The Girl with the Dragon Tattoo
The Hero’s journey is a classic form of storytelling that has been used for thousands of years. All stories share common elements in their structure. In today’s modern films the representations of these elements have been warped and twisted but remain for the most part unchanged. This paper follows the foreign film The Girl with the Dragon Tattoo directed by Niels Arden Oplev and based on the book by Stieg Larsson through the Hero’s Journey. There was something lost in watching the film with subtitles; by not knowing the language there is an element lost in the film. “however, in an effort to have the subtitles match the action on screen, the subtlety, idiom, and nuance of a language are often and by necessity, neglected.” (Barsam & Monahan, 2010) The Girl with the Dragon Tattoo in essence tells two parallel Hero’s Journey’s which mesh and split over the course of the film. In the Ordinary World we’re introduced to Mikale Blomkvist (Michael Nyqvist) and Lizbeth Salander (Noomi Rapace). We find Mikale a defeated investigative journalist found guilty of libel and Lizbeth a 24 quiet, Goth hacker. Mikale’s sentence appears as a Call to Adventure with him spend more time with his sister and relatives before he’s due to serve his jail time. In the context of the film it is the beginning of his journey.
The Call to Adventure is typically characterized by a challenge or problem being introduced or becoming more significant. Lizbeth’s is the appointment of her new guardian; a cruel and abusive man that takes control of her life. Mikale’s Call to Adventure is being contacted by billionaire Henrik Vanger (Sven-Bertil Taube) to investigate the disappearance of his niece Harriet, who vanished 40 years ago.
The Refusal of the Call is an unwillingness to change to meet the challenge or solve the problem. This is seen in the film by Lizbeth waling out of a meeting with her guardian after refusing to answer...
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