Sentences with phrase «story archetypes»

Most of the noir detective story archetypes are here — the tough shamus (Bob Hoskins as Eddie Valiant), the murder suspect (Charles Fleischer as long - eared fugitive Roger Rabbit), the femme fatale (Kathleen Turner as cartoon bombshell Jessica Rabbit), the suspicious boss (Stubby Kaye as studio head Marvin Acme) and the formidable lawman (Christopher Lloyd as Judge Doom).

Critics Consensus: Written by a teenager (and it shows), Eragon presents nothing new to the «hero's journey» story archetype.

This quintessential noir hero walks into a story his archetype is all too familiar with: a pretty girl in trouble and a gangster looking to get paid.

Not exact matches

He did nothing but became aware of archetypes and does absolutely nothing to discredit the meaning behind why we need to have these stories that tell us about ourselves and is the psyche trying to describe its own nature.

Well, at the primal level maybe we have something like a set of archetypes (in a Jungian sense)... and we provide the stories (Z - theory)?

I suggest that the story of Job is the book of our time, and that Job himself is our archetype.

Each soon became as much an archetype as an invention, somehow existing beyond his written story.

If you read Carl Jung, you can come to understand the images of Jesus» death and resurrection as iconic and as archetypes, as stories that simply «had to be told» because the world, in a cultural sense, just needed to give voice to this idea.

The archangel Michael and the archetype he represents is celebrated in stories, legends and images in many cultures and traditions.

When I worked for him, we used archetype cards to help with our brand stories and positioning.

-- Dr. Clarissa Pinkola Estes, bestselling author, Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype

Still, a strong cast manages to elevate any stale character archetypes and familiar story lines for an enjoyable (albeit not groundbreaking) misadventure.

What's rare about Harding's story, at least in pop - culture narratives, is the way she defies the archetype of the blameless female victim.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

The screenplay is the first by James C. Strouse, and despite it being clear the themes and archetypes that attracted Buscemi to the story, the finished film features vaguely defined characters that never become fully believable.

These things play integral parts in throwing the story off course from the straightforward tale of revenge ending in a showdown that Rockwell's Billy Bickle desperately wants it to be, and so the film becomes an odd battle of archetypes battling to push the story's finale towards the ending they think it should have.

But Somebody's Darling is a very modern story about toxic masculinity, betraying an anxiety about the fading of the traditional male archetype (for the frat pack, vulnerability is equated with weakness), combined with the vile backlash against new - wave feminism, which in the real world we witness in the abuse apologist and the normalizing of misogyny.

Find reason there for the caricatured white trash pastiches serving as Maggie's family (and additional pathos in Maggie's need for a father figure), the boxing - trainer archetype, the old fighter Scrap (blind in one eye and living in a tiny room at the gym), the evil Drago Eastern Bloc nemesis, and the rags - to - riches sports story into noble - cripple tropes that worked in 1962 with Requiem for a Heavyweight.

Like Highsmith's remarkable novel (the rare lesbian love story of its time with an optimistic coda), it neither unduly ennobles its key characters nor confines them to butch / femme sexual archetypes.

Three elements in this story infinitely more interesting than «the one yet to discover his gifts» archetype we've seen a million times before.

Twenty one per cent think their life story falls into the archetype of a true underdog tale and a quarter think it would be a feel - good and uplifting story.

The supporting characters in the film all fill various archetypes that are somewhat typical for a story such as this.

The strength of Thomas Hardy is his ability to unearth the peculiarities of personal archetype that shape an individual, and further by relating those peculiarities to a story of forces of nature (of which fate, that «sinister intelligence bent upon punishing,» is one).

Hardy, perhaps more than any other author since William Wordsworth, understood that identity is invested in archetype, and archetype is invested in that ineffable story of place.

We find the usual cop movie archetypes and story development; nothing on display here allows the film to break free from its genre constraints.

Its story was fairly straightforward and mostly dealt in archetypes — a hero's journey that coupled «Top Gun» with «Godzilla.»

They could create new creatures and amaze with effects, be they practical or elaborate CGI, and they could give us new versions of beloved archetypes, but after The Force Awakens re-hashed Episode IV Full Story

Some of the older archetypes for the Cinderella story are grim indeed, but Branagh and Disney management brightened the gothic aspect with romance and humor.

