Copyrighted Material

Total Page:16

File Type:pdf, Size:1020Kb

Copyrighted Material Index Abraham, 28–29, 44 atropine sulfate, 73 Abu Simbel, Temple of, 131 Australian Light Horse Brigade, aces, flying, 222–24 224–25 Adler, Alfred, 202 Aztecs, 111, 133, 242 Africa, 200–201, 218–21 agamid lizards, 95 baboons, 91–93 Ahnenerbe Society, 27 Babylonians, 34 air forces, 52, 53–54, 221–24 Baden-Powell, Robert, 126–27 airplanes, 52–54, 77–78 Baigent, Michael, 153–54 Alexander the Great, 229–30 banquets, 99–103 Alexius I, 157, 159 Barnett College, 138, 140 Algonquin Round Table, 234–35 Barranca, 7 Allen, Karen, 1, 3 bats, 89–91 Amenemope, 41 Bechet, Sidney, 232 Amun, Temple of, 39–40, 42–43, 44 Beersheba, 224–25 Anasazi Indians, 119–21 beetles, 102–3 Andes mountains, 7–8 Belloq, Rene, 1–2, 11, 12, 38, 47, 57, 59, 60 Andrews, Roy Chapman, 21 Belzoni, Giovanni Battista, 129–32, 191 anointing oil, 20–21 Benedict XVI, 26 anthropology, 234–35 Biblical accounts antidotes, 71–73 Ark of the Covenant, 30–31, 32 anti-Semitism, 141, 142, 143, 144–47, 158 Joseph of Arimathea, 150–51 ‘‘Anything Goes,’’ 66–67 Last Supper, 178–79 Arabs, 101, 191–92, 194 Bingham, Hiram, 17–19 archaeology and archaeologists, 14–22, Biondo, Flavio, 189 128, 138–40, 188–94 blood, drinking of, 108–11 Ark of the Covenant blowfish, 72 Biblical account, 30–31, 32 Blumburtt, Captain, 81 Copper Scroll information, 20 Boban, Euge`ne, 246 Jewish ceremonies for opening, 57–60 Bolsheviks, 223 Jewish history, 28–34 book burning, 166–67 location speculation,COPYRIGHTED 34–35 Boron, MATERIAL Robert de, 149, 151 Nazis’ search for, 27, 32, 35, 38, 43 Botwright, Peter, 24 in Tanis, 35, 39 boulders, 11–12 as telephone link to God, 60 bows and arrows, 14 in U.S. secret warehouse, 60–61 Boy Scouts, 126–27 Well of Souls location, 45, 47 Bradley, Marion Zimmer, 153 arrows, 14 Brahma, 85, 87–88 Arthurian legend, 150, 154 Braidwood, Robert, 22 artists, 196–99 Braque, Georges, 199 Atlantis, 242 breastplate, sacred, 57–60 257 258 INDEX Bridger, Jim, 121–22 cobras, 48–49, 95–96 b’rit,29 concentration camps, 27 British East India Company, 96–99 Connery, Sean, 2 British Museum, 131–32, 242 conquistadors, 132–34 Broadway, 235 Constantinople, 159, 228 Brody, Marcus, 2, 14, 28, 138, 166, 181 Copper Scroll, 20–21, 34 Brotherhood of the Cruciform Sword, Coriolis force, 83–84 163–65 Coronado, Francisco Va´zquez de, 133–35 Brown, Dan, 154 Cossacks, 203 Buddhism, 109 Council of Clermont, 157–58 bullwhips, 22–23, 135–36 coup padre, 111–12 Burney, Sydney, 242 cows, 101 Bush, Prescott, 146 Crescent Moon, Temple of, 172–75, butterflies, 103–4 177–78, 180, 181 crocodiles, 94, 114–15 Cairo, Egypt, 54, 130 crosses, 176, 180, 181 cannibalism, 110–11 Cross of Coronado, 127, 135, 138 Capone, Al, 232 Crusades, 156–60, 164, 175–77, 242 Capshaw, Kate, 2 crystal skulls, 241–42 Carnarvon, Lord, 193 cubism, 198, 199 Carrier, Corey, 3, 185 Cullinan I diamond, 70 cars, 123, 172 Carter, Howard, 188, 192–94 darts, 12–14 caste system, 87–88 Da Vinci Code, The (Brown), 154 catacombs, of