audience is guaranteed an uplifting resolution. The visual
accompaniment of this thesis will attempt to create a successful instance where the protagonist fails but
the story stands on its own
Keywords: Hero, Defeat, Failure, Story, Protagonist, Journey, Campbell.
3
III. Introduction
In film and animation, the hero or protagonist becomes the vessel for the audience to
experience the universe in which the story takes place. Whether it is a character or a plot driven
storyline, both demand from the audience to immerse themselves into the story. The protagonist is also
known as the access character and it has been the hallmark for creating empathy and acts as the
audience’s proxy in the narrative. The pervasiveness of this trope is known as the hero archetype and
has been in use since ancient times.
“The hero has died a modern man –perfected, unspecific, universal man—he has been reborn”Joseph Campbell.
In his book, The Hero of a Thousand Faces, Joseph Campbell explores the idea that because our lives
have become too safe we lack the strife of rebirth. We long to fulfill our journey; whether consciously or
unconsciously through the heroes in our dreams, on the television and the big screen. Real life heroes
are extremely rare and those who we have put in pedestals have been romanticized to the point where
they become mythical.
Here is where the issue becomes apparent. The audience identifies with the hero, and wants to become
the hero so they will project themselves into this fictional being. No matter how flawed our protagonist,
it seems like they will always win or redeem themselves in the audience’s eyes. At the risk of alienating
or disappointing the viewer and incurring in a financial failure, we have fallen into the Disney or
Hollywood happy ending cliché. In the end, the guy always saves the day and gets the girl.
By having a guaranteed uplifting ending we lose the element of uncertainty. In other media like theatre
or books the failed hero and the resulting feeling of heartbreak and disappointment is embraced by the
audience. This thesis will not argue the validity of the happy ending but it will attempt to make the case
4
for adding variety by having the hero fail. A story should be about rooting for the protagonist but not
knowing with certainty that he or she will in fact succeed. By embracing the potential for
disappointment and not always having a perfect ending we achieve a far more human hero and a
deeper emotional connection between him and the viewer.
5
IV. Our Hero
A. The Hero
Who is the hero? He is the protagonist of the story and the one who carries the narrative from
beginning to end. The idea of the hero archetype is universal; it is known as the monomyth. It exists in
every culture and evidence of its use can be traced back to ancient times. Being ever present we have
become instinctively drawn to these stories and their protagonists. Each culture’s interpretation has
slightly different structures but at their core, they all follow the same premise and often use the same
archetypal characters such as the hero, the trickster and the mentor amongst others.
A typical storyline is as follows: the hero is called to adventure, goes through tremendous strife, and is
finally reborn as the victor. This is the basic structure of the Hero’s Journey and one of the most basic of
story structures: Introduction, climax and resolution. This format is known as the 3 part story structure
and can be often identified as the primary structure of most animated films (Figure 01).
Figure 1 the Hero's Journey.
“We all live in suspense, from day to day, from hour to hour; in other words, we are the hero of
our own story.”- Mary McCarthy
6
This structure closely resembles how real life, individuals are subjected to a rite of passage, a coming of
age event or simply the resolution to conflict. Ideally “being reborn” is the point where a person would
come out to the world as new and better individuals. The myths and stories, new and old, then serve as
inspirational works, exposing greatness that we should aspire for or, acting as cautionary tales of what
not to end up as; often times reflecting the harsh reality and rules of the era.
In modern times, the average western moviegoer these events are decidedly less epic than the myths of
yore. Some of the current rites of passage are could be of a religious nature like Bar Mitzvahs or secular
like graduating from college and moving out from a parent’s home. Our comparatively relaxed lifestyle is
why figures like Joseph Campbell and psychiatrist Carl Jung argued that this is the reason we need the
hero in storytelling. Strife for the general animation audience’s life is too far from epic, falling into the
mundane. Humans are imperfect and cannot always save the day. On character driven storylines, we
follow the protagonist who is most likely the hero in the narrative. By acting as our proxy, he or she
gives us access to an epic hero’s journey. This means that the protagonist has to be relatable, there
might be flaws of character that we can relate to, or conflicts based on real life. A too perfect of a
character could be perceived as alien to the audience, making it harder to live the story through the
protagonist’s eyes.
