Vogler's Story Structure

Act 1

In which the scene is set and the hero sets out.

1. Ordinary World

The story starts in the ordinary world where the hero is going about everyday existence, oblivious of the adventures to come. This anchors the hero as a human, just like you and me, and hence we can associate ourselves with the hero.

2. Call to Adventure

The hero is next presented with a wrong done, a problem or challenge which they feel they must resolve. Thus the king calls for someone to save the realm from a marauding enemy, a private detective has a client bring a difficult case to them or an attractive other person is spotted in a bar. Thus the challenge is set, to defeat the enemy, solve the murder or win the heart of the other person.

3. Refusal of the Call

The hero may well balk at the thought of the task ahead, perhaps refusing the challenge or having second thoughts. The problem seems too much to handle and the comfort of home seems more attractive than the rough wilderness or dangerous streets.

This would be our own response and we thus bond further with the reluctant hero.

4. Meeting the Mentor

The mentor appears to help the hero prepare for the road ahead. Thus Gandalf, Obi-wan Kenobi and a host of other wise and experienced people teach the hero the skills they need and give them critical knowledge to help them survive.

5. Crossing the Threshold

Eventually the hero is ready to act and crosses the threshold, often literally as they leave the family homestead on their journey into the unknown.

Act 2

In which the main action happens as the hero survives the road and achieves their goal.

6. Tests, Allies, Enemies

Once out in the big wide world, the hero is confronted with an ever more difficult series of challenges that they may face, ranging from minor skirmishes and struggles against weather and terrain to riddles and various setbacks that would defeat a lesser person.

In this way the hero's character is both highlighted and developed. Now bonded to the hero, we feel a vicarious sense of pleasure as these challenges are met.

7. Approaching the Inmost Cave

At last the final destination lays ahead and the hero, battered but wiser from their trials along the way must prepare for the ultimate test. In ancient legend, a typical 'innermost cave' is the land of the dead or a labyrinth. It is the lair of the dread enemy where no help may be found and only deep courage will win through. Another threshold must be crossed here to enter the dragons' den of the innermost cave.

We swallow hard, as does the hero, at the thought of what might go wrong. To approach the innermost cave is to face death and still go on. This pause helps show the hero as still human and helps build the story tension before the high point of the story.

8. The Crisis / Supreme Ordeal

At last the hero must face their deepest fears, typically in battle with the dark villain. This is the ultimate test that the hero takes, where the real story perhaps is the inner battle whereby the hero overcomes their own demons in facing up to the enemy outside.

As observers, we feel scared for the hero and may be terrified that they might fail or die. In so doing we also face and, with the hero, overcomes our own inner fears.

9. Seizing the Reward

In defeating the enemy, the hero is transformed into a new state where fears are vanquished and the new fearless person is born. The reward in the story may be gaining new knowledge, a treasure or rescuing a princess, but the inner reward is in the personal growth that is achieved.

Act 3

10. The Road Back

After the story has reached its main peak, the transformed hero sets out home again. Having gained the treasure they are have no need for more adventure and nothing left to prove and so set out back home again.

Setting out home is reverse echo of crossing the threshold in setting out on the adventure. In contrast to the earlier anticipation of danger, the anticipation now is of acclaim and rest.

11. The Climax / Resurrection

The story has one last trick up its sleeve now, having lulled its audience into a false sense of security, as one last challenge faces the hero. Perhaps the villain was not completely vanquished or perhaps there are other people in need on the way back -- whichever way, we are again plunged into another climactic event, just when we thought it was safe to breathe easy again.

In ancient stories, the hero has to be purified before return. After the toil of the journey and the ordeal, they are formally reborn into a new and beautiful form.

12. Return with the Elixir

Finally, the hero returns to the hero's welcome, gives the treasure to the proper recipient and receives their just reward, whether it is the hand of the princess, the acclaim of the people or simply a well-deserved rest.

In this final part, all tensions are resolved and all unanswered questions answered, leaving the reader of the story satisfied and replete.

Coda

Vogler's work has been both criticized and acclaimed. Whilst some say there is nothing new in his writings and recommend the earlier Campbell's 'Hero's Journey' or Propp's Morphology of the Folk Tale, others praise Vogler for his clarification, simplification and placing of classic patterns into the modern genre.

Mise En Scene

The Great Gatsby- Myrtle's Death. 

The scene begins with Jay Gatsby's car driving dangerously on the road. Gatsby's car is the only bright cars driving on the bridge- the other cars are black. The car he drives and speed accompanies Gatsby's exciting and lavish lifestyle. 

The bridge seen in this scene may show the audience The Great Gatsby is set in a city presumably New York City in the 1920s.

 As Gatsby drives on, the audience sees Myrtle and George Wilson fighting. Myrtle is evidently injured as she has a visible cut on her forehead and her hair is disheveled. She is inferior to her husband as she is pressed up on the dirty window. Her face shows fear for her angered husband. 

There is a contrast in both Myrtle and George’s appearance.  The Great Gatsby was set in the 1920s era. The soft pale pink dress she is wearing shows her legs- her clothing may suggest she is feminine yet seductive. It may also suggest she is wealthy as her clothing looks very luxurious. Myrtle’s attire may infer she believes she belongs in a wealthier area; whereas George’s appearance is very scruffy and unkempt, both his clothes and face are covered in black streaks. George’s attire fits in with their environment and his profession as they live in a poor area in an auto-repair shop- which George owns.

As their fight intensifies, the audience can see the state of Myrtle. She is held on the window by George- this may suggest he is intimidating her to get answers on who gave her the extravagant pearls around her neck. It could infer George is trying to make eye contact with his wife yet Myrtle averts her eyes to the window; this may show Myrtle is guilty. She continues to look afraid of George and his actions.

After Myrtle escapes George's hold, she goes out to seek help. Myrtle's appearance does not fit into the environment that surrounds her. She is surrounded by the colour red which may connote she is in danger. 

Myrtle's look of relief after seeing Gatsby's car suggests she is looking for an escape both from George and from the poor environment in favour of the lifestyle Gatsby and her lover, Tom, lives.

The woman runs on the road in the hope Gatsby would see her and stop. The key light from the car alerts the audience of what is to happen. The light may also connote, Myrtle is walking into the 'light which may symbolise her foreseeable death. 

Like Gatsby's car, Myrtle's dress is very vibrant. This may highlight the important of the car and Myrtle in this scene. 

The car light shines on Myrtle's face before she is hit. The light may further connote she 'sees the light' - her death is imminent. 

Her facial expression and body language shows her desperation for the car to stop. Myrtle attempts to draw attention to herself by stretching her arms in a 'stop' signal but it does not work.

The shot of Myrtle flying in the air shows her red nail varnish. Again, the colour red connotes danger. However, as Myrtle was calling out for her lover Tom, who she assumed was driving the   yellow car, it could be suggested the colour red connotes her love.

Gatsby's expression shows the audience he did not intend to hit Myrtle with his car. He attempts to  steer the car away from her yet to no avail. The audience can see his determination to avoid hitting Myrtle and steer himself to safety. 

Even though they fought and George was visibly violent towards Myrtle, the audience can see his  shock as he watches his wife die in front of him. His hand on the window may suggest his helplessness as he can't save her from her death. 

The scene ends with another shot of the eye with glasses image- which may suggest they are all under the watchful eyes of God and all sins are met with punishment. This may connote Myrtles death was the result of her committing a sin.