Venice, 160–62 Dawson, Charles, 124, 125 Catholic Church, 164, 165 Dead Sea Scrolls, 15, 20–21 Celtic myths, 154 Delhi, India, 80 Chachapoyas people, 7–9 Deseret, 121–22 Chamberlain, Neville, 146, 156 diamonds, 69–71, 230 Champollion, Jean-Franc¸ois, 190 Dickstein, Samuel, 142 Charlemagne, 171 dietary practices, 99–103 Chiang Kai-shek, 65, 74, 75 Dome of the Rock, 44–45 Chichen Itza, 22 Donovan, Walter, 139, 140–47, 166, 172, China 177–78 diet, 100, 103 Dorland, Frank, 241–42 gongs, 65–66 Dracula, 228–29 language, 66–67 drugs, 74–75 mob in, 73–76 Nurhachi, 67–69 Earp, Wyatt, 238 pirates from, 230 Eckener, Hugo, 169, 170 poisons, 71–72 Edison, Thomas Alva, 204–5 route to India, 76–78 Egypt vampires, 109 Ark of the Covenant in, 34–35 voodoo doll ban, 114 British invasion of, 191 China, 24 cliff roads near Cairo, 54–55 Ch’ing Dynasty, 67 geography, 54–55 chlorine gas, 214–15 looting of tombs, 128–32 Chre´tien de Troyes, 149–50 Napoleon’s invasion of, 190 Christianity, 44, 98 pyramids, 50–52 Chungking, 76–78 snakes, 48–50 Churchill, Winston, 155, 210–11 Tanis, 38–43 circus train, 135–37 Valley of the Kings, 188–94 Club Obi-Wan, 65–67 Eisenman, Robert, 15 INDEX 259 Elephanta Caves, 86–87 gods, 35–37, 85–88 elephants, 80 Goebbels, Joseph, 166–67 Elliott, Denholm, 2 golden idol, 7–9, 15, 22 England. See Great Britain gongs, 65–66 Eschenbach, Wolfram von, 150 Gordian knot, 233 Essenes, 179 gospels, 178–79 excavation, 15, 16 grave robbers, 127–32 Excelsior diamond, 71 Great Britain eyeball soup, 103 appeasement policy, 155–56 Eye of the Peacock diamond, 69–70, archaeological contributions, 189–91 229–30 India, 81–82, 96–99 WWI, 210–13, 214–15, 217–18 Fauves, 199 Great Pyramid, 51, 52, 191 Fawcett, Percy Harrison, 19–20 Great Seal, 180–81 fedoras, 23–24 Greece, 203 Flanery, Sean Patrick, 3, 185 Green Gang, 74–75 flying aces, 220–21 G-type nerve agents, 73 Fokker, Anthony, 221–22 folk stories, 17 Haggard, H. Rider, 120–21 Foolish Wives, 236 Hall, George, 185 Ford, Harrison, 1, 3, 186, 187 Hancock, Graham, 153 Ford, Henry T., 144–45 Hapsburg royalty, 222 Ford, John, 237–38 Hari, Mata, 216 Forrestal, 7 Hatay, Turkey, 171–72 France heart, ripping out of live body, 107–8 invasion of Egypt, 190 Heinrich the Fowler, 26 WWI, 211–15, 216–18, 220–22, Hemingway, Ernest, 225–26 223–25 hermits, 177 Franz Ferdinand, 202 heroin, 74–75 Freeman, Paul, 1–2 Himmler, Heinrich, 26–28 Freemasons, 165 Hindenburg, 168, 169–70 French Foreign Legion, 226 Hindi language, 78–79 Freud, Sigmund, 201 Hinduism, 84–88, 101, 102, 104 Friends of New Germany, 141–42 Hitler, Adolf, 25–26, 142, 143, 144–45, 155 Galileo Galilei, 174 Hoare, Richard Colt, 190 Gaulle, Charles de, 215 Hollywood, 240–42 Genoa, chalice of, 152–53 Holy Anointing Oil, 20–21 German-American Bund, 141, 142–44 Holy Blood, Holy Grail (Baigent, Leigh, and Germany, in WWI, 209, 212–15, 217, 220– Lincoln), 153–54 21. See also Nazis Holy Grail Gershwin, George, 235–36 and Brotherhood of the Cruciform girlfriends/love interests Sword, 163–65 Edith Wharton, 230–31 Great