Bin ich eine Unternehmerin?

Im Zuge der Lehrveranstaltung „Proseminar Master’s Thesis“ bin ich auf den Artikel „Am I an entrepreneur? How imposter fears hinder women entrepreneurs’ business growth” gestoßen. Der Artikel schien mir als sehr interessant für mein Masterarbeitsthema. Auf der ersten Seite waren Keywords angegeben, die mich sofort darauf schließen ließen, dass der Text für meine Arbeit wichtig sein könnte. Es gibt einen Abstrakt, der das Thema kurz zusammenfasst. Die Kapitel sind nummeriert und haben aussagekräftige Überschriften. Es handelt sich um einen Artikel der Kelley School of Business. Der Text ist auf Englisch verfasst und überrascht durch seine wissenschaftliche und gleichzeitig verständliche Sprache.

Frauen in der Selbstständigkeit begegnen spezielle Herausforderungen. Obwohl immer mehr Frauen ins Unternehmertum einsteigen, bleibt ein Leistungsgefälle zwischen den Geschlechtern bestehen. In den USA stieg die Zahl an Unternehmerinnen zwischen 1997 und 2013 um 59 %. Laut der World Bank waren im Jahr 2019 weltweit zwischen 25 % und 33 % aller privaten Unternehmen im weiblichen Besitz. Trotz des enormen Zuwachses haben Studien gezeigt, dass Unternehmen in weiblichem Besitz weniger Vermögenswerte haben, kleiner sind und sich durch ein langsames Wachstum auszeichnen. Zusätzlich sind sie weniger rentabel als die Unternehmen im männlichen Besitz. Ladge, Eddleston und Sugiyama sind durch ihre Recherche auf zwei mögliche Gründe gestoßen, die dieses Leistungsgefälle zwischen den Geschlechtern begründet. Sie sprechen von der „differential inputs perspective“ und der „differential valued perspectiv“, was mit „differenzielle Input-Perspektive“ und „differenzielle Werteperspektive“ übersetzt werden kann. Die Input-Perspektive besagt, dass Frauen als Unternehmerinnen im Vergleich zu Männern schlechter abschneiden, weil ihnen wichtiger Input und Zugang zu Ressourcen (z.B.: Sozial- und Finanzkapital) fehlen, die für den Erfolg eines Unternehmens wichtig sind. Die differenzierte Werteperspektive beschreibt das Phänomen, dass Frauen mehr Wert auf die Karrierezufriedenheit legen. Dazu zählen gute Beziehungen zu Mitarbeiter*innen und Kund*innen und die Vereinbarkeit mit Beruf und Familie. Laut der Forschung von Powell und Eddleston aus dem Jahr 2008, sind Unternehmerinnen genauso zufrieden wie ihre männlichen Kollegen. Der geringere Umsatz und die geringere Unternehmensleistung spielen für die Zufriedenheit der Unternehmerinnen keine Rolle. Ladge, Eddleston und Sugiyama haben Studien zusammengetragen, die zeigen, dass Frauen das Wachstum ihrer Unternehmen bewusst begrenzen. Es handelt sich um eine bewusste Entscheidung der Unternehmerinnen. Frauen und Männer führen das Unternehmertum unterschiedlich aus. Die männliche Domäne des Unternehmertums kann die Bestrebungen und Erfolge von Frauen limitieren. Die differenzielle Input-Perspektive klärt externe Kräfte, die das Wachstum eines Unternehmens einschränken können, während die differenzielle Werteperspektive die unternehmerische Identität und ihre Geschlechtsspezifität berücksichtigt.

Die Forschung zeigt, dass Kapitalgebende Unternehmerinnen als weniger glaubwürdig und engagiert wahrnehmen als männliche Unternehmer. Laut Ladge, Eddleston und Sugiyama gibt es allerdings nur eine Studie, die untersucht, inwieweit sich Unternehmerinnen selbst als Unternehmerinnen identifizieren. Die Studie wurde im Jahr 2005 von Verheul, Uhlaner und Thurik durchgeführt und zeigt, dass Frauen sich eher weniger als Unternehmerinnen sehen, da der Begriff „Entrepreneur“ selbst eine männliche Konnotation hat. Ladge, Eddleston und Sugiyama gehen davon aus, dass die geschlechterspezifische Identität von Unternehmerinnen, einen Einfluss darauf hat, ob und inwieweit sie sich selbst als Unternehmerin sieht. In diesem Zusammenhang wird die geschlechterspezifische Identität durch das Vorhandensein von Eigenschaften verstanden, die männlichen oder weiblichen Personen zugeschrieben werden. Wie ausgeprägt die unternehmerische Identität ist, beeinflusst wiederum die Bereitschaft, das eigene Unternehmen zu Wachstum zu verhelfen. Laut den Autorinnen ist diese Forschung wichtig, denn wenn Unternehmerinnen das Wachstum bewusst einschränken, schöpfen sie nicht ihr volles Potenzial aus und minimieren ihren Einfluss in der Wirtschaft. Um zu verstehen, warum Unternehmerinnen zögern sich selbst, als Unternehmerinnen zu bezeichnen, greifen die Autorinnen das „Imposter Phenomenon“ auf. Das „Imposter Phenomenon“ bezieht sich auf die Selbstzweifel von Menschen im Hinblick auf ihre Fähigkeiten und Erfolge. Für die Untersuchung der Wachstumsabsichten von Unternehmen, die von Frauen geführt werden, scheint dieses Phänomen passend. Es erklärt, warum erfolgreiche Individuen und Personen in Führungspositionen, ihre Erfolge nicht verinnerlichen können. Daraus resultiert, dass sie die eigenen beruflichen Ziele niedriger ansetzen.2