Figure 2 Batman and Superman. Superman is often seen as
boring in comparison to Batman, he is just too perfect, a
Demigod almost.
7
B. The Hero in Animation
Narrowing down to the field of Animation both commercial and independent, the hero seems to
become more constrained regarding the possible outcomes for his/her adventure. Their “Rebirth” and
“Resolution” predictable from the moment the premise is presented. The viewer is then guaranteed a
“happily ever after” no matter how daunting the challenges the protagonist will face.
A Disneyesque Ending is what this has come to be known as. Where the hero will always overcome all
strife and become a flawless character in the viewer’s eyes. There is nothing wrong with this type of
narrative itself; the problem is that the medium is oversaturated with it. (Figures 02, 03)
Figure 4. Disney Princesses, always with a "happily ever
after".
Figure 3 Red Line, above ridiculous odds, He
saves the day and gets the girl.
“People talk about escapism as if it's a bad thing... Once you've escaped, once you come back,
the world is not the same as when you left it. You come back to it with skills, weapons, knowledge you
didn't have before. Then you are better equipped to deal with your current reality.” ― Neil Gaiman
8
Escapism is a very valid reason and probably the strongest one, for directors and producers to
avoid what could be considered a sad or unsatisfactory ending. Nobody likes to be reminded of all the
shortcomings of real life when trying to getting away from them. As mentioned before, the protagonist
acts as the viewer’s proxy and nobody wants to see themselves fail; although they can also be turned
into a learning experience or a moment of reflection, similar to a fable. These are some of the main
reasons humanity has used storytelling in all shapes and forms as a diversion; it allows a regular human
being to experience an epic journey that he or she might never encounter in their day to day life.
Teaching a lesson through an animated story is often
used as the moment of rebirth and transformation for the
protagonist in animation. Often geared to the youngest
viewers, a great deal of learning through trial and error is
showcased. This is in part thanks to the Children’s Television
Act of 1990 which requires the creation of such material. These
cartoons are often fairly basic in their narrative, retain the 3
main tenets of the hero’s journey, always ending in a positive
note. When the same is attempted on shows directed towards
older viewers it can come off as patronizing; not the best
approach but, it can be done if the story is handled in the right Figure 5 Princes Mononoke. A pro-environment film
way.
in which the main characters fail to save the god of
the forest.
Looking back at older stories such as Hans Andersen’s tales or even further back to traditional
folktales and myths, it was common for these stories to be used as teaching tools; often serving as
9
cautionary tales for all kinds of situations. Definitely not afraid of being rather brutal by today’s
standards as it reflected a much tougher life back then. Take for instance the fable of The Boy Who Cried
Wolf (Figure 04). A little kid thought alerting the town of a fake wolf attack was a funny prank, he loses
the trust of his village and in the end loses all his sheep and in some versions the kid gets eaten by the
wolf since the villagers are fed up with his pranks and refuse to come to his aid. As dark as this short tale
is, it still survives to this day as it teaches not to lie about serious matters, a very valuable lesson.
When the story is retold in modern times it is exceptionally unusual for the kid to suffer great
consequences, even getting the villager’s aid at the end when he asks for forgiveness. While asking to be
forgiven is also a valuable lesson, there are times where consequences of our actions are inescapable. A
rather extreme case of sanitizing films would be The Clean Flicks case
(2003). This company bought mass amounts of DVDs and edited out any
instance of possibly offensive content and then distributed said copies.
While the film industry was more concerned with the copyright aspect of
the case, it is fascinating to see how far are people willing to go in order
to surround themselves and others by “family safe” media.
Figure 6 Curious George. The protagonist
often gets into life threatening situations
or causing great problems to other
characters. But in the end everything is
forgiven with a smile.
The stance of “Everyone Gets a Trophy” is often cited as the reason for over sanitation of the
medium. No matter how flawed the protagonist, it will always overcome all hurdles and end triumphant
10
and/or redeemed. Parents are often blamed as the main reason for this to happen; but it is the general
public that sees Animation as just a thing for children who are the biggest culprits. Thinking that the
medium is inadequate for more complex stories or afraid to somehow mentally scar children by a failed
hero is what truly drives this phenomenon. In recent times there has been resurgence for animation
geared to older audiences; but their outcome often remains the same, the protagonist ends up being
fine despite anything that could have happen. The antagonist however, is often terminated with
Figure 7Up. Elderly man falling to his death.