Seal scene, 180–81 Elsa Schneider, 162, 166, 172, 177–78, healing properties, 147, 178 180, 181 legend of, 147–54, 156 Marion Ravenwood, 1, 3, 35, 38, 47, 55 Nazis’ search for, 27, 155 Mata Hari, 216 physical characteristics, 178–79 Sophie of Hohenberg, 201–2 search for in The Last Crusade, 140–41, suffragette, 209 147, 160, 171–72 Willie Scott, 2, 66–67, 69, 73, 76, 89, 91, in Temple of the Crescent Moon, 93, 95, 103, 111 172–77 God, Tetragrammaton for, 174–75 Holy Incense, 20, 21 260 INDEX Hovitos people, 12 rats, 162–63 Hovitos temple, 7–9 release date, 2 revenues, 3 idol, golden, 7–9, 15, 22 Rolls-Royce Phantom II, 172 iguanas, 95 setting, 2 Illicium religiosum, 71–72 Spanish conquistadors, 132–34 Illuminati, 165 teaching at Barnett College, 138, 140 Incas, 8, 17, 24 Templeof the Crescent Moon, 172–75, incense, 20, 21 177–78, 180, 181 India zeppelins, 167–71 baboons, 91–93 See also Holy Grail caste system, 87–88 Indiana Jones and the Raiders of the Lost Ark crocodiles, 94, 114–15 Academy Awards, 1 diamonds, 70, 71 actors in, 1–2 diet, 99–103 archaeology, 14–22 Elephanta Caves, 86–87 bullwhips, 22–23 Hindi language, 78–79 cliff roads near Cairo, 54–55 insects, 103–4 fedora, 23–24 lizards, 94–95 golden idol, 7–9, 15, 22 maharajah, 81–82 Hovitos temple, 7–9 monsoons, 83–84 Indian weapons, 12–14 Mutiny of 1857, 96–99 leather jacket, 24–25 owls, 93–94 Luftwaffe airplane, 52, 53–54 route from China, 76–78 Nazis and occult, 25–28 Sankara Stones, 84, 86, 88 plot overview, 2 Shiva, 84–87 pyramids, 50–52 snakes, 95–96 release date, 1 Thuggees, 104–13 rolling boulder, 11–12 tigers, 115 seaplanes, 52–53 vampire bats, 89–91 secret submarine bases, 57 vampires, 109–10 setting, 2 Indiana Jones and the Kingdom of the Crystal snakes, 46–50 Skull, 3, 241–42 Staff of Ra, 25, 35–38, 39, 43, 46 Indiana Jones and the Last Crusade Tanis, 38–43 actors in, 2 tarantulas, 9–11 archeology families, 139–40 U-boats, 55–57 book burning, 166–67 Well of Souls, 43–45 Brotherhood of the Cruciform Sword, See also Ark of the Covenant 163–65 Indiana Jones and the Temple of Doom catacombs of Venice, 160–62 Academy Award, 2 Charlemagne’s ‘‘birds in skies’’ quote, actors in, 2 171 ‘‘Anything Goes’’ language, 66–67 circus train, 135–37 Asian stereotypes in, 2 Cross of Coronado, 127, 133–35 Delhi, 80 Crusades, 156–60 diamond, 69–71, 230 grave robbers, 127–32 fedora, 24 Hatay, Turkey, 171–72 gongs, 65–66 Indy’s early influences, 119–27 mob, 73–76 leather jacket, 25 Nurhachi, 67–69 Nazis’ rise to power, 155–56 Pankot, 80–84 Nazi sympathizers/supporters in U.S., plot overview, 2 140–47 poisons/antidotes, 71–73 plot overview, 2 release data, 2 INDEX 261 revenue, 2 Kohinoor diamond, 70 route from Shanghai to India, 76–78 Komodo dragons, 94–95 See also India Koricancha temple, 8 Indian Rebellion of 1857, 96–99 Krishnamurti, J., 203–4 Indians, of Americas, 119–21, 133 Kuhn, Fritz, 142–44 indulgences, 176–77 Kunz, Michael, 15 insects, 102–4 Ireland, 45, 208–9 Lacey, Ronald, 2 Iskenderun, Turkey, 171–72 Lafayette Escadrille, 220 Islam.
