Hero Myths

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ACKNOWLEDGEMENTS

My thanks go out to all who have helped me complete this study and with whom this project may have not been possible. In particular, my gratitude goes out to friends, facilitator and family for extensive and helpful comments on early drafts. I am also deeply indebted to the authors who have shared my interest and preceded me. Their works provided me with a host of information to learn from and build upon, also served as examples to emulate.

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DECLARATION

I, (Your name), would like to declare that all contents included in this thesis/dissertation stand for my individual work without any aid, & this thesis/dissertation has not been submitted for any examination at academic as well as professional level previously. It is also representing my very own views & not essentially which are associated with university.

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Thesis statement:

Having hero myths in a films guarantee its success

Speaking of heroes in the contemporary world requires particular analysis formulas, in which privileges the mythical aspect of this concept and based on the work of describing the ideological perception of some particular figures, which have a fairly limited with the reality. The heroes are more collective imagination to concrete social situations, at least in the world today. In fact it is most defining figures whose archetypes are at the level of cultural objects widely available, both in the field of literature and the popular comic and film more commercial (Allen, p.10-89).

However, the very term "hero" poses a problem of definition. This word, in most Western languages, is derived directly from Latin heroes. As noted by Nicola Abbagnano, it is clear that this definition is the notion of hero confined to the realm of myth, totally detached from the real world in which we live. Both Hesiod and Plato himself refers to a mythical "age of heroes" before history as we know it (Campbell, p.24-79).

The hero is often the son of a tyrannical father, who searches and kills once reached adulthood. Interestingly, in this regard, note the recurrence of parental figures in contemporary American cinema. Figures generally structured in the form of a dichotomy, for often we are offered two fathers or two characters identified as such in their relationship with the hero: one positive, which represents an entity including training and helps the hero to comply as such, and one negative, which assumes the role of tyrant which is to be removed. The examples also abound, but we can refer to Batman (1989) by Tim Burton, where the problem of the relationship with the father is part of the basic narrative structure: the protagonist, a young boy witnesses the murder of his parents, and later (and become a vigilante criminal Hunter) confronts the murderer. This subject appeared in the comic from whom this and other films in the Batman series, but in the film, the protagonist's relationship with the butler Alfred concretizes a substitutive relationship very obvious positive parenting, while his battle with the Joker (presented on tape as the murderer of parents and ...