– it is polysemic in orientation and regards

In this sense, the cinema is one way that contemporary society keeps the symbolic life and mythological world alive.

Once the characters are categorised as ‘shadows’, ‘animas’, ‘animuses’, ‘old wise men’ and ‘representations of the self’, it becomes difficult to see the bigger picture beyond this reductionist description.

Adventure films and stories are always popular because they offer a less risky way to experience death and rebirth, through heroes we can identify with.

Moreover ‘the real problem with applying the monomyth to a female hero’s journey is that her “return” is particularly problematic. There is no leadership role for her to step into. There is no kingdom (queendom) for her to rule

Here are a few pitfalls to avoid. Jung pioneered the idea of archetypes, so let’s go and find archetypes in films, for example the shadow, the anima and the wise old man.

Vogler’s book, The Writer’s Journey: Mythic

Put simply, the meaning of an image is not fixed.

Cinematic and television narratives are only useful when they are treated as guides, not as complete substitutes for the actual individuation process.