Recommended publications
  • 3) Indiana Jones Proof
    CHAPTER EIGHT Hollywood vs. History In my frst semester of graduate school, every student in my program was required to choose a research topic. It had to be related in some way to modern Chinese history, our chosen course of study. I didn’t know much about China back then, but I did know this: if I chose a boring topic, my life would be miserable. So I came up with a plan. I would try to think of the most exciting thing in the world, then look for its historical counterpart in China. My little brainstorm lasted less than thirty seconds, for the answer was obvious: Indiana Jones. To a white, twenty-something-year-old male from American sub- urbia, few things were more exciting in life than the thought of the man with the bullwhip. To watch the flms was to expe- rience a rush of boyish adrenaline every time. Somehow, I was determined to carry that adrenaline over into my research. On the assumption that there were no Chinese counterparts to Indiana Jones, I posed the only question that seemed likely to yield an answer: How did the Chinese react to the foreign archaeologists who took antiquities from their lands? Te answer to that question proved far more complex than I ever could have imagined. I was so stunned by what I discov- ered in China that I decided to read everything I could about Western expeditions in the rest of the world, in order to see how they compared to the situation in China. Tis book is the result.
    [Show full text]
  • Myths, Legends, Fairy Tales and Folk Tales in Music ______
    ______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell.
    [Show full text]
  • Detection and Analysis of Emotional Highlights in Film
    DETECTION AND ANALYSIS OF EMOTIONAL HIGHLIGHTS IN FILM h dissexhttion submitted ia fulf bent pf the x~q&cments for -the award of to the DCU ,Geqtxe fol--Digieal Video Processing Bcbaal ed Computing Ddblia City Un3vtrdty September, 5007 ~t~kk~m&,&d%rn,~dk dkmt ~WWQ~hu wkddd$~'d d-d q ad& ~&IJOR DECLARATION 1 hereby certify that this material, which 1 now submit fnr assessment on thc progmmme of study leacling to the award of Mnster of Science is eiltircly my own work md has not teen ~kcnfrom the work of others save and to thc extent that SUCIZ ~vorkI-tns bcetl cited and acknoxvivdged within the text of my worlc. ABSTRACT Thls work explores the emotional experience of viewing a film or movie. We seek to invesagate the supposition that emotional highlights in feature films can be detected through analysis of viewers' involuntary physiological reactions. We employ an empirical approach to the investigation of this hypothesis, which we will discuss in detail, culminating in a detailed analysis of the results of the experimentation carried out during the course of this work. An experiment, known as the CDVPlex, was conducted in order to compile a ground-truth of human subject responses to stimuli in film. This was achieved by monitoring and recordng physiological reactions of people as they viewed a large selection of films in a controlled cinema-like environment using a range of biometric measurement devices, both wearable and integrated. In order to obtain a ground truth of the emotions actually present in a film, a selection of the films used in the CDVPlex were manually annotated for a defined set of emotions.
