Transcript The Story of Plots and Genres Pulp Fiction, The Mummy, and Galaxy Quest.

The Story of Plots and Genres
Pulp Fiction, The Mummy, and Galaxy Quest
Plot
In Understanding Movies, Giannetti
mentions that there are many ways to
structure plots, but that American films
most often follow the ‘classical paradigm.’
 A classical story pits a protagonist against
an antagonist in a linear (usually
chronological) plotline of increasing
dramatic tension.
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Plot Structures
Classical
Classical
Classical
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In Element of Fiction Robert Scholes
describes three general modes that fiction
may follow: Comedy, Tragedy, and Quest.
– Comedies end positively for the characters
– Tragedies end negatively
– Quests involve a character or characters going
on a journey, usually having acquired a
mission to find something and bring it back.
The quest idea is connected with the idea
of a hero and has several characteristics:

1. The protagonist or hero receives a summons of sorts or a goal that must
be achieved. If the hero rejects the summons, usually bad things happen
and these are often symbolized by images of desert or wasteland. If he
accepts the quest, he knows that he is not assured success.
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2. When the hero begins his quest, a journey will be involved. This can be
an actual physical journey or merely a mental or internal journey. The
journey will always be into the unknown. Sometimes this is considered “the
Other” and can be merely the “dark side” of the hero’s own nature. When
the unknown involves the self, once the hero recognizes his dark side or
flaws or unconscious motivations, balance is restored, “health” is regained.
For some literature, this may be the only goal of the quest. For early British
literature, the goal usually applies to a society as well as to the hero.
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3. On the journey, the hero will be tested. Tests can be riddles, physical
tests of strength, or moral tests or combinations. The idea that the hero
gains self-knowledge occurs in most representations of the quest, but this
aspect is emphasized more in some presentations than others.
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4. The structure of the literature involving a quest is usually episodic. The
events of the plot are controlled by the events in the journey. The hero
encounters many adventures and some are unrelated to the main plot
except that they impede action of the main plot. Sometimes they are tests
of character, values, spirit, and honor as well as determination.
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5. The hero usually is given or has help through the journey. This can be a
helper, a mentor, or some person met on the journey. The point is that the
help must be accepted by the hero.
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6. Usually, there is a descent scene that represents a type of death and
rebirth. Maybe the death is only of one set of ideas or values for another,
but this is a significant part of any quest.
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The quest has three major stages: 1. separation 2. initiation 3. return.
The hero will somehow be changed as a result of the quest. Another word
for change is “transfiguration” and before this can occur, the hero must
experience a type of death and rebirth.
The data from the last two pages comes from
http://spider.georgetowncollege.edu/english/brady/211.Quest%20characteristics.htm
Galaxy Quest

Galaxy Quest follows a classical plot structure
that also uses the elements of a quest narrative.
– In it, a hero must face a challenge, upon which
hinges the survival of a culture, and overcome
obstacles (including himself) to find or learn of that
thing which can save his people.
– The Omega-13 is a device with unknown powers that
Sarris desires and which the other characers need to
keep from him.
 Notice that each character of Galaxy Quest must learn or do
something in order for their whole mission to be successful.
The script casts them all as heroes (or heroines).
Galaxy Quest
The film also plays with the ideas of fiction
and reality, actually privileging those who
suspend their disbelief and go with the
fantasy (or reality) of their situations.
 Notice that the characters who most
accept their fictional/real roles in the
reality of their situation—almost like
having faith in the fantasy—become
successful.
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The Mummy

The Mummy follows the classical paradigm with
a linear, chronological plotline, and, like each
main character in Galaxy Quest, each main
character in this film has his or her own idea of
treasure.
 The Mummy’s twist is that in addition to the
traditional quest format, it also follows the
‘classic” role-playing game formula, as well,
which makes for a vastly entertaining actionadventure film.
A Film Master

Stephen Sommers is more than an auteur, he’s a
top-class Dungeon Master.
– The characters follow the classic Dungeons & Dragons
character types—or archetypes.
– Each character has an alignment, a history, and a set of
skill specializations and they gain (or lose) experience
based upon the success or failure of their actions.
– The Book of the Dead and
The Book of Amun-Ra
are valuable magical items
for which the characters search.
In D&D characters can be wizards,
clerics, fighters, or thieves.
Pulp Fiction
As Pulp Fiction does not present its scenes in the
order they occur, we cannot readily understand
the story’s timeline or the characters’
relationships to one another. Each scene
presents its own story with its own
complications; however, they all come together
to teach viewers important lessons.
 While it includes many aspects of the Mafia
movie genre, it also has some revisioned quest
narrative components.

Each main character star in his or her own
vignettes where there are times when he
or she is tested, must overcome obstacles,
and emerge from conflict either
victoriously or otherwise.
 A key item emerges with a near
supernatural importance: the contents of
the briefcase.
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