Der Artikel bearbeitet drei wichtige Aspekte zur Forschung an Unternehmerinnen. Zuerst wird gezeigt, wie die maskuline Prägung des Unternehmertums die weibliche unternehmerische Identität und das Unternehmenswachstum beeinflussen kann. Frauen, die mehr Eigenschaften besitzen, welche Männer zugeschrieben werden, streben ein größeres Wachstum ihres Unternehmens an. Durch solche Beispiele wird klar, dass unter Unternehmerinnen eine große Heterogenität besteht. Es gibt nicht die eine „typische Unternehmerin“, sondern eine Bandbreite an verschiedenen Persönlichkeiten und unternehmerischen Identitäten. Als Zweites wird das Imposter Phänomen auf das Unternehmertum von Frauen ausgedehnt. Als dritten Aspekt werden Strategien aufgezeigt, die dem Imposter Phänomen entgegenwirken und Frauen ermutigen ihre eigene unternehmerische Identität zu entwickeln.3

1 Vgl. Ladge/Eddleston/Sugiyama 2019, S. 615f

2 vgl. Ladge/Eddleston/Sugiyama 2019, S. 616f

3 vgl. Ladge/Eddleston/Sugiyama 2019, S. 617

Literaturverzeichnis:

Ladge, Jamie/Eddleston, Kimberly/Sugiyama,Keimei: Am I an entrepreneur? How imposter fears hinder women entrepreneurs’ business growth. In: Business Horizons 62,5 (2019), S.615-624

# 02 || Joseph Campbell – The Hero with a Thousand Faces

“The usual hero adventure begins with someone from whom something has been taken, or who feels there is something lacking in the normal experience available or permitted to the members of society. The person then takes off on a series of adventures beyond the ordinary, either to recover what has been lost or to discover some life-giving elixir. It’s usually a cycle, a coming and a returning.”[1]

Joseph Cambpell (1904-1987) was an American writer and teacher. He is known for his book “The Hero with a Thousand Faces”. In his study of the „hero myth,“ Campbell explains that heroic journeys follow a similar pattern in myths from all cultures (the monomyth). The book describes the main stages, challenges, and outcomes that make up this universal hero’s journey.[2]

Monomyth

“In narratology and comparative mythology, the hero’s quest or hero’s journey, also known as the monomyth, is the common template of stories that involve a hero who goes on an adventure, is victorious in a decisive crisis, and comes home changed or transformed.”[3]

Hero’s Journey

The hero’s journey is a storytelling structure that describes the typical stages heroes experience in myths, legends, and stories from various cultures. As mentioned before, it was first introduced by Joseph Campbell in “The Hero with a Thousand Faces”, this journey outlines a pattern that mirrors universal struggles and growth, often highlighting themes of self-discovery, transformation, and victory.[4]

The 3 Main Stages of the Hero’s Journey

“The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation — initiation — return: which might be named the nuclear unit of the monomyth.”[5]

The hero’s journey is separated into 3 stages, these are departure, initiation, and return. In the first stage, the departure (also called call to adventure), the hero departs from the world he knows. The hero must leave the safety of his world, the known “conventional world”, and enter the unknown, a “special world” that is foreign. In the second stage, the initiation, the hero must face a series of trials. The journey is not safe, as he is tested in battle, skill, and conflict, where he may not succeed but must press on. In this stage he will meet enemies, allies, and mentors with supernatural aid. In the last stage, the return, the hero returns home, he has had an internal transformation through the experience of events. [6]

Campbells Hero Journey Arc

“The stages of the hero’s journey are the common sequence of events that occurred in the monomyth motif.”[7]

Campbell’s model is divided into seventeen stages. These seventeen stages are divided in the three phases mentioned before.

  1. The call to adventure (Departure)
  2. Refusal of the call (Departure)
  3. Supernatural aid (Departure)
  4. The crossing of the first threshold (Departure)
  5. The belly of the whale (Departure)
  6. The road of trials (Initiation)
  7. The meting with the goddess (Initiation)
  8. Woman as the temptress (Initiation)
  9. Atonement with the father (Initiation)
  10. Apothesis (Initiation)
  11. The ultimate boon (Initiation)
  12. Refusal of the return (Return)
  13. The magical Flight (Return)
  14. Resue from without (Return)
  15. The crossing of the return threshold (Return)
  16. Master of the worlds (Return)
  17. Freedom to live (Return) [8]

These stages can be found globally in the myths and legends throughout  recorded history.[9]

The Modified 12 Stages of the Hero’s Journey

Compard the Campbell’s model with 17 stages, Christopher Vogler created a model with 12 stages. It is a model which simplifies Campbell’s hero journey arc.

The stages are:

  1. Ordinary world
  2. Call to adventure
  3. Refusal of the call
  4. Meeting the mentor
  5. Cross the first threshold
  6. Test, allies, enemies
  7. Approach to the inmost cave
  8. Ordeal
  9. Reward
  10. The road back
  11. Resurrection
  12. Return with the elixir [10]

Conclusion

In summary, Joseph Campbell’s „The Hero with a Thousand Faces“ outlines a universal journey shared by heroes in myths worldwide. Known as the „hero’s journey“ or „monomyth,“ this structure involves three main phases: departure, initiation, and return. In these stages, the hero faces challenges, gains wisdom, and returns transformed. Campbell’s 17-step journey has been adapted into a simpler 12-step model by Christopher Vogler. Both versions show that the hero’s journey reflects universal themes of growth and self-discovery, illustrating how stories help people understand and navigate their own life challenges.

Bibliography

Books:

Campbell, Joseph. The hero with a thousand faces. United States: New World Library, 2008.

