References

Trace a concept to its author, edition, and context. Primary works sit beside criticism and the stories discussed here.

How to use these references

Start with the source for the model you are studying, then compare its aims with a critique or a different method. A screenwriting handbook, a psychological theory, an ancient poem, and a folklore study answer different questions. Their presence in one bibliography does not make them interchangeable kinds of evidence.

Dates distinguish a work’s first publication from the edition or translation named here. Links lead to author pages, publisher records, institutional collections, or readable texts; some books require library or paid access. Story analyses are original interpretations, with the film, book, or game version named on each example page. We do not claim access to the 2009 presentation mentioned in the project outline.

Narrative models and craft

Joseph Campbell: The Hero with a Thousand Faces: First published 1949; New World Library, third edition, 2008. Foundation commentary distinguishes the three essential movements from optional variations. Source and access information.
Joseph Campbell with Bill Moyers; edited by Betty Sue Flowers: The Power of Myth: Doubleday, 1988. Book based on the conversations; distinguish its publication from the original interviews and television broadcast. Source and access information.
Christopher Vogler: The Writer’s Journey: Mythic Structure for Writers: 25th Anniversary Edition, Michael Wiese Productions, 2020. Author’s account of the memo, book and flexible use of the model; stage and archetype discussions refer to the book. Source and access information.
Aristotle: Poetics: Fourth century BCE; S. H. Butcher translation. Sections 6–8 and 10–14 on plot, unity, reversal and recognition. Source and access information.
Vladimir Propp: Morphology of the Folktale: Russian 1928; English 1958; second English edition 1968, translated by Laurence Scott. Chapters III and VI distinguish functions and spheres of action. Source and access information.
Gustav Freytag: Die Technik des Dramas: 1863; German text. The original dramatic context differs from later generic plot pyramids. Source and access information.
Syd Field: Screenplay: The Foundations of Screenwriting: First published 1979. Official publication history; the paradigm is a screenwriting craft model. Source and access information.
Blake Snyder: Save the Cat!: Michael Wiese Productions, 2005. Official beat-sheet companion lists fifteen beats. Source and access information.
Dan Harmon: Story Structure 101: Super Basic Shit: Channel 101 essay, preserved by its community wiki. Author-written explanation of the eight-part circle; archive host is a community wiki. Source and access information.
Robert McKee: Story: Substance, Structure, Style, and the Principles of Screenwriting: ReganBooks, 1997. Craft account of scene conflict, turning points and changes in value. Source and access information.
François Truffaut: Hitchcock: Revised edition, Simon & Schuster, 1985; first French edition 1966. The interviews discuss suspense and the audience’s knowledge; our example is a paraphrase, not a quotation. Source and access information.
Kim Hudson: The Virgin’s Promise: Michael Wiese Productions, 2010. Author context for a craft model of self-expression and belonging; the title uses symbolic language. Source and access information.

Psychology, alternatives and criticism

C. G. Jung: The Archetypes and the Collective Unconscious: Collected Works 9, part 1; second edition, translated by R. F. C. Hull, 1969. A historical psychological theory, distinguished here from dramatic roles. Source and access information.
Carl G. Jung and collaborators: Man and His Symbols: First published 1964; linked record includes current formats. A collaborative introduction to Jungian thought, not solely authored by Jung. Source and access information.
ETH Zürich Library: Carl Gustav Jung (1875–1961): Archive biography. Biographical record and manuscript context. Source and access information.
Ann Hopwood, Society of Analytical Psychology: Jung’s model of the psyche: Online professional explanation; section “Anima and animus”. Historical explanation of Jung’s model and its gendered concepts, rather than independent validation of the theory. Source and access information.
Maureen Murdock: The Heroine’s Journey: Woman’s Quest for Wholeness: Shambhala, 1990; thirtieth anniversary edition, 2020. A psycho-spiritual model of integration; not a universal gender rule. Source and access information.
Maureen Murdock: The Heroine’s Journey: Author’s account and teaching materials. Murdock describes the book as her response to Campbell. Source and access information.
Alan Dundes: Folkloristics in the Twenty-First Century: Journal of American Folklore 118, no. 470 (2005), 385–408; address delivered 2004. An argument for contextual, analytical folklore scholarship and against indiscriminate universalism. The publisher may require browser verification or institutional access. Source and access information.
Claude Lévi-Strauss: The Structural Study of Myth: The Journal of American Folklore 68, no. 270 (1955), 428–444. Relations among elements and comparison across mythic variants; a distinct approach from a sequence of heroic transformation. Source and access information.
Barre Toelken: The Dynamics of Folklore: Revised and expanded edition, Utah State University Press, 1996. Further reading on tradition, variation, context and performance. Source and access information.
Koichi Hayashida, interviewed by Christian Nutt: The Structure of Fun: Learning from Super Mario 3D Land’s Director: Gamasutra, 2012; now Game Developer. A first-person account of applying introduction, development, change and conclusion to a level mechanic. Source and access information.
Kurt Vonnegut Museum and Library: Bite-Sized Vonnegut: Some Short Works: 2018; links to Vonnegut’s Shapes of Stories presentation. An entry point to the author’s playful graphical account, not evidence for a fixed number of universal plots. Source and access information.
Clint Hocking: Ludonarrative Dissonance in BioShock: Click Nothing, 7 October 2007. A designer’s analysis of the conflict between a game’s narrative and incentives. Source and access information.

