Casablanca and the Four Levels of Worldview: Why Everyone Meets at Rick’s

Part of ongoing series:  Hollywood and Higher Education: Teaching Worldview thru the Stories We Live By

By changing the foundational story of Rick’s life from that of a self-centered love-betrayed to the story of a other-centered love renewed, Ilsa transforms Rick’s values and rule of life as well. 

by Gary David Stratton • Senior Editor

urlSince its release over seventy years ago, Casablanca has grown to become one of the most beloved films in the history of American cinema. Winner of three 1942 Academy Awards in (best picture, best writing, and best director)  Casablanca is now recognized by the Writers Guild of America as the greatest screenplay of all time, and by the American Film Institute as the second greatest American movie ever.[1] Even in the high-tech world of Blu-ray players and streaming video, this black-and-white masterpiece remains enduring favorite with contemporary audiences and critics alike.

Casablanca also provides a compelling example of the four levels of worldview, and how change at the story level can lead to dramatic change in every level of worldview. Character development (both cinematic and moral) “flows” from the hidden recesses of our life story, where our unexamined presuppositions about reality form a worldview that guides our life in ways we rarely think about in our day-to-day existence. In life and great films, we experience our worldview on four overlapping, but distinguishable levels. [2]

Four Levels of Worldview

Level 1) Actions and Behaviors: The countless personal decisions and moral judgments we make on a daily basis make up the visible tip of the iceberg of our largely hidden worldview. We glide through thousands of “preconditioned” responses each hour—what to wear, where to live, who to befriend, when to lie, how to speak—simply doing what we do, without ever examining why we do them. Ninety-nine times out of a hundred these decisions predictably emerge from the lower levels of our worldview, usually without any conscious awareness of why we make them.

Level 2) Rule of Life: The next level of our worldview is found in the rules and roles defined for us in the traditions and ‘scripts’ society develops to maintain equilibrium, or the personal strategies developed by us to cope with the difficulties of life. At this level our worldview provides a ‘rule of life” that defines our relationships, and the boundaries and maxims we use to guide our own personal behavior.  The clothes we buy, the worship we express, and even the words we use, are dictated by cultural expectations and personal habits far beyond our normal self-awareness.

The countless decisions we make each day are but the visible tip of the iceberg of our largely hidden worldview.
The countless decisions we make each day are but the visible tip of the iceberg of our largely hidden worldview.

3) Value and Belief System: The rules and roles we follow on a daily basis are normally based upon a presuppositional value and beliefs system that undergird these conventions, (once again, usually sub-consciously.) These principles, doctrines, aphorisms, and symbols are the often unspoken “commanding truths, which define the ‘shoulds’ and ‘should nots’ of our experience, and accordingly, the good and evil…” [3] They provide the language and categories by which we unconsciously interpret reality and make sense out of our experiences of our life.

Level 4) Stories and ‘Scriptures’: The deepest level of our worldview is normally found in the stories of our life-shaping personal experiences and our community’s authoritative ‘scriptures’ that form the basis of our principles and strategies for living. The three upper levels are “embedded within narratives that often have overlapping themes and various myths that often reinforce common ideals.” [4] The personal and corporate stories we live by are self-evidently true to us (even if they are, in fact, hopelessly false). To question them is to question reality itself. [5]

Constructing a False Worldview

At first glance Rick seems the model narcissist, longing only to catch the only plane out of Casablanca while sticking his neck out for nobody.
At first glance Rick seems the model narcissist, longing only to catch the last plane out of Casablanca while sticking his neck out for nobody.

Casablanca provides a beautiful example of all four levels of this process. Originally entitled, “Everyone Meets at Rick’s,” this masterpiece traces the worldview transformation of American expatriate and nightclub owner, Rick Blaine (Humphrey Bogart). Set against the backdrop of Nazi-controlled but unoccupied north African territories of Vichy France during WWII, the movie opens with a bitter and cynical Rick Blaine making his daily decisions (level 1) out of a fairly consistent rule of life (level 2).  He never drinks with customers, never commits to a woman, never takes sides in a political debate, and never intervenes to help others. His narcissistic value and belief system (level 3) leaves little room for anyone but himself, his alcoholism, his business, and his business partner, Sam.  His value system (level 3) is clearly expressed in his famous rule of life (level 2), “I stick my neck out for nobody.”