Figure 8 Beauty and The Beast. Falling to their death
is a classic method to finish off the bad guys.
extreme prejudice, this does not seem to be an issue for the general public.
-“When children make mistakes, our job should not be to spin those losses into
decorated victories. Instead, our job is to help kids overcome setbacks, to help them see that
Figure 10 The Lion King. Scar gets eaten alive and the hyenas
possibly burned alive as well.
Figure 9 Toy Story 3. Instead of dying, he gets to
endure an implied lifelong torture. He might wish he
had died instead...
11
progress over time is more important than a particular win or loss, and to help them graciously
congratulate the child who succeeded when they failed.”- Ashley Merryman.
One exception to the trend can be found in the realm of comedy, the extreme example being absurdist
comedy. The entire premise is to laugh at the protagonist’s misfortune. However, in comedy the viewer
is often not expected to use protagonist as a proxy for himself; instead, it remains a voyeur. This is a way
to bring the failed hero to the public, but hardly the only one. Cliffhanger endings are also a very popular
way to capture the audience’s attention; they imply that the hero might ultimately fail. This plot device
is often abused over and over in episodic animation or film sequels by saving the hero over and over.
Uncertainty can fuel excitement and grab the audience’s attention. Through their narratives the
audience cheers and becomes emotionally invested with him. And yet, on the back of the viewer’s
minds they know that the day is going to be saved. What happens when you destroy that expectation? A
great example, although non-animated and geared only for mature audiences, would be the show Game
of Thrones, which has had many hero figures in it. Often once the audience has become enamored with
a character, he or she and their accomplishments will be completely destroyed, it does not matter if it
was a main character. Their deaths are received with an uproar and attract even more viewers than
before; everyone now awaits the next installment anxiously since they do not know if their favorite
character is going to make it. They have become truly invested in the narrative and protagonists. Such
passionate response to an animated TV show or film is lacking, yet it should be the goal to all animation.
12
C. The Business of Animation
Being that there is a constant demand for animation; an industry has flourished ready to cater it.
America has an enormous movie industry focused solely in animation; this allows for a certain amount
of homogenization regarding what is popular in the medium. Often called the classic Hollywood or
Disney stories are the result of this homogenization. The primary target audience is the young American
public and their parents; hence the perceived need for a safe narrative.
As a business strategy, aiming for the minimum common denominator is generally considered a smart
strategy. By simplifying the story structure, one aims for a wider range of audiences and thus increases
the potential for revenue. Creating an animated film for wide commercial release can be extraordinarily
expensive. The latest Pixar movie, Inside Out, had a budget of $175 million; with an investment like that;
the finishing product has to be able to reach as many consumers as possible in order to make a return.
Figure 11. Inside Out
13
It becomes unfeasible for investors to put that amount of money on a movie that might flop at release.
The consumer is simply not so open to deviation; this is where the lack of popularity for unconventional
storylines where the hero fails reflects the output of the animations being created.
In order for a Failed Hero storyline to become feasible for a big budget animation, the audience has to
be open to the idea. When such a movie manages to reach the average viewer it is often considered too
weird, dark or artsy and easily dismissed effectively alienating the viewer. Those animated films that do
become successes are often relegated to very niche audiences.
If the argument is that of art vs entertainment, one must point out that many other mainstream media
thrive on the exposure of an unsuccessful protagonist. Such is the case for the myriad of heartbreak
themed songs, absurd comedies, and tragic stories in other outlets. Why is animation seemingly
incapable of doing the same?
14
D. Challenging the Status Quo
Now that we have talked about success from a business point of view it is turn to look at other
forms of success. Independent animation, free of constraints from investors, often comes with the most
unusual variations of the traditional hero's journey. For them the effort needed to reach an audience,
any audience, is considerable. Traditionally animation shows have been the key to their success. Today,
thanks to the internet, it has become much easier to reach as many viewers as possible for a very
modest investment. The same can be said for smaller animation studios, although they are still
dependent on slightly more adventurous investors. The following are some samples of animated films
from both small studios and independent animators that have managed to find success despite their
protagonists missing the mark on their goals, sometimes by a wide berth.