Stories, films and games

Homer: The Odyssey: Samuel Butler prose translation, 1900. Book numbers identify the scenes discussed; interpretations do not claim this modern translation is culturally neutral. Source and access information.
L. Frank Baum: The Wonderful Wizard of Oz: 1900. The novel is distinct from the 1939 MGM musical. Source and access information.
Victor Fleming, director: The Wizard of Oz: MGM, 1939. Library of Congress exhibition documents the film adaptation and distinguishes it from Baum’s book. Source and access information.
George Lucas, writer and director: Star Wars: Episode IV—A New Hope: Lucasfilm, 1977; originally released as Star Wars. Official film record. Our mapping concerns this film alone and is interpretive. Source and access information.
Lana and Lilly Wachowski, writers and directors: The Matrix: Warner Bros., 1999. Library of Congress film record. Our analysis excludes sequels. Source and access information.
J. R. R. Tolkien: The Hobbit; The Lord of the Rings: The Hobbit, 1937, revised second edition 1951; The Lord of the Rings, 1954–1955. The Estate’s works directory. The examples refer to the books, not the Jackson films. Source and access information.
Roger Allers and Rob Minkoff, directors: The Lion King: Walt Disney Feature Animation, 1994. Official film page for the animated original. Source and access information.
Nintendo: The Legend of Zelda: Ocarina of Time: Nintendo 64, 1998. Developer interview for the later 3D edition supplies context and identifies the original game; the example discusses the 1998 story. Source and access information.
Nintendo: The Legend of Zelda: Breath of the Wild: Nintendo Switch and Wii U, 2017. Official original game site; the player-sequence comparison is this site’s analysis. Source and access information.
Steven Spielberg, director: Raiders of the Lost Ark: Lucasfilm, 1981. Official film record; the willing-hero comparison is an interpretation. Source and access information.
Andrew Adamson and Vicky Jenson, directors: Shrek: DreamWorks, 2001. Official film record; the antihero example concerns the beginning of this film. Source and access information.
Robert Stevenson, director: Mary Poppins: Walt Disney Productions, 1964. This film is distinct from P. L. Travers’s books and the later sequel. Source and access information.
William Shakespeare: Macbeth: Folger Shakespeare Library online edition; first printed 1623. Readable primary text for the tragic-protagonist example. Source and access information.
Lewis Carroll: Alice’s Adventures in Wonderland: 1865; Chapter I, “Down the Rabbit-Hole”. Readable primary text: Alice follows the White Rabbit out of curiosity. Source and access information.
William Shakespeare: A Midsummer Night’s Dream: Folger Shakespeare Library online edition; Act 2, scene 2 and Act 3, scenes 1–2. Puck’s mistaken application of the flower juice and subsequent interventions; the trickster reading is this site’s interpretation. Source and access information.
J. K. Rowling: Harry Potter novels; Harry Potter and the Deathly Hallows: Series published 1997–2007; Deathly Hallows (2007), Chapter 33, “The Prince’s Tale”. Official franchise commentary identifies the late revelation about Snape. The example concerns the novels; this link is commentary, not the complete primary text. Source and access information.

Reading claims with care

A source record tells you where an idea comes from; it does not certify the idea as a scientific fact. Campbell’s selection of myths, Jung’s psychology, and the practical advice of screenwriting teachers are introduced with their limitations elsewhere in the collection. When a mapping feels forced, return to the story before defending the diagram.

Online archives can change. Harmon’s essay survives on a community-hosted archive, and Hocking’s older post may be intermittently unavailable. The author, title and date above remain useful library or archive search keys. No inaccessible text is quoted as though it had been consulted in full.