Captain Louis Renault is the first to recognize a deeper story rumbling beneath Rick's cynical shell
Captain Louis Renault is the first to recognize a deeper story rumbling beneath Rick’s cynical shell

However, as the movie progresses we learn that Rick’s worldview wasn’t always so jaded.  In fact, both French prefect Captain Louis Renault (Claude Rains) and Nazi Gestapo Major, Heinrich Strasser (Conrad Veidt) express concern that Rick’s current story might not be his true self. They note that there was once a time when Rick’s value and belief system led him to a rule of life marked by a heroic willingness to sacrificially fight against tyranny even in a losing cause. They don’t want Rick returning to this old rule of life by aiding Czech freedom fighter Victor Lazlo (Paul Henreid) in his attempt to escape Casablanca (and the Nazi) by means of a pair of stolen letters of transit granting the bearers free passage on a flight to neutral Portugal.

Movie Clip 1: Captain Louis Renault Accuses Rick of a Deeper Story

The beautiful and enchanting Ilsa Lund stole Rick’s heart in a whirlwind Paris romance Paris only to break it as the German tanks rolled into Paris.
The beautiful and enchanting Ilsa Lund stole Rick’s heart in a whirlwind Paris romance Paris only to break it as the German tanks rolled into Paris.

What Louis doesn’t know, is that Rick’s current rule of life and value system are driven by a heart-wrenching story (level 4). Ilsa Lund (Ingrid Bergman), a beautiful and enchanting Norwegian once stole Rick’s heart in a whirlwind Paris romance at the outset of WWII.

Movie Clip 2: Paris

However, after swearing her undying love, Ilsa abandons Rick just as the German army descends upon Paris. By the time Rick gets to Casablanca Ilsa’s betrayal provides the seething caldron of molten anguish driving Rick’s cynical value system and narcissistic rule of life. Like the city where he dwells in exile, his life is a desert with but one goal: escape.

A Different Story?

A guy standing on a station platform in the rain with a comical look on his face, because his insides had been kicked out.
A guy standing on a station platform in the rain with a comical look on his face, because his insides had been kicked out.

This is the story Rick is living when Ilsa turns up in Casablanca as the traveling companion for none other than Victor Lazlo. Confronted anew with heartache of Paris, Rick’s narcissistic behavior only intensifies. Despite his admiration for Lazlo, Rick refuses to help the desperate couple. He stubbornly retains his “I stick my neck for nobody” rule of life even as Ilsa desperately tries to convey a different story than the one driving his current behavior.

Movie Clip 3: Ilsa Tries to Explain Her Story

Just when Rick’s journey toward the dark side seems complete, something happens that radically changes the interpretation of his entire life story. With the Nazi’s closing in and their every effort to escape Casablanca thwarted, the stolen letters of transit in Rick’s possession are now Isla and Lazlo’s only hope. A desperate Ilsa turns up at Rick’s apartment intent to do anything to obtain them.

Movie Clip 4: Midnight at Rick’s apartment

Ilsa’s startling admission begins to change Rick’s worldview at every level.
Ilsa’s startling admission begins to change Rick’s worldview at every level.

Ilsa’s startling admission that she still loves Rick begins to change Rick’s worldview at every level. He now knows that Ilsa left him behind in Paris only because she learned that Lazlo, her husband, was still alive. She was not living a story of a self-centered love betrayed, but rather one of heroic sacrifice. While no one yet realizes it, this new story of a sacrificial love-renewed (level 4) begins to invisibly reenergize Rick’s heroic value system (level 3), displacing his values of narcissism and his “I stick my neck out for nobody” rule of life (level 2).

In the iconic airport scene, Rick’s new worldview based upon his new story suddenly erupts into full view with a startling decision (level 1).

Clip 5: Rick and Ilsa at the Airport

Change the Story, Change the World

At the airport, Rick's new story empowers him to not only give up his ticket to freedom, but Ilsa as well.
At the airport, Rick’s new story empowers him to not only give up his ticket to freedom, but Ilsa as well.

It turns out that Captain Louis Renault was right about Rick all along. The real Rick Blaine is, in fact, a hero. The pain of losing Ilsa had created a false life narrative, but once he knew the real story, his value system and rule of life came back on line. Rick decides to give away his tickets to freedom to Ilsa and her husband (level 1), because he has (re)embraced his rule of life of to fight against tyranny even in a losing cause (level 2), rooted in his rediscovered value of self-sacrificing heroism (level 3), birthed by his true life story (Level 4). By changing the foundational story of Rick’s life from that of a self-centered love-betrayed to a story of an other-centered love renewed, Isla transforms Rick’s values and rule of life as well. He now sticks his neck for everybody, even the husband of the woman he loves.