Web:

Baugh, Nathan. “The Psychology of the Hero’s Journey: Going Beyond the 12-step Process to Talk About Archetypes, Rites of Passage, and Conflict.” Medium, Accessed November 8, 2024 https://medium.com/@nathan.baugh/the-psychology-of-the-heros-journey-0bda883de114.

Bronziten, Dan. “The Hero’s Journey – Mythic Structure of Joseph Campbell’s Monomyth.” Movie Outline. Accessed November 8, 2024. https://www.movieoutline.com/articles/the-hero-journey-mythic-structure-of-joseph-campbell-monomyth.html.

JCF. “About Joseph Campbell.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-biography.

JCF. “Joseph Campbell and the Hero’s Journey.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-heros-journey.

Jeffrey, Scott. “A Practical Guide to Joseph Campbell and the Hero’s Journey.” Scott Jeffrey (blog), October 1, 2024. Accessed November 8, 2024. https://scottjeffrey.com/heros-journey-steps/.

Rovatti, Matteo. “THE HERO WITH a THOUSAND FACES — Monomyth and the Hero’s Journey — Animator Notebook,” Animator Notebook, May 25, 2024, accessed November 8, 2024, https://www.animatornotebook.com/learn/the-hero-with-a-thousand-faces.

The Heroine Journeys Project. “Joseph Campbell’s Hero’s Journey Arc,” October 22, 2019. Accessed November 8, 2024. https://heroinejourneys.com/joseph-campbells-heros-journey-arc/.

UC Berkley. “Monomyth: Hero’s Journey Project | ORIAS.” Accessed November 8, 2024. https://orias.berkeley.edu/resources-teachers/monomyth-heros-journey-project.

Wikipedia contributors. “Hero’s Journey.” Wikipedia, October 20, 2024. Accessed November 8, 2024. https://en.wikipedia.org/w/index.php?title=Hero%27s_journey&oldid=1252231656.


[1] Baugh, Nathan. “The Psychology of the Hero’s Journey: Going Beyond the 12-step Process to Talk About Archetypes, Rites of Passage, and Conflict.” Medium, Accessed November 8, 2024 https://medium.com/@nathan.baugh/the-psychology-of-the-heros-journey-0bda883de114.

[2] JCF. “About Joseph Campbell.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-biography.

[3] Wikipedia contributors. “Hero’s Journey.” Wikipedia, October 20, 2024. Accessed November 8, 2024. https://en.wikipedia.org/w/index.php?title=Hero%27s_journey&oldid=1252231656.

[4] Jeffrey, Scott. “A Practical Guide to Joseph Campbell and the Hero’s Journey.” Scott Jeffrey (blog), October 1, 2024. Accessed November 8, 2024. https://scottjeffrey.com/heros-journey-steps/.

[5] Campbell, Joseph. The hero with a thousand faces. (United States: New World Library, 2008), 28.

[6] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[7] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[8] The Heroine Journeys Project. “Joseph Campbell’s Hero’s Journey Arc,” October 22, 2019. Accessed November 8, 2024. https://heroinejourneys.com/joseph-campbells-heros-journey-arc/.

[9] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[10] Bronziten, Dan. “The Hero’s Journey – Mythic Structure of Joseph Campbell’s Monomyth.” Movie Outline. Accessed November 8, 2024. https://www.movieoutline.com/articles/the-hero-journey-mythic-structure-of-joseph-campbell-monomyth.html.

|| Impuls 04 // Spirited Away

The animated masterpiece „Spirited Away“, directed by the legendary Hayao Miyazaki and produced by Studio Ghibli, remains one of the most celebrated films in the history of animation. Released in 2001, the film captivated audiences worldwide with its enchanting narrative and breathtaking visuals. It tells the story of a girl named Chihiro, who accidentally ventures into a magical world of spirits, gods, and peculiar creatures. Beyond its fantasy elements and stunning animation, the film offers a window into Japanese culture and spirituality, where spirits play a crucial role.

The story as a gateway to the spirit world

Chihiro’s adventure begins with her family’s relocation to a new town. During their journey, they stumble upon an old tunnel leading to a deserted town. When her parents eat food meant for spirits, they are transformed into pigs, leaving Chihiro to navigate the chaotic and mystical spirit world to rescue them and return to the human realm.

The narrative draws deeply from Japanese folklore, which is rich with spirits and supernatural beings. In Japanese culture, the boundary between the human and spiritual worlds is often blurred. This concept is vividly depicted in the film, with the amusement park transforming into a bathhouse for spirits. Initially terrified and confused, Chihiro gradually learns to empathize with and respect these spiritual beings.

Japanese concepts of spirits and gods 

The spirits in „Spirited Away“ are not merely frightening or dangerous; they are complex entities with unique stories and personalities. Many of them are divine beings in Shintoism who reside in natural elements such as rivers, trees, and mountains. For example, the river spirit,whom Chihiro helps purify in the bathhouse, represents the plight of nature suffering from pollution.

Shintoism, which heavily influences Japanese culture, teaches that the world is filled with spirits and gods, and that every element of nature has its own spiritual essence deserving of respect. Through various scenes, „Spirited Away“ emphasizes the interconnectedness between humans and nature, reflected in the themes of cleansing and harmony.

Central setting

The film’s central setting is the grand bathhouse, where spirits come to relax and cleanse themselves. This location serves as a symbolic space for purification and transformation, highlighting the significance of water in Shinto practices. It is here that Chihiro learns to adapt to the spirit world, encountering figures such as the river spirit, the enigmatic No-Face, and other supernatural beings.