    [Show full text]
  • UNIVERSITY of CENTRAL OKLAHOMA Edmond, Oklahoma Jackson College of Graduate Studies
    UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma Jackson College of Graduate Studies Indiana Jones and the Displaced Daddy: Spielberg’s Quest for the Good Father, Adulthood, and God A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN ENGLISH 20th & 21st Century Studies, Film By Evan Catron Edmond, Oklahoma 2010 ABSTRACT OF THESIS UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma NAME: Evan Catron TITLE OF THESIS: Indiana Jones and the Displaced Daddy: Spielberg’s Quest for the Good Father, Adulthood, and God DIRECTOR OF THESIS: Dr. Kevin Hayes PAGES: 127 The Indiana Jones films define adventure as perpetual adolescence: idealized yet stifling emotional maturation. The series consequently resonates with the search for a good father and a confirmation for modernist man that his existence has “meaning;” success is always contingent upon belief. Examination of intertextual variability reveals cultural perspectives and Judaeo-Christian motifs unifying all films along with elements of inclusivism and pluralism. An accessible, comprehensive guide to key themes in all four Indiana Jones films studies the ideological imperative of Spielbergian cinema: patriarchal integrity is intimately connected with the quest for God, moral authority, national supremacy, and adulthood. iii Acknowledgements I would like to thank the professors who encouraged me to pursue the films for which I have a passion as subjects for my academic study: Dr. John Springer and Dr. Mary Brodnax, members of my committee; and Dr. Kevin Hayes, chairman of my committee, whose love of The Simpsons rivals my own. I also want to thank Dr. Amy Carrell, who always answered my endless questions, and Dr.
    [Show full text]
  • LEGO Indiana Jones 2 Guide
    LEGO Indiana Jones 2 Guide The newest coupling of Indiana Jones and LEGO bits finds the famous archaeologist and adventurer working his way through four of his greatest known adventures. There are a lot of treasures to find, so that's where we can help. We'll guide you through everything, but you can get help where you need it most by jumping to one of the sections below. Whether you're playing through alone or with a friend, count on the above sections to make your experience a pleasant one. Adventure awaits! BASICS // There's more to finding treasure than swinging a whip. We walk you through the basic game mechanics and give you the information you need to make the most of your time in this newest LEGO world. WALKTHROUGH // If you need detailed assistance with any area in the game, you'll find it right here. We divide things up by episode, then break things down so that you can clear every area with the rank and loot that you deserve! Q & A // Have a quick question? This is a big game, but some general tips can go a long way toward helping you navigate it with ease. Guide by: Jason Venter © 2010, IGN Entertainment, Inc. May not be sold, distributed, transmitted, displayed, published or broadcast, in whole or part, without IGN’s express permission. You may not alter or remove any trademark, copyright or other notice from copies of the content. All rights reserved. © 2009 IGN Entertainment, Inc. Page 1 of 135 LEGO Indiana Jones 2 Basics LEGO Indiana Jones 2: The Adventure Continues is a large game that should take you a long while to clear if you're anxious to collect every last item.
    [Show full text]
  • Modernizing the Quest for the Holy Grail in Film
    The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2013 The Search Continues: Modernizing the Quest for the Holy Grail in Film Jody C. Balius University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Arts and Humanities Commons Recommended Citation Balius, Jody C., "The Search Continues: Modernizing the Quest for the Holy Grail in Film" (2013). Honors Theses. 145. https://aquila.usm.edu/honors_theses/145 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi The Search Continues: Modernizing the Quest for the Holy Grail in Film by Jody Balius A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in the Department of English May 2013 Balius 2 Balius 3 Approved by _________________________________ Michael Salda Associate Professor of English ________________________________ Eric Tribunella, Chair Department of English ________________________________ David R. Davies, Dean Honors College Balius 4 Table of Contents Chapter 1: Introduction ................................................................................. 5 Chapter 2: Literature
    [Show full text]
  • Indiana Jones and the Heroic Journey Towards God Chris Yogerst University of Wisconsin - Washington County, [email protected]
    Journal of Religion & Film Volume 18 Article 7 Issue 2 October 2014 10-1-2014 Faith Under the Fedora: Indiana Jones and the Heroic Journey Towards God Chris Yogerst University of Wisconsin - Washington County, [email protected] Recommended Citation Yogerst, Chris (2014) "Faith Under the Fedora: Indiana Jones and the Heroic Journey Towards God," Journal of Religion & Film: Vol. 18 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol18/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Faith Under the Fedora: Indiana Jones and the Heroic Journey Towards God Abstract This essay explores how the original Indiana Jones trilogy (Raiders of the Lost Ark, Temple of Doom, and The Last Crusade) work as a single journey towards faith. In the first film, Indy fully rejects religion and by the third film he accepts God. How does this happen? Indy takes a journey by exploring archeology, mythology, and theology that is best exemplified by Joseph Campbell's The Hero With a Thousand Faces. Like many people who come to find faith, it does not occur overnight. Indy takes a similar path, using his career and adventurer status to help him find Ultimate Truth. Keywords Indiana Jones, Steven Spielberg, Hollywood, Faith, Radiers of the Lost Ark, Indiana Jones and the Last Crusade, Indiana Jones and the Temple of Doom Author Notes Chris Yogerst teaches film and communication courses for the University of Wisconsin Colleges and Concordia University Wisconsin.