In the end, the power of Rick’s true story is becomes so compelling it returns Louis to his own true story, values, and rule of life.

Movie clip 6: A beautiful friendship

Everyone Meets at Rick’s

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“This could be the beginning of a beautiful friendship.” In the end, even Louis is caught up in Rick’s heroic transformation.

One reason why Casablanca resonates so deeply with audiences is our strong identification with Rick. We have all been hurt deeply. We all develop belief systems and strategies to protect ourselves from further pain. We all know what it is like to have those rules of life sabotage our heroic journey. We all know what it is like to be trapped in a life story that hurts everyone around us and yet we are powerless to change.  We all want to believe that we are the master of our own fate, freely making our own choices at any given moment, when in reality our unexplored stories, unexamined values, and unexamined rules of life dictate much of our daily decision-making. Sooner or later, everyone meets at Rick’s.

For those who are willing to listen, the deepest longings of our heroic life story may be churning just beneath the surface and well worth the journey of further exploration. Over the course of this ongoing series I hope to help you do exactly that. I’m hoping this could be the beginning of a beautiful friendship.

Next posts in series:

Fiddler on the Roof: Worldview Change and the Journey to Life-Interpreting Story

The Volcano in Your Backyard: Micro-Worldviews and the Honeymoon from Hell

See also:

Hollywood and Higher Education: Teaching Worldview Through Academy Award-winning Films

Crash goes the Worldview: Why Worldview Transformation Requires Changing Scripts

It’s a Wonderful Worldview: Frank Capra’s Theistic Masterpiece

Bungee-Jumping to Eternity: The Existential Angst of Dead Poets Society

Deep Culture: Is Winning an Oscar a Reliable Indicator of a Truly Great Film?

If you Live it, They Will Come: The Blind Side and Better Faith-Based Filmmaking

 

Related Posts:

Using Zombie Movies to Teach Politics, by Daniel W. Drezner

The Joker Is Satan, and So Are We: René Girard and The Dark Knight, by Charles Bellinger

Echoes of René Girard in the Films of Martin Scorsese: Scapegoats and Redemption on ‘Shutter Island,’ by Cari Myers

Hitchcock and the Scapegoat: René Girard, Violence and Victimization in The Wrong Man, by David Humbert

 

 

Notes

[1] Casablanca is currently #25 rating on the IMDB all-time best film list. Michael Curtiz, Julius J. Epstein, Howard Koch, Humphrey Bogart, Ingrid Bergman, et al. Casablanca (Burbank, CA: Warner Home Video, 1999).

[2] Followers of Arthur F. Holmes’ will notice that I am using his categories for evaluating ethical decisions.  See, Ethics: approaching moral decisions. Contours of Christian philosophy (Downers Grove, IL: IVP Academic, 2007), 52-80. See also, Lawrence Kohlberg, The Development of Children’s Orientations Toward a Moral Order (Cambridge, Mass: Harvard University Press); Carol Gilligan, In a Different Voice: Psychological Theory and Women’s Development (Cambridge, Mass: Harvard University Press); and, James W. Fowler, Stages of Faith: the Psychology of Human Development and the Quest for Meaning (San Francisco: Harper & Row, 1981).

[3] James Davidson Hunter, To Change the World (Oxford University Press, 2010), 32. To be fair, Hunter considers all four levels to be overlapping elements of “culture,” not worldview. However, this is at least somewhat a matter of semantic disagreement between philosophers (who study worldviews),and sociologists, like Hunter (who study cultures.)

[4] Hunter, Change, 33.

[5] What I am calling the ‘Story’ level of worldview is what philosopher James K. A. Smith refers to as the ‘pre-worldview’ level of ‘social Imaginary.’  “The social imaginary’ is an affective, noncognitive understanding of the world. It is described as an imaginary (rather than a theory) because it is fueled by the stuff of the imagination rather than the intellect: it is made up of, and embedded in, stories, narratives, myths, and icons. These visions capture our hearts and imaginations by “lining” our imagination, as it were— providing us with frameworks of “meaning” by which we make sense of our world and our calling in it. An irreducible understanding of the world resides in our intuitive, precognitive grasp of these stories. Desiring the Kingdom (Cultural Liturgies): Worship, Worldview, and Cultural Formation (Grand Rapids, Mich: Baker Publishing Group, 2009), p. 68.