No-Face, in particular, stands out as a fascinating character who embodies the complexities of human desires and loneliness. Initially appearing kind and unassuming, No-Face becomes monstrous due to greed and gluttony. His transformation illustrates how emotions such as greed, anger, and the longing for acceptance can lead to destruction.

Spirituality and personal growth

Chihiro’s journey is not just an external adventure but also an internal one. Her confrontation with the spirit world serves as a metaphor for the transition from childhood to adulthood. Initially timid and reliant on others, Chihiro gradually develops confidence, empathy, and resilience. Her interactions with the spirits enable her to understand herself and the world around her better.

The film also carries a powerful ecological message. The polluted river spirit that Chihiro cleanses underscores the damage humans inflict on nature. These spirits symbolize the neglected or destroyed elements of the environment, reflecting Miyazaki’s enduring concern for environmental awareness.

Relevance to my Master’s Thesis

I find the film’s masterful integration of Japanese folklore into an engaging narrative fascinating. It demonstrates how cultural elements can be preserved and presented in a way that is both authentic and universally relatable. The dynamic and standalone nature of each spirit’s story in »Spirited Away« aligns closely with my vision for episodic storytelling, where each tale stands independently while contributing to a cohesive thematic exploration.

Moreover, the rich symbolism and character depth in »Spirited Away« emphasize the importance of designing narratives that resonate emotionally and intellectually. This reinforces my goal of creating animations that not only entertain but also provoke thought and spark curiosity about cultural heritage.

Links
  1. Spirited Away Revealed: The Real Mythology & Folklore Explained!
  2. Making of Spirited Away – Part 1
  3. Spirited Away Trailer

|| Impuls 3 // Podcast „Mythology and Fiction Explained“

The podcast »Mythology and Fiction Explained« was one of the first podcasts that really caught my attention. Each episode explains a different folk tale, mythological story, or other form of fictional narrative through captivating storytelling. The podcast dives into the origins, meanings, and cultural contexts of myths from around the world. With episodes ranging from the Greek pantheon to Norse sagas and even lesser-known legends, it opens up a vast field of narrative possibilities.

»Mythology and Fiction Explaied« is also a channel on YouTube, where its episodes are presented with animated visuals that complement the storytelling. With a focus on accessibility, the host uses clear and concise language, making it easy for both casual listeners and mythology enthusiasts to engage with the content. Episodes typically range between 10 to 20 minutes, ensuring that even complex topics are covered in an approachable and digestible format.

What makes the podcast especially engaging is its storytelling approach. Each episode is structured like a journey, starting with the origins of a myth or creature, building up with explanations of its roles and transformations in different cultures, and concluding with its relevance in modern interpretations. For instance, an episode on the Norse god Loki delves into his complex character—a trickster who disrupts but also catalyzes growth and change within the mythological world. Similarly, the host’s exploration of mythical creatures like the phoenix provides a blend of historical accounts and symbolic interpretations, making each topic richly layered.

Every episode introduces a new topic or creature, often highlighting both well-known and hidden elements. For example, an episode on the Greek Minotaur covers not only the famous labyrinth but also lesser-known interpretations of the myth as a reflection of societal fears. The podcast also touches upon myths from underrepresented cultures, such as African, Polynesian, and Indigenous folklore, providing a global perspective on storytelling traditions.

Why this podcast

The way the host blends narrative storytelling with cultural analysis inspired me to think about how I could approach storytelling in my own work. Rather than attempting to replicate the podcast’s format, it encouraged me to explore how I might develop my own unique way of presenting folklore. Specifically, it sparked the idea of creating an animated series where each episode explains a different folk tale through engaging storytelling and distinctive animation styles. The podcast’s ability to bring myths to life through vivid descriptions and thoughtful insights showed me how storytelling can effectively bridge entertainment and education.

Relevance to My Master’s Thesis

The podcast demonstrates how complex myths can be shown as simple stories, without losing their charm. This aligns with my goal of creating short, visually captivating episodes that respect the cultural origins of the stories while making them appealing to modern audiences.

One of the podcast’s greatest strengths is its focus on cultural context. For instance, when exploring the Japanese sun goddess Amaterasu, the host connects the myth to agricultural cycles and the importance of light in Japanese culture. This approach inspired me to ensure that my animations not only tell the story but also provide viewers with a sense of its historical and cultural significance.

The podcast’s episodic structure is another source of inspiration. By presenting each topic as a self-contained yet interconnected story, it keeps the audience engaged while building a thematic narrative. My series will adopt its own format tailored to animation, where each episode stands on its own while contributing to a larger exploration of folklore’s role in human storytelling.

Links
  1. Maythology & Fiction Explained
  2. Mythopedia

|| Impuls 02 // Mythopedia

Introduction to Mythopedia

Mythopedia is a website dedicated to providing a deep dive into the rich and diverse world of mythology, legends, and fictional stories. The website serves as a great resource for anyone interested in exploring mythological creatures, gods, heroes, and cultural tales from all around the world. The goal of Mythopedia is to preserve and share the complex histories, beliefs, and storytelling traditions of mythologies from different regions, providing a window into how cultures have used myths to explain the world around them.

Website Structure

Mythopedia’s structure is organized around several major mythological themes, making it easy for users to navigate and explore specific traditions.  These are Aztec Mythology, Celtic Mythology, Chinese Mythology, Egyptian Mythology, Greek Mythology, Hindu Mythology, Japanese Mythology, Norse Mythology, and Roman Mythology. Each of these sections is divided into subcategories, offering articles on a variety of topics such as gods, creatures, cosmology, heroes, and others. Whether users are looking for a brief introduction to a specific god or a deep exploration of ancient cosmological beliefs, the website caters to all levels of interest.