    [Show full text]
  • Movie Guide Project for the Film Indiana Jones and the Kingdom Of
    Movie Guide Project for the film Indiana Jones and the Kingdom of the Crystal Skull Created by: Matthew Holcomb and Carson Mellow RE 3070: Media for Young People Spring 2015 Dr. Redmond Appalachian State University Introduction This Movie Guide provides an interdisciplinary unit concept focusing on the 2008 film, Indiana Jones and the Kingdom of the Crystal Skull. The lesson activities will be directed toward a seventh grade class with the main subject areas being social studies, English Language Arts (ELA), and music. The film is set in the 1950s and there are numerous references to the United States’ involvement in the Cold War with the Soviet Union throughout the movie. In fact, most of the plot is centered on this rivalry that existed between the two nations. In addition, the film also shows various elements of U.S. culture in the 1950s such as music, leisure, and fashion. By examining the different parts of the film that focus on international tensions, specifically between the USSR and the United States, we will meet specific seventh grade learning outcomes that the importance of understanding global interactions in contemporary times. Furthermore, the focus on music is important to understand what genres were important in the 1950s and how the score in a film affects particular scenes. Using This Guide: This final installment in the Indiana Jones series is one which will be both enjoyable and appropriate for a seventh grade classroom. In addition to being a fun film for students to watch, the movie also connects to several North Carolina Essential Standards and Common Core State Standards.
    [Show full text]
  • LEGO Indiana Jones 2: the Adventure Continues Creator Guide Nintendo Wii (But Info Should Apply to PS3 and 360 Versions Also) Authored by Brent6980 Version 1.1
    LEGO Indiana Jones 2: The Adventure Continues Creator Guide Nintendo Wii (but info should apply to PS3 and 360 versions also) Authored by brent6980 Version 1.1 Purpose: The purpose of this guide is to provide a quicker reference (as opposed to waiting for load times) of what is contained in each theme in the Level Builder of LEGO Indiana Jones 2, while providing info on how each object is used. I also briefly cover the Build Your Own Adventure area. How To Use This Guide: Each section in the contents is assigned a tag (#XXXX). Use the find command (Ctrl+F on most PC browsers) and enter the tag. For example, to go directly to Raiders Of The Lost Ark theme, type in #RAID. There are several instances where two or more objects are contained in the same selection, cycling through the choices. In these cases, they are listed together, without a double space. Other times multiple colors of objects are available. These choices are listed in parentheses, as part of the name or at the beginning of the description. When I use the term, enemies, I am referring to the choices found on the Characters menu, except when referring to the title of Mola Ram's menu title. Other instructions are given as needed. Contents I. Intro/Info.................................(#INFO) II. Basic Menu Design..........................(#MENU) A. Construction Worker (Objects) B. UFO (Landscaping) C. Mola Ram (Enemies) D. Enemy Boxer (Baseplates) III. Commons (Objects And Info For All Themes)..(#COMM) IV. Items By Theme A. Raiders Of The Lost Ark.................(#RAID) B.