Figure 12 It Is a Beautiful Day. Absurd in nature, it tells the
story of a man losing his mind and gaining immortality;
something which he gets bored of.
Figure 14 Grave of The Fireflies. A Dramatic film
where the hero loses absolutely everything.
Figure 13 Vampire Hunter D. A bounty hunter set on
rescuing a girl from a vampire lord. Instead, the girl
dies and acknowledging true love between her and the
vampire lord, our bounty hunter lets him flee with her
corpse.
15
Figure 16 Power Puff Girls. "Twisted Sister"
Bunny is created by accident by the other girls,
despite saving the day she does die at the end...
This makes her a Tragic Hero.
Figure 15 The Simpsons. A great example of
teaching through fables. Some episodes do
come off as "preachy", though.
As a result of a failed hero’s journey the viewer is drawn closer to the protagonist. The hero, once
invincible becomes more human and relatable. The protagonist’s struggle becomes very real and the
audience will deftly connect to him/her and feel the resulting heartbreak, anger and possibly even relief
in a much stronger way in comparison to what they would get from a “Disney Ending” kind of resolution.
Not everyone can be a hero in real life. We learn through mistakes, sometimes ours, sometimes from
others. From the most mundane of tasks it is when the expected suddenly goes awry when the dips and
highlights of our daily life come from. A failed hero does not necessarily mean a drama filled tragic plot.
Perhaps it is the overabundance of perfect outcomes in modern entertainment that pushes us to
romanticize real life heroes. Sometimes it is the media who creates for us the image of an infallible hero
who when proved otherwise is shunned and scorned by those who revered them. Hence the phrase:
“Never meet your heroes.” We are afraid of letting go of the image of the perfect hero. No one can be
realistically held to that standard and that is a strong reason for the inclusion of our failed protagonist in
animation for all audiences.
16
As stated at the introduction of this thesis, we have become so accustomed to the happy ending to the
point where we can predict the outcome fairly accurately. Just like any great story an animated film
should take you for a ride on a rollercoaster where you have no guaranteed safe return. That is the
ultimate goal of filmmaking, telling a good story.
17
V. Conclusion
The idea of empowerment through perceived failure comes from our ability to learn from the
world around us. Watching the protagonist miss the goal or deal with the consequences for his or her
actions serves as a cautionary tale. The audiences can then walk away thinking
--What went wrong? -- That would never happen to me! -- What would I do differently?-Even if outraged at the outcome, the film has managed to engage the viewer in a way a “safe” story
would hardly be able to do.
The hero must fail. Not only does the inclusion of unconventional storylines prepare the audience for a
wider range of themes in animation; it pushes the creators of content to pursue tougher challenges and
strive to create better stories.
By taking the ideas stated in this thesis into the mainstream, we reintroduce the element of uncertainty
in animation. There is no way to truly predict if the hero will make it or not.
Where there are no real stakes, the narrative loses some of its intensity; the goal of filmmaking is not to
make the audience feel safe. It is to take them on a journey along with the “hero”.
18
VI. Relevance to Personal Work: NAHUAL
The animated short film companion to this thesis tells a story about a boy who ventures too far
into the forest and encounters dangers that he might not be able to overcome. Created by Adriana
Manrique.
Figure 17 Nahual Promotional Image by Adriana Manrique
19
A. Symbolism
Inspired by traditional fables and mythology, this an animated short based on
the Mesoamerican legend of t the shapeshifter and trickster the Nahual. Depending
on the geographical area and culture, the Nahual is a spirit, a witch or a warlock or
even a demon. Often portrayed as a playful being that plays tricks on people not evil
in its nature, other times it will use trickery to entrap and harm or consume their
victim.
Figure 19
Mesoamerican Stela
depicting a Nahual
during shapeshifting.
Because of the focus on the theory of the hero’s journey by Joseph Campbell,
the plot, characters and art direction were designed to create the feeling of an
illustrated fable. Each of the creatures the Nahual transforms into stands for a stage
of the Hero’s Journey. Misadventures into the wilderness are a common topic for folkloric tales that teach
a lesson. Not to wander into dangerous situations for something terrible might happen to you.