Mythopedia is a website that has lots of information about myths and legends. It has articles that are easy to read if you’re just curious, but it also has really detailed ones if you want to learn a lot. Each article is written in a way that’s both fun and informative, mixing stories with real facts. The site includes references to important books, old writings, and academic studies, so the information is reliable and can be trusted.

Mythopedia’s articles feature supplementary materials such as timelines, maps, and diagrams. These visual aids help readers understand the geographic, historical, and thematic contexts of the myths, making it easier to connect with the mythological topics being discussed. For example, a detailed map of ancient Greece might accompany an article on Greek gods, allowing readers to visualize the locations where these deities were worshipped.

Relevance to my Master’s Thesis

The Mythopedia website is a great tool for my project by providing in-depth articles on a wide range of myths, which helps me select meaningful and engaging stories. The detailed information about gods, creatures, and cosmologies ensures the myths I adapt stay true to their cultural roots. Mythopedia also inspires the visual and environmental design of my series, offering vivid descriptions of legendary figures and mythological realms. Additionally, the website explores how these ancient myths remain relevant today, helping me connect them with modern audiences. Mythopedia encourages me to approach my project with cultural sensitivity and creativity, offering both research and creative resources that will help me craft an accurate and compelling animated series.

Links
  1. Mythopedia

|| Impuls 01 // Book Series “Enzyklopädie des Wunderbaren”

For my first impuls I chose the book series “Enzyklopädie des Wunderbaren”. The series has right now 6 volumes:

  • Volume 1: Witches by Cécile Roumiguière, 2022. Illustrated by Benjamin Lacombe
  • Volume 2: Fairies by Sébastien Perez, 2022. Illustrated by Bluebirdy (Fatemeh Haghnejad)
  • Volume 3: Dragons by Cécile Roumiguière, 2023. Illustrated by Yvan Duque.
  • Volume 4: Monsters by Sébastien Perez, 2023. Illustrated by Stan Manoukian.
  • Volume 5: Ghosts by Sébastien Perez, 2024. Illustrated by Isabella Mazzanti.
  • Volume 6: Ogres by Cécile Roumiguière, 2024. Illustrated by Etienne Friess.

The collection explores the mythological worlds of the different mythological and folklore creatures. Each book offers not only stories about cultural myths, but also visually beautiful illustrations. These books inspired me to combine visual media with folklore tales and to find different styles to fit to different topics.

A key feature of this book series is that for the past 3 years, two books were published every year, one written by Cécile Roumiguière and one by Sébastien Perez. Each book is illustrated by a different artist. This collaboration gives each book its own unique style, so that each category can be connected to one.

The storytelling in the series is very imaginative and often poetic, combining history and fantasy. Each book has its own unique storytelling approach and structure, designed to match the creatures it talks about and a distinct illustration style to fit with it:

»Witches« includes mystic illustrations, which show mystery, which aligns with the stories of misunderstood wisdom and magic. »Fairies« is a more ethereal style and captures a more delicate, otherwordly nature. »Dragons« has very bold and vibrant visuals, which show the majesty of these legendary creatures. »Monsters« is done in a more grotesque style, showing more primal and powerful illustrations. »Ghosts« is very melancholic, evoking the beauty and emotional depth of stories, centered around loss. »Ogres« has very earthy and rough styles, showing the wild and untamed nature of these massive creatures.

This collections matters to me, because it has given me a lot of ideas for my Master’s Thesis, especially about storytelling and how to combine different stories with different illustration styles. What I love most is how the illustrations in these books are not just decorations, but are part of the story. Each artist’s unique style helps the book’s thematic come to life and this reminds me how important it is to match visuals to the story’s mood message. Additionally, the book collection is made for kids, structuring the stories as such, trying to make different folklore and mythological creatures and stories interesting to children.

Links
  1. »Hexen«
  2. Cécile Roumiguière
  3. Sébastien Perez

Impuls #2 – Kinofilm: Beetlejuice Beetlejuice

Mein zweiter Impuls ist die Fortsetzung von Beetlejuice, die 2024 in die Kinos gekommen ist. Weil der Film ein großartiges Beispiel für gelungenes Storytelling, Character Development, Spannung und Humor ist, sehe ich ihn als Impuls und lasse mich dadurch auch für die Masterarbeit inspirieren. 

Der Film ist die Fortsetzung von Beetlejuice von Tim Burton, der 1988 das erste Mal die Geschichte des „Lottergeists“ Beetlejuice und seiner Begegnungen mit der lebenden und toten Welt erzählte. Der neue Teil bleibt dem exzentrischen Humor und den skurrilen Charakteren treu. Allerdings wird das Thema des Films etwas erweitert durch neue Zwischenwelten zwischen Leben und Tod. 

Das Storytelling in Beetlejuice 2 setzt die Erzählweise des ersten Teils fort, indem verschiedene narrative Ebenen miteinander verbunden werden. Der Film spielt mit Zeitsprüngen und Perspektiven. Dabei wird die Sichtweise der Zuschauer immer wieder auf den Kopf gestellt, wodurch Spannung und humorvolle Momente entstehen. Der Film nutzt die exzentrische Welt der Geister und die übernatürlichen Elemente, um tiefere Themen wie Verlust und Sehnsucht zu behandeln. 

Während einige Charaktere aus dem ersten Teil erneut ihre Rolle spielen (beispielsweise Winona Ryder als Lydia und Michael Keaton als Beetlejuice), kommen auch neue Charaktere hinzu (Jenna Ortega als Astrid und Justin Theroux als Rory). 