    [Show full text]
  • Composition, Variation and Functions of the Leitmotiv
    RevistaRevistaRevista de de ComunicaciónComunicación Comunicación de de la de SEECIla la SEECI. SEECI. (Julio (2015). Junio(Marzo Año201201 XIX5).5 (37),).AñAoñ 211-267XoI XXIX(3(73),6),23811--26719 ISSN: 1576-3420 ISSN:ISSN:15761576--34203420 DOI: http://dx.doi.org/10.15198/seeci.2015.37.211-267 INVESTIGACIÓN/RESEARCH INVESTIGACIÓN/RESEARCHINVESTIGACIÓN / RESEARCH RecibidoRecibido: 26: 17/11/0/20143/2015----------AceptadoAceptado:: 1179/05/2015/01/2015-------Publicado--Publicado: 15/07: 15/201/035/2015 NEWC TELEVISIONOMPOSITION, MELODRAMA VARIATION ACTORS:AND FUNCTIONS AN EXAMPLE, OF THE BELEN LEITMOTIV IN THE ESTEBANUNIVERSE INDIANA JONES Teresa Piñeiro Otero1: Universidade da Coruña, Spain. [email protected]ón Navarrete-Galiano Rodríguez1 University of Sevilla. [email protected] ABSTRACT: ABSTRACT: Film soundtrack assumes an essential role in the viewer's experience. Music contributesThe current to Spanish the image television with effects, programs feelings have andgenerated meanings a series that endowof characters audiovisual that storytellingresemble the with traditional a new dimension. archetypes The of movieuse of genres.certain compositionsA case is that likeof Belénleitmotivs Esteban, has madea participant it possible in televisionto establish programs some audiovisualof society codesor the with heart. the Dueviewers, to her for vitalan enrichedexperience, reading this youngof the woman cinematographic symbolizes story. the archetype The integration of a melodramatic of these recurrent heroin. themesAnalyzing allows her career,multiple we narrative found out and that expressive she completely possibilities, fits in sowith its the use components has been quiteof the frequent canonical in melodrama film music. icons. Authors like John Williams have made leitmotivs their personal hallmark and they have come to develop a suitable code for their compositionsKEY WORD Sand: Televisionuse.
    [Show full text]
  • Indiana Jones and Raiders of the Lost Enforcement Actions: SEC and FINRA Enforcement from June 2021
    NSCPCurrents JULY 2021 Indiana Jones and Raiders of the Lost Enforcement Actions: SEC and FINRA Enforcement from June 2021 By Brian Rubin and Sarah Razaq Sallis About the Authors: Brian Rubin is a Partner at Eversheds Sutherland. He can be reached at [email protected]. Sarah Razaq Sallis is an Associate at Eversheds Sutherland. She can be reached at [email protected]. 1 JULY 2021 NSCP CURRENTS 1 JULY 2021 NSCP CURRENTS orty years ago, on June 12, 1981, in Raiders of the Lost Ark, the world was introduced to Indiana (Indy) Jones (played by Harrison Ford who is now filming Indiana Jones 5 at age F79), the “quick-witted” and “hardy” professor of archaeology, “expert on the occult, and how does one say it? Obtainer of rare antiquities,” who hunted for the Lost Ark of the Covenant, while chasing and being chased by Nazis.1 (For you trivia fans out there, Dr. Henry Walton “Indiana” Jones, Jr. was originally named Indiana Smith by George Lucas.)2 While Raiders (and the other Indy movies) did not involve investments (as that word is used in common parlance), the first movie did involve extremely valuable gold in its opening sequence, in the form of the fictitious Golden Idol (also known as the Chachapoyan Fertility Idol). In addition to involving treasures, the Indiana Jones movies also involved good v. bad, fighting, adventure, snakes, and some humor. In other words, in many respects, they are similar to enforcement actions (other than the snakes) (although we do know some people who might be considered snakes), and therefore, Raiders provides the theme for this month’s analysis on recent enforcement actions.3 Before we get to the securities compliance and enforcement portion of our article, let’s go back to yesteryear, and relive one of the best Raiders scenes: Indiana travels with Marion Ravenwood, the future Mrs.
    [Show full text]
  • You've Seen the Movie, Now Play The