Figure 18 Concept Art for "Nahual" by Adriana Manrique
20
Amini
Amini, the boy, is our cute and innocent
looking, skinny, not a particularly imposing
protagonist. The audience is drawn to him
because of this. Having the immediate status of
underdog the viewer is counting on him to
overcome his predicament. He
wants to retrieve his warrior
figurine, by doing so, he would
be saving his fictional hero and
Figure 21 Toy
Warrior Figurine
Figure 20 Amini
become the hero himself.
Nahual
The Nahual has 4 different transformations or stages in this film. Starting from a mischievous
coyote who lures him deeper into the forest and ending with the Xoloitzcuintli who is presented as an
insurmountable foe.
21
1. Coyotl
The Coyote has been used
as a trickster figure in many Native
American tales. Playful and cunning
he lures Amini deeper into the
forest by talking his little toy. Coyotl
is the call for adventure.
Figure 22 Coyotl
2. Ocelotl
The Jaguar. Often portrayed as a giver and
taker of life, it is one of the most powerful predatory
animals in the Americas. During Pre-Colombian times,
it was revered and thought of as possessing
supernatural qualities. The first transformation from
Coyotl to Ocelotl is what initially clues in to Amini that
he is in trouble. Ocelotl is the threshold to the
Figure 23 Ocelotl
unknown, the conflict and challenger to our hero.
22
3. Coatl
The Snake, one of the most sacred
animals for some of the biggest cultures in the
Mexican and Central American cultures. It
signifies death and rebirth, it surrounds Amini
and at the same time takes him to his only
hope for a weapon lying on the ground. Coatl
is the Abyss offering death and rebirth and the
Figure 24 Coatl
start of the hero’s transformation.
4. Xoloitzcuintli
The Dog, a Mexican ancient breed
that was used as companion, food, and also
believed to be the guides for their master’s
soul through the underworld. Xolo is the final
transformation, a behemoth that sees Amini’s
defeat despite his initial willingness to fight.
Xolo is the denial of Atonement and Return.
Figure 25 Xoloitzcuintli
23
B. Story
As stated earlier, this film is meant to be seen as a fable with the goal of teaching the audience
not to wander into trouble, for it might have terrible consequences.
Like any young child he loves to play and pretend to be a hero, a brave warrior who can defeat all odds
just like his toy. It is not until later in the story were we learn why he is in the middle of the wilderness.
Amini is chasing after Coyotl in an attempt to retrieve his play-thing, a small warrior figurine. In his mind,
by retrieving his little warrior he would be the hero who saves the day. Instead of following his instincts
and not wander deeper into the forest, something that any parental figure would have advised him
against, he goes right after Coyotl and into the wilderness.
The colors are bright and the setting is fairly
harmless at the beginning of the film. At this
point nothing is suspect of being potentially
dangerous. Coyotl taunts Amini into chasing him
into the forest. Instead of turning back around,
he decides to go in, his first mistake.
Figure 26 Amini, tired but decides to keep chasing Coyotl
Once he feels that something is watching over him,
he begins to worry. The audience is clued in that his
little adventure was perhaps not a good idea after
all.
Figure 27 Startled by something sneaking up on him
24
Coyotl’s final taunt, is popping out of the
bush, startling Amini who expected something scary;
this brings him and the audience some relief.
Figure 28 It was only Coyotl, nothing to worry about yet.
By crossing behind the tree, the story
now moves onto the reveal of the conflict,
also known as the threshold between the
Known and Unknown in Campbell’s model.
Ocelotl is revealed and destroy the toy
figurine, effectively destroying Amini’s main
goal of retrieving it. He is dismayed by the
Figure 29 Ocelotl appears, destroying the warrior figurine
realization that he got lured into this now his main objective is simply to survive. So he runs away.
Mid chase, the jaguar transforms into Coatl,
the snake and gets a huge advantage over
Amini. Even after being surrounded the
audience should get the feeling that he just
might be able to make it. He is clearly
distressed. It is at this point where in
mainstream animated films, the hero would encounter the means to solve the predicament at hand. Often
25
called a Deus ex Machina, this plot device is used to keep the audience at the edge of their seats until the
last possible moment. It can, however, be an overused plot device. On Campbell’s Hero’s Journey it is also
known as “The Gift of the Goddess”.