 

 

Hollywood and Higher Education: Worldview and the Stories We Live By

Part one of ongoing series

Raised in a culture dominated by Hollywood storytelling—from Disney to Tarantino—my students often know Hollywood’s stories better than they know their own.

by Gary David Stratton, Ph.D.

A worldview is a commitment, a fundamental orientation of the heart, that can be expressed in a set of presuppositions, or better yet, in a story.
A worldview is a commitment, a fundamental orientation of the heart, that can be expressed in a set of presuppositions, or better yet, in a story.

The concept of worldview first proposed by Immanuel Kant in 1790 has grown to become one of the “central intellectual conceptions in contemporary thought and culture.” [2] After a century of growing influence in continental philosophy, worldview (from the German word weltanschauung) migrated to the U.S. in the late nineteenth-century and gained immediate acceptance in both philosophical inquiry and popular culture. As David Naugle notes in his magisterial Worldview: The History of a Concept, “Few transplanted European notions have enjoyed as much success as Weltanschauung, as a first cousin to ‘philosophy,’ in aptly capturing the intrinsic human aspiration to formulate a worthy view of life” [3]

Over the course of the twentieth-century worldview grew to embody neo-evangelicalism’s attempt to reconstruct intellectually rigorous higher education on both sides of the Reformed-Wesleyan divide. It became foundational not only to teaching the disciplines of philosophy and theology, but the entire larger project of the integration of faith and learning. As Arthur Holmes declares in his highly influential, The Idea of a Christian College:

A world and life view is not the same things as theology… [Theology] looks within, whereas a Christian worldview looks without, at life and thought in other departments and disciplines, in order to see these other things from the standpoint of revelation and as an interrelated whole. Integration is ultimately concerned to see things from a Christian perspective, to penetrate thought with that perspective, to think Christianly. [4]

By the mid-1970’s, freshman worldview courses began to appear in the catalogs of Christian College Consortium (CCC), and Council for Christian Colleges and Universities  (CCCU) schools. [5] James W. Sire’s The Universe Next Door: A Basic World View Catalog (1976) [6] became the gold standard of worldview textbooks. Universe traces Sires’ framework for eight philosophical macro-worldviews—Christian Theism, Deism, Naturalism, Nihilism, Existentialism, New Age, Eastern Pantheistic Monism, Postmodernism, and Islamic Theism [7]—differentiated by their answers to seven key questions regarding, ultimate reality, the physical universe, anthropology, death, epistemology, ethics, and history. In time Sire’s definition of worldview became ipso facto orthodoxy for countless worldview courses:

worldview is a commitment, a fundamental orientation of the heart, that can be expressed as a story or in a set of presuppositions (assumptions which may be true, partially true, or entirely false) which we hold (consciously or subconsciously, consistently or inconsistently) about the basic constitution of reality, and that provides the foundation on which we live and move and have our being. [8]

The Worldview Classroom Disconnect

This emphasis on worldview was good news for the future of American evangelicalism, but often bad news for the faculty assigned to teach these courses. Worldview is a difficult enough philosophical concept for first-year students to grasp. When coupled with the reality that many of the faculty assigned to teach these courses had little or no academic preparation in philosophy, they often worked far better in principle than in practice.

This was the precise situation wherein I found myself as low man on the faculty totem pole at a an evangelical university in the 1990’s.  My first term as a full-time faculty member included  three sections of our newly created first-year worldview course. A previous version of the class had been, in the words of my department chair, “an unmitigated disaster.” It was my job to try to fix it. In a school whose tenure and promotion policies were heavily tied to student evaluations, it was the existential equivalent of having my short-lived academic career pass before my eyes. To say that I spent that summer in prayer and fasting for wisdom as to how to help the course connect with students would be a gross understatement.

Stories articulate, legitimate, support, and modify our worldviews.
Stories articulate, legitimate, support, and modify our worldviews.

Even as a non-philosopher my problem wasn’t so much grasping the course content as much as it was finding connections between those worldview concepts and lives of my students. Effective teaching is the art of taking what students do know and connecting it to what they don’t know. So I spent the summer desperately searching for at least one common experience that nearly all my eighteen-year-old students knew; something I could use to build a bridge that might make worldview concepts come alive for them.