Beim Anschauen wurde schnell klar, dass sowohl junge Menschen als auch die erste Beetlejuice-Generation angesprochen werden sollten. Trotzdem litt die Handlung – und der Film insgesamt – nicht darunter. Ein zentrales Element ist die Fortführung familiärer Themen. Mit der Einführung von Astrid als Tochter (inkl. Vater im Jenseits) von Lydia entsteht eine emotionale Verbindung, die sowohl die ursprünglichen als auch die neuen Zuschauer:innen anspricht. 

Dies ist ein wichtiger Aspekt, den ich für meine Masterarbeit genauer untersuchen möchte. Da das Kartenspiel, das vermarktet wird, für unterschiedliche Menschen ansprechend wirken soll und eventuell auch optische Elemente aus den 80er-Jahren enthalten wird, gilt es, beim Storytelling Gemeinsamkeiten aus der Gegenwart und Vergangenheit zu finden, die die Hintergrundgeschichte für viele Menschen ansprechend machen. 

Ein weiteres wichtiges Storytelling-Element ist das Zusammenführen alter und neuer Charakterdynamiken. Lydia bleibt im Zentrum der Geschichte, aber Astrid bringt eine neue Energie mit. Wie häufig bei jugendlichen Charakteren in Filmen werden zunächst die Gegensätze zur übrigen Familie beschrieben, was zu spannungsgeladenen Interaktionen zwischen Mutter und Tochter führt. Dadurch entstehen neue emotionale Bögen und Charakterentwicklungen. 

Zusätzlich wird der übernatürliche Hintergrund weiter ausgebaut. Das Jenseits, das schon im ersten Film eine zentrale Rolle spielte, wird weiter erforscht, wobei neue Charaktere (fast immer auf humorvolle Weise) eingeführt werden. Dadurch behält der Film den Stil des Originals, während gleichzeitig neue Herausforderungen entstehen und die Geschichte weitererzählt werden kann. 

Zusätzlich zum Kinofilm habe ich mir Interviews von Tim Burton angehört, in denen er darüber spricht, wie er sich dem Film nach 35 Jahren wieder angenähert hat. 

In Bezug auf die Story beschreibt er vieles als persönliche Erfahrungswerte, zum Beispiel die Entwicklung vom „verstörten“ Teenager zum verstörten Erwachsenen. Genauso wie die Weiterentwicklung der drei Generationen von Frauen und allgemein der „weirden“ Familie. 

Spannend finde ich auch seinen Ansatz, so viel wie möglich von der (Film-)Technik des Originals auf die Fortsetzung zu übertragen. Dazu zählt er einen schnellen Aufnahmestil sowie die Verwendung von Stop-Motion-Elementen. Hier wurden die Puppen, wie beispielsweise der Sand Wurm, weiterentwickelt, ohne den Charakter des ersten Teils zu verlieren. Eine Rückblende wurde vollständig in Stop-Motion-Technik mit Puppen gefilmt, hierbei hatten auch die Animatoren ihren Auftritt als Referenzen für die Puppen. Die Making Of Szenen waren spannend anzusehen und machen neugierig auf Mehr.

Insgesamt hat mich der Film sowohl auf technischer, auf Storytelling-Ebene und als Unterhaltung sehr mitgerissen und bietet mir viel Inspiration für meine Masterarbeit. 

Weiterführende Links:

https://link.springer.com/referenceworkentry/10.1007/978-3-031-48129-1_266

Dieser Text wurde mit Hilfe von ChatGPT 4o auf Beistrichfehler und Rechtschreibfehler korrigiert. Der inhaltliche Kern der Arbeit ist davon unberührt.

#03 Literature Research 2

Rosiny, Claudia: Tanz Film. Intermediale Beziehungen zwischen Mediengeschichte und moderner Tanzästhetik. Bielefeld: transcript 2013, E-Book

Survey: The book explores the intermedial relationships between dance and various audiovisual media, focusing on six key themes: influences of media on dance aesthetics, use of media on stage, film genres involving dance, videotanz, integration of digital technologies, and internet-based dance aesthetics. The structure includes theoretical discussions, historical contexts, case studies, and mediatheoretical conclusions. It provides an interdisciplinary examination of the interplay between modern dance and media evolution.

Question: How do audiovisual media influence modern dance aesthetics? What are the significant historical and contemporary examples of dance works using media? Does the author provide clear methodological frameworks to analyze these intermedial relationships?

Read:

  • Historical analysis of how film and photography intersected with dance since the early 20th century.
  • Examination of specific works (e.g., Maya Deren’s A Study in Choreography for the Camera).
  • Discussions on mediatheoretical concepts like intermediality, transmediality, and multimediality, and their relevance to dance.
  • Detailed case studies on technological innovations like motion capture and the choreographic possibilities of digital tools.

Six Themes of Intermediality in Dance:

1.Media Influences on Dance Aesthetics: This section traces historical influences, such as the integration of photography and film into dance in the early 20th century, and the shift in aesthetic paradigms due to modern media.

2. Media Use on Stage: Focuses on performance art from the 1910s to the present, highlighting how multimedia technologies have transformed the stage.

3. Dance in Film and Television: Discusses Hollywood musicals, Bollywood dance films, and televised dance. Iconic works like Singin‘ in the Rain and The Red Shoes are analyzed for their choreographic contributions to cinema.

4. Videotanz: Investigates the evolution of dance-for-camera works, emphasizing pioneers like Maya Deren and Merce Cunningham.

5. Dance and Digital Technologies Examines innovations such as motion capture and interactive installations.

6. Dance Aesthetics via the Internet: Considers how platforms like YouTube have democratized dance. Case studies include flash mobs and viral dance phenomena like Evolution of Dance.

Recite: The book posits that dance and media are deeply interconnected, with media shaping not only how dance is preserved but also its aesthetic and conceptual boundaries. The analytical frameworks provided help readers dissect the complexities of these intermedial relationships. The examples enrich understanding, showcasing the evolution from early cinema’s influence to digital and virtual innovations in contemporary dance.