Here is where Amini meets the final
form of the Nahual, the Xoloitzcuintli,
traditionally the guide through the
underworld. Here we lose hope for
Amini; the boy will not be granted a
safe return home from his adventure.
Figure 30 Xolo appears
The goal of NAHUAL is for the audience to think that he should have never followed the taunts of Coyotl
into the forest. Effectively becoming a traditional cautionary tale told through audiovisual media for
modern audiences. By achieving this teaching moment, the Hero’s failure becomes into the Film’s
success.
26
VII. Bibliography and Filmography
American Dad. Directed by Mike Barker, Seth MacFarlane, & Matt Weitzman. Produced by 20th Century
Fox Television, Atlantic Creative, Fuzzy Door Productions, Underdog Productions. Fox Network,
Turner Broadcasting System, 2005-.
Bearisto, Frederick Garnet. The Tyranny of Story: Audience Expectations and The Short Screenplay.
Vancouver: Vancouver Film School, 1998.
Beck, Jerry. Animation Art: From Pencil to Pixel, The History of Cartoon, Anime & CGI. New York, NY:
Harper Design International, 2004.
Beckett, Samuel. Waiting for Godot. n.d.
Campbell, Joseph. The Hero with A Thousand Faces. Novato, CA: New World Library, 2008.
Cavallaro, Dani. The Anime Art of Hayao Miyazaki. Jefferson, NC: McFarland & Co, 2006.
Chapman, Brenda. Brave. Directed by Mark Andrews, Brenda Chapman, & Steve Purcell. Produced by
Pixar. 2012.
Correa, Gustavo, Munro S. Edmonson, William Madsen, and Donald E. Thompson. El espiritu del mal en
Guatemala. In Nativism and Syncretism. USA: Middle American Research Institute Publications;
Literary Licensing LLC, 1955.
Crab, Ian. The Importance of Disappointment. New York, NY: Routledge, 1994.
Docter, Pete, Ronnie Del Carmen , Meg LeFauve, and Josh Cooley. Inside Out. Directed by Pete Docter, &
Ronnie Del Carmen. Produced by Walt Disney Pictures, Pixar Animation Studios. Walt Disney
Studio Motion Pictures, 2015.
Esslin, Martin. The Theatre of the Absurd. New York, NY: Random House inc., 1969.
Field, Daniel. Abject Animation: Animation MFA Thesis. Savannah, GA: Savannah College of Art and
Design, 2012.
Fletcher, Jack, Kawajiri, Yoshiaki, Irving, Brian, Kikuchi, Hideyuki, Moore, Ellen. Vampire Hunter D:
Bloodlust. Directed by Yoshiaki Kawajiri. Produced by BMG Funhouse, Goodhill Vision,
Madhouse, Movic, Softcapital, Tristone Entertainment Inc., Vampire Hunter D Prod. Committee.
Discotek Media, 2000.
The Simpsons. Directed by Matt Groening. Produced by Gracie Films, 20th Century Fox Television,
Curiosity Company. Fox Film Corporation, 1989-.
27
Super Jail. Directed by Ben Gruber, Christy Karacas, & Steve Warbrick. Produced by Augenblick Studios,
Titmouse, Williams Street. Adult Swim, 2007-.
Hall, Kristen. Escapism as a Fundamental Component. Film & Cinema Studies MFA Thesis. Savannah, GA:
Savannah College of Art and Design, 2013.
The Tom & Jerry Comedy Show. Directed by William, Barbera, Joseph, Christensen, Don Hanna. Produced
by Filmation, MGM Television. Warner Bros. Television, 1980-.
Billy's Balloon. Directed by Don Hertzfeldt. n.d.
It is A Wonderful Day. Directed by Don Hertzfeldt. n.d.
Rejected. Directed by John Hertzfeldt. n.d.
Amores Perros. Directed by Alejandro Gonzales Iñarritu. n.d.
Kaufman, Ken, Werb, Mike, Rey, Margret, Rey, H.A. Curious George. Directed by Matthew O'Callaghan.