Then, just as all seemed lost, I woke one morning with a blinding realization. While my students had been raised in a vast kaleidoscope of denominational churches, listened to uniquely personalized tastes in music, and watched a bewildering array of highly niched television shows, they all watched the same feature films. I had my answer: It was Hollywood!  I had exactly what I wanted—a way to connect worldview concepts to something my students already knew (and thereby save my academic career). Within a semester my department chair had exactly what he wanted—the course went from one of the lowest rated in the university to one of the highest.

The Power of World-interpreting Story

One of the primary reasons Hollywood proved to be such an effective tool for exploring worldview with my students is that worldviews are often best expressed as stories. My students accepted this as a self-evident starting point, but it is not always instantly obvious to the academy. While philosophers and theologians are likely to express their own worldview as a set of propositions, doctrines, or values it is just as critical to understand worldview as the stories we live by.

These world-interpreting stories provide a “foundation or governing platform upon which people think, interpret and know.” [9] Whether one views a worldview as the tapestry out of which we weave our interpretation of the “strings of experience,” [10] the picture on the box of the jigsaw puzzle that shows us where all the pieces of life should go,[11] or “a conceptual scheme by which we consciously or unconsciously place or fit everything we believe and by which we interpret and judge reality,”[12] it is stories that articulate, legitimate, support, and modify our worldviews. [13]

The Power of Personality-Shaping Story 

We make ourselves by subconsciously composing a continually evolving “heroic story of self” that forms the foundation of our identity.
We make ourselves by subconsciously composing a continually evolving “heroic story of self” that forms the foundation of our identity.

What I quickly discovered was that story served not only as the foundation of the philosophical macro-worldviews of societies and civilizations, they were also the primary basis for the psychological micro-worldviews out of which my individual students constructed their identities. Narrative psychology recognizes storytelling as the fundamental way in which human beings package our ideas and express ourselves. We do not so much discover ourselves through story so much as we make ourselves by subconsciously composing a continually evolving “heroic story of self” that forms much of our identity. As Dan P. McAdams, the father of narrative psychology asserts, “If you want to know me, then you must know my story, for my story defines who I am. And if I want to know myself, to gain insight into the meaning of my own life, then I, too, must come to know my own story.” [14]

Novelists and other creatives often capture this story-based idea of personal worldview in more poetic terms. Sue Monk Kid explains in her memoir, The Dance of the Dissident Daughter, “In a way humans are not made of skin and bone as much as we’re made of stories.”[15]  In Barry Lopez’s children’s classic, Crow tells Weasel, “The stories people tell have a way of  taking care of them.”[1] And in Patrick Rothfuss’s novel, The Name of the Wind, Bass tells the Chronicler, “It’s like everyone tells a story about themselves inside their own head. Always. All the time. We build ourselves out of that story. That story makes you what you are.” [16]  (See: Black Hawk Down: No One Asks to be a Hero… or Do They?)

As Hollywood story guru, Robert McKee argues:

(A)ll fine films, novels, and plays… give the audience a fresh model of life empowered with affective meaning… Our appetite for story is a reflection of the profound human need to grasp the pattern of living, not merely as an intellectual exercise, but within a personal, emotional experience. In the words of playwright Jen Anouilh, ‘Fiction gives life its form.'[17]

The Intertwining Stories in Macro and Micro Worldviews

The stories we create influence the stories of other people, those stories give rise to still others.
Fiction give life its form.

Of course there is a complicated relationship between the stories of our personal micro-worldviews and those of the corporate macro-worldviews that surround us. The raw materials for constructing our own life story are found not only our personal experiences, but also in the stories passed down to us by our families, churches, teachers, writers, and filmmakers.

At a very early age we begin to form our own identity by identifying with the heroes of the stories we hear.  Screenwriter Christopher Vogel rejoins, “Stories invite us to invest part of our personal identity in the Hero for the short duration of the experience. In a sense we become the Hero for a while. We project ourselves into the Hero’s psyche and see the world through her eyes.”[18] (See, the “Hero We Deserve” speech from The Dark Knight) The power of these heroic (or non-heroic) stories is nearly impossible to overstate, and difficult to separate from the world around us. As McAdams’ research demonstrates:

“The stories we create influence the stories of other people, those stories give rise to still others, and soon we find meaning and connection within a web of story making and story living… [W]e help to create the world we live in, at the same time that it is creating us.” [19]

Disney to Tarantino
We help to create the world we live in, at the same time that it is creating us.
We help to create the world we live in, at the same time that it is creating us.