Review: The book is highly structured, with chapters logically progressing from foundational theories to specialized topics. The arguments are well-supported by interdisciplinary research, making the book a valuable resource for understanding the fusion of dance and media. Its focus on both historical and cutting-edge examples ensures a comprehensive perspective.

Is the author an expert? Yes, Claudia Rosiny holds a doctorate in philosophy, directs dance and theater funding at the Swiss Federal Office of Culture, and teaches at universities. Her extensive academic and practical background in dance and media underscores her expertise.

How would you rate the structure of the text, the quality of the content, the style? The structure of the E-Book is excellent, it is methodically organized into thematic sections, allowing readers to focus on specific aspects of intermedial relationships. The quality of its content is high, it integrates rigorous academic research with practical examples and mediatheoretical concepts. It is written scientifically but also accessible at the same time, the writing maintains clear, thus making complex ideas comprehensible as a reader.

Is the book/article useful for your purpose? If yes, which chapter % aspects? If not, why not? What is missing, what is inadequate? Yes. It is particularly useful for exploring the chapters on „Medieneinflüsse auf die Tanzästhetik“ (= ”Media Influences on Dance Aesthetics”) and „Tanz und digitale Technologien“ (= ”Dance and Digital Technologies”). These sections provide valuable insights into how media reshapes dance, aligning with contemporary research needs. While comprehensive, the book could benefit from more comparative analyses between non-European and European traditions of dance-media intersections. The focus is predominantly Western-centric, leaving room for further exploration of global intermedial practices.

#02 Literature Research 1

Mitoma, Judith: Envisioning dance on film and video. New York/London: Routledge 2002

Survey: The book examines how dance is captured on film and video, covering its historical evolution, technical challenges, and creative innovations. It features contributions from choreographers, directors, and editors, providing diverse perspectives on integrating dance and media.

Question: How has technology shaped the filming of dance? What methods do filmmakers use to adapt choreography for the camera? Who are contributors to the field of dance on film and what are their notable works?

Read: The introduction of the book highlights the significance of recording dance for archival and creative purposes, exploring tools like cinematography and editing. Specific chapters detail milestones in dance film history, profiles of innovators – like for example Merce Cunningham – and techniques for preserving choreography.

Recite:

Chapter 1: Dance as Television: A Continuing Challenge

  • Dance and television have had a complicated relationship, as TV often prioritizes entertainment over the artistic integrity of dance.
  • Early broadcasts struggled to capture the full energy and complexity of live performances.
  • Pioneers like Jac Venza explored ways to adapt choreography for TV while keeping its artistic value.
  • Television pushed dance creators to innovate by thinking beyond the stage.
  • There was resistance from traditionalists who feared the loss of the „live experience.“
  • However, these adaptations allowed for a new form of creative expression that could reach global audiences.

Chapter 2: Music Video as Short Form Dance Film

  • This chapter explains how dance is adapted for film and video, the creative techniques used by choreographers and filmmakers, and the ways technology enhances or changes the presentation of movement.
  • It also explores the historical development of dance media, the intersection of visual and performing arts, and the evolving role of film as a tool for preserving and reinterpreting dance.
  • Music videos revolutionized dance on film by blending choreography with cinematic storytelling.
  • Directors used fast editing, close-ups, and creative camera movements to amplify the energy of the dance.
  • Examples like Michael Jackson’s Thriller showcased how dance could drive a narrative and reach mass audiences.

Some general Keywords:

  • Preservation (Dance captured for future study and enjoyment)
  • Adaptation (Choreography reimagined for film and TV)
  • Audience Accessibility
  • Creative tools (Camera angles, lighting, editing)
  • Pioneers (Merce Cunningham, Jac Venz)
  • Music videos (Dance and film merging to tell stories visually)
  • Multi-Camera Techniques

Review: The book connects historical practices with contemporary innovations, demonstrating how film has become a vital tool for the preservation and evolution of dance. It bridges performance and media, offering practical insights for dancers, filmmakers, and scholars.

Is the author an expert? Judy Mitoma is an expert in intercultural performing arts, having led the UCLA Center for Intercultural Performance and the Department of World Arts and Cultures.(https://www.wacd.ucla.edu/people/retired-faculty/judy-mitoma)

How would you rate the structure of the text, the quality of the content, the style? Written from the perspective of Jac Venza, Chapter 1 highlights his role as an American public television producer who was directly responsible for most of the theater and music programs seen on PBS since its creation in 1970. Because of his expertise, it is really nice to read, and even with it being more of a personal experience, it is definitely not useless or less valuable information. I would rather say it is to get to know the history from the inside. Furthermore, the texts examine their topics in much detail. There are a lot of references, shows, experts and so on mentioned to support greater research in depth in its fields. Generally, it is structured clearly due to bullet points, graphics and pictures with descriptions.

The second Chapter against the first is written scientifically. The examples and references to continue like in the previous chapter, and it has many important pioneers mentioned as well. Visually and in writing, it is clear from where certain passages in the texts are cited and are obviously used word by word. I really liked this while reading, because I researched the mentioned literature and got into my research even deeper.

Is the book/article useful for your purpose? If yes, which chapter % aspects? If not, why not? What is missing, what is inadequate? For the theoretical part of my master thesis, it can be really helpful, but I also think that the first two chapters are not that necessary for my topic. I want to go more in depth with my written part, thus writing more about the visual language in dance films or videos. So Chapter 14, which is titled “A Dancer behind the Lens” will be more useful for my purpose and my thesis’ theoretical part. Finally, I would say the first two chapters are not inadequate, but I would only pick out small points of the chapter’s content.