Produced by Imagine Entertainment, Universal Pictures, Universal Animation Studios. Universal
Pictures, 2006.
Ren and Stimpy. Directed by John Kricfalusi. Produced by Spümcø, Games Animation. Nickelodeon
Network, 1991-1996.
Mark, Margaret. The Hero and The Outlaw: Building Extraordinary Brands Through the Power of
Archetypes. New York, NY: McGraw-Hill, 2001.
McCracken, Craig, Rote, Butler Jason, Rogers, Amy K., Savino, Chris, Morrow, Cindy. Power Puff Girls.
Directed by Craig McCracken. Produced by Cartoon Network Studios, Hannah-Barbera
Productions. 1998-2005.
Mellema, Gregory. The Expectations of Morality. Amsterdam - New York, NY: Rodopi, 2004.
Merryman , Ashley, and Po Bronson. Top Dog: The Science Of Winning and Losing. New York, NY: Grand
Central Publishing, 2014.
Merryman, Ashley. New York Times. September 24, 2013. http://nyti.ms/18iHeN0 (accessed January
2014).
Miller, Christopher, Phil Lord, Judi Barrett, Ron Barrett, and Rob Greenberg. Cloudy With A Chance of
Meatballs. Directed by Phil Lord, & Christopher Miller. Produced by Columbia Pictures, Sony
Pictures Animation. Columbia Pictures, 2009.
Kiki's Delivery Service. Animated Film. Directed by Hayao Miyazaki. Produced by Ghilbi Studio. Toei
Company, 1989.
28
Princess Mononoke. Directed by Hayao Miyazaki. Produced by Studio Ghilbi. Toho, 1997.
San Souci, Robert D., Hsiao, Rita. Mulan. Directed by Tony, Cook, Barry Bancroft. Produced by Buena
Vista Pictures. 1998.
Schachter, David. BizJournals. May 05, 2005.
http://www.bizjournals.com/denver/stories/2005/05/09/smallb4.html (accessed September
2014).
Shields, Mike. Adweek. March 25, 2009. http://www.adweek.com/news/advertising-branding/upfront09-cartoon-net-changes-its-voice-98766 (accessed August 2013).
Snyder, Zack, Kurt Johnstad, Michael Gordon, Frank Miller, and Lynn Varley. 300. Directed by Zack
Snyder. 2009.
Stanton, Andrew, Pete Docter, and Jim Reardon. Wall-e. Directed by Andrew Stanton. Produced by Walt
Disney Pictures, Pixar Animation Studios. Walt Disney Studios Motion Pictures, 2008.
Surrell, Jason. Screenplay By Disney: Tips and Techniques to Bring Magic to Your Moviemaking. New
York, NY: Disney Editions, 2004.
Grave of the Fireflies. Animated Film. Directed by Isao Takahata. Produced by Studio Ghilbi. Toho, 1988.
Thorton, John Edward II. The Anti-Hero's Journey: Transformation of characters from "Law Abiding
Citizens" to Sympathetic anti-heroes in the works of F. Gary Gray. Savannah, GA: Savannah
College of Art and Design, 2011.
Invader Zim. Directed by Jhonen Vasquez. Produced by Nicktoons Productions. Media Blasters,
Nickelodeon Network, 2001-2003.
Vincenzo Benigni, Braschi Nicoletta, Cantarini, Giorgio. La Vita e Bella. Directed by Roberto Benigni.
Produced by Melampo Cinematografica, Cecchi Gori Group Tiger Cinematografica. Miramax,
1997.
Votilla, Stuart. Myth and Movies: Discovering the Myth. Studio City, CA: Wiese, Michael Productions,
1999.
Waddell, Terrie. Mis/takes: Archetype, Myth and Identity in Screen Fiction. New York, NY: Routledge,
2006.
Webb, E. The Plays of Samuel Beckett. Seattle: University of Washington Press, 1974.
Cowboy Beebop. Directed by Hajime Yatate. Produced by Bandai Visual Company, Sunrise. Bandai, 19981999.
29
Yokley, Ryan. The Cartoon Hero: Applying Joseph Campbell's Hero Journey to the Short-Format Animated
Medium. Savannah: Savannah College of Art and Design, 2006.
30