Perhaps this is why I found Academy award-winning films [20] such a perfect vehicle for exploring the stories my students live by. Raised in a culture dominated by Hollywood storytelling—from the Disney Channel to Quentin Tarantino—my students often know Hollywood’s stories better than they know their own (and much better than they know epistemology.) By helping them grasp the worldview-shaping forces in the stories of their Hollywood heroes it became relatively easy for them to gain a reference point for exploring both the macro-worldviews that have influenced them, as well as the micro-worldview of the story of their own life.

If Hollywood provides us with much of the raw material of the stories we live by, why not return the favor? By teaching students to reverse engineer films using Hollywood’s approach to story structure, they quickly learned the structure their own life story so they could see the recurring patterns in the complicated web of meaning connecting their micro-worldview with the macro-worldviews around them. By teaching them Hollywood’s approach to heroic character development they learned to better cooperate with the story their divine author was crafting in the development of their own heroic character.

A Continuing Story

Raised in a culture dominated by Hollywood storytelling—from the Disney Channel to Quentin Tarantino—my students often know Hollywood's stories better than they know their own
Raised in a culture dominated by Hollywood storytelling—from the Disney Channel to Quentin Tarantino—my students often know Hollywood’s stories better than they know their own.

Fifteen years, over sixty worldview classes, and nearly 2,500 students later, I consider this unusual guidance from God to use films to explore the stories my students live by as one of the greatest answers to prayer in my professional life. I have used academy award-winning cinema to teach worldview to elite liberal arts students, über conservative Bible College students, pragmatic adult learners, and seasoned Hollywood film students and professionals. Nearly without exception the use of film has greatly heightened students’ grasp of the subtle nuance of worldview.

Along the way I have learned a things or two about both using film to teach worldview and using worldview to create films as well. Over the course of the next year, I will try to keep an ongoing series going relating some of the most useful insights I’ve had to date.

Next Posts in Series:

Casablanca and the Four Levels of Worldview: Why Everyone Meets at Rick’s

The Blind Side Leading the Blind: Better Faith-Based Filmmaking through Better Stories

Deep Culture Impact: Is an Academy Award a Reliable Indicator of a Truly Great Film?

Notes: 

[1] Barry H. Lopez, Crow and Weasel (San Francisco: North Point Press, 1900), 60.

[2] David K. Naugle, Worldview: The History of a Concept (Grand Rapids, MI: W. B. Eerdmans, 2002), 66.

[3] Naugle, Worldview, 62.

[4] Arthur P. Holmes, The Idea of a Christian College (Grand Rapids, MI: Eerdmans, 1998), 59-60.

[5] And later schools in the Association of Biblical Higher Education (ABHE) and the Association of Christian Schools International (ACSI).

[6] James W. Sire The Universe Next Door, 5th Edition (Downers Grove, IL: InterVarsity Press, 2009).

[7] Postmodernism was added to the 4th edition (2004), and Islamic Theism to the 5th Edition (2009).

[8] Sire, Universe, 20.

[9] Naugle, Worldview, 297.

[10] Robert A. Harris, The Integration of Faith and Learning: A Worldview Approach (Eugene, OR: Cascade Books, 2004), 78.

[11] Mark P. Cosgrove, Foundations of Christian Thought: Faith, Learning, and the Christian Worldview (Grand Rapids, MI: Kregel Publications, 2006), 19, 20, 24.

[12] Ronald H. Nash, Worldviews in Conflict: Choosing Christianity in a World of Ideas (Grand Rapids: Zondervan, 1992), 16.

[13] N. T. Wright, The New Testament and the People of God (Minneapolis: Fortress Press, 1992), 116.

[14] Dan P. McAdams, The Stories We Live By: Personal Myths and the Making of the Self (New York: Guilford Press, 1997), 11.

[15] Sue Monk Kidd, The Dance of the Dissident Daughter (San Francisco: Harper San Francisco, 1996), 72.

[16] Patrick Rothfuss, The Name of the Wind  (New York: DAW Books, 2007), 111.

[17] Christopher Vogler. The Writer’s Journey: Mythic Structure for Writers, 3rd Edition. (Studio City, CA: Michael Wiese Productions, 2007), 30.

[18] Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting (New York: Regan Books, 1997), 12.

[19] McAdams, Stories, 37.

[20] Actually, I started out by using only Academy Award-winning films, but have since altered my criteria for what makes a true culture making film. See, Deep Culture Impact:  Why an Oscar isn’t a Reliable Indicator of a Truly Great Film.