It's vengeance served hot and perverse like a Medeaen stew, a story of settling scores old enough to be archetype married to sounds and images so invasively intimate that the process of working through the film is a little like getting physically violated.

Visual effects aren't the only culprit to the film's artificiality, the mortal protagonist Bek is a faint echo of previous desert swashbuckler archetypes, the story is categoric in its predictability and the dramatic tone of the film is always drowned beneath blasting fanfares.

Born in a region of Austria / Hungary that is now part of Poland, Wilder's story feels like an archetype of the émigré - to - Hollywood experience that shaped so much of the early studio system, and by extension, narrative cinema as we know it.

In a year where the toxicity of a male - dominated film production space became glaringly apparent thanks to the courage of countless brave individuals, the prevalence of this abrasive, abusive archetype in Paul Thomas Anderson's Phantom Thread, Woody Allen's Wonder Wheel, James Franco's The Disaster Artist, Lee Unkrich and Adrian Molina's Coco, Noah Baumbach's The Meyerowitz Stories and Darren Aronofsky's mother!

I decided that the enduring value students should get from the assignment was not directly about The Odyssey at all — I wanted them to recognize how the literary archetypes we had studied in connection with the epic are found in other stories.

While the archetype of the tinker is generally the whipping person in classical bedtimes stories, this particular individual was a tinker by trade and just happened to be economically disadvantaged.

As for the ghost, this guy was THE archetype for all the gunfighters of the Old West, a man Mark Twain (who never let the truth get in the way of a good story) made famous... at the time.

May 25, 2017 Jami Gold Writing Stuff advice for writers, character archetypes, character flaws, diversity, drafting, editing, Editing Your Story, Jami Gold, Learn about Writing, listening to characters, organized, paranormal author, professionalism, risk, Stone - Cold Heart, strong characters, subtext

March 1, 2018 Jami Gold Writing Stuff advice for writers, character archetypes, character flaws, drafting, editing, Elizabeth Spann Craig, Jami Gold, listening to characters, non-fiction, organized, paranormal author, point of view, professionalism, research, setting and description, showing vs. telling, story openings, story structure, strong characters, Writers Helping Writers, Writing Life

Most travelogues, whether in short story or book form, follow the narrative archetype defined by Joseph Campbell as the Hero's...

August 18, 2015 Jami Gold Writing Stuff advice for writers, agents, character archetypes, Ironclad Devotion, Jami Gold, Laurie Schnebly Campbell, Mythos Legacy, organized, paranormal author, pitching, premise, Pure Sacrifice, queries, self - publishing, Self - Publishing Your Story, Selling Your Story, synopsis, traditional publishing, Treasured Claim

This not being the case for today's Video game titles, with all the New genres / game archetypes, and some being purely multiplayer based which needs no story, but that falls on whether or not games even need narrative but that's a whole different post you can read here.

While everything plays fine and the overall story is solid enough, there's nothing particularly endearing about the characters, which consist of archetypes we've seen a thousand times before.

It's in the characters that defy the typical archetypes that plague the Mushroom Kingdom, and the story that goes against what you would normally associate with a typical Mario title.

Somehow, Mad Max appeals to neither of those player archetypes — rather, it falls flat on both story missions (which make you do slightly longer versions of the side missions) and all the extra-curricular stuff that just repeats itself to the point of tedium.

«Having three protagonists allows us to create nuanced stories, not a set of archetypes,» says Houser.

Most of the time with a VN you get a great story, a set of cute characters that fit in to a single archetype.

probably isn't going to wow anyone with its story or characters; a lot of these personalities, while written with plenty of humor and charm, rarely develop past the archetypes that inspired them.

The game's story has the same audience as the game itself, and as such has to adhere to certain conventions of that archetype.

Archetypes and traditional story telling can become a vehicle to explore and address a myriad of issues specific to life of today.

In the new works on view at Hauser & Wirth, Bradford probes stories found in comic books to question the archetype of the antihero and the influence of the media on contemporary society, while also revisiting misconceptions of black identity and gender as seen in previous works.

The grotesque charm in filmmaker Todd Haynes» Karen Carpenter Story, social interventions by The Yes Men, and the 1993 B.L.O. (Barbie Liberation Organization) have compelled me to funnel a robust ghost into a miniature, feminine archetype.