Excerpt

  • How does contemporary dance differ from traditional storytelling techniques in film?

Contemporary dance diverges from traditional storytelling techniques by focusing on abstraction, gesture, and movement rather than dialogue or structured narratives. Unlike film, which often adheres to a clear dramatic arc and character development, contemporary dance prioritizes the emotive and interpretive power of physical motion. However, some choreographers have begun to reintegrate narrative elements into their works, blending traditional and modern approaches to storytelling. (S.163)

  • What role does the setting play in the storytelling of dance films like Enter Achilles and Reines d’un jour?

In dance films such as Enter Achilles and Reines d’un jour, the setting serves as a crucial narrative element that enriches the choreography. In Enter Achilles, the British pub setting grounds the dance in a realistic sociocultural context, while in Reines d’un jour, the natural Swiss village landscape contrasts with modern dancers, highlighting themes of generational change. The settings are not mere backdrops but active participants in the storytelling, amplifying the emotional and thematic resonance of the dances. (S. 164-165)

  • What makes Pascal Magnin’s Contrecoup an effective example of blending stage and cinematic elements?

Pascal Magnin’s Contrecoup effectively blends stage and cinematic elements by using distinct locations, lighting, and camera techniques to contrast and eventually merge the stage and street worlds. His dynamic editing, close-ups, and use of real-world settings heighten the emotional intensity and psychological depth of the choreography. By tying all movements and scenes to the characters’ conflicts and resolutions, Magnin crafts a narrative that maintains the abstraction of dance while adhering to the cause-and-effect structure of classical storytelling. (S. 165-166)

IMPULS #02 Dein letztes Solo – Serie

Für meinen zweiten Impulsbeitrag habe ich mir die Serie „Dein letztes Solo“ auf Netflix angesehen. Die Serie handelt um Ballett und auf einer fiktiven Academy, wo ein dramatischer Mord vorgefallen ist. Die Schüler der Schule führen ein neues Stück auf, dass diesen Vorfall thematisiert und gleichzeitig versuchen sie alle den Schuldigen oder die Schuldige für den dramatischen Vorfall zu finden.

Für diesen Beitrag habe ich währenddessen meine Eindrücke in Stichworten gesammelt und für diesen Beitrag ausformuliert was mir bezüglich filmischer Aspekte aufgefallen ist. Dazu zählen Kameraführung, Effekte, Bildausschnitt, Dynamik der Kamera gegenüber der Tanzperformances.

Kameraführung

In der Serie werden häufig Hand-Held Kameraaufnahmen mit statischen Aufnahmen kombiniert. Handaufnahmen werden vor allem in emotional aufgeladenen oder sehr intensiven Momenten verwendet. Diese zeigen besonders die echte Energie und das Chaos in der Storyline. Statische Aufnahmen hingegen verstärken die technische Präzision der Tänze ein, vor allem bei Proben oder Aufführungen, und konzentrieren sich auf die Choreografie der Performances.

Kameraauschnitt

Nahaufnahmen zeigen Details wie Gesichtsausdrücke, Hände oder Füße und lenken die Aufmerksamkeit darauf, wie die TänzerInnen mit ihrer Performance verbunden sind. Weitwinkelaufnahmen geben einen klaren Blick auf die gesamte Bühne und die Choreografie, insbesondere bei Gruppentänzen. Dynamische Kamerafahrten zeigen die Bewegung der TänzerInnen und vermitteln dem Publikum das Gefühl, an der Aufführung teilzunehmen.

Effekte

Die Zeitlupe wird häufig verwendet, um die emotionalen Höhepunkte zu verstärken. Sie fängt normalerweise die entscheidenden Momente ein, wie Sprünge, Drehungen oder eine Berührung zwischen zwei Tänzern. Die Verlangsamung gibt dem Publikum Zeit, sowohl die Technik als auch die Emotion der Bewegung zu würdigen.

In Sequenzen, die nicht der Realität entsprechen, Erinnerungen oder Träume darstellen, diese besitzen oft kräftige Farben und dramatische Lichtwechsel. Somit wird die Stimmung des Tanzes verstärkt oder eine surreale Atmosphäre erzeugt.

Beziehung zwischen Kamera und Tanz

Die Kamera bewegt sich oft mit den TänzerInnen mit, besonders wenn es sich um eine Solo-Performance handelt. Diese Bewegung vermittelt den Eindruck von Fluss und Intimität, wodurch der Tanz als Ausdruck eines inneren Konflikts oder einer Freude noch besser zur Geltung kommt. Bei Gruppentänzen bleibt die Kamera manchmal weiter weg, um die Komplexität und Synchronität der Choreografie zu erfassen

Dynamik Kamera vs. Tanz

Die Kameraführung gibt oft die Dynamik des Tanzes wieder und verstärkt dessen Emotionen. Manchmal gibt es aber auch bewusste Kontraste. Während der Tanz dynamisch und energiegeladen ist, ist die Kamera ruhig und beobachtend. Manchmal ist die Kamera jedoch hektisch und ruckelig, während der Tanz Ruhe oder Melancholie zeigt.

Insgesamt sind die Tanzszenen in Dein letztes Solo von einer durchdachten Kameraführung und intelligenten Effekten geprägt. Die Kamera passt sich der Stimmung und der Energie des Tanzes an – es geht nie nur darum, die Bewegungen zu zeigen, sondern immer darum, eine Geschichte zu erzählen und das Publikum emotional mitzureißen.

Trailer-Link: https://www.youtube.com/watch?v=JSs_bznLjPo

Cast Interview: https://ew.com/tv/tiny-pretty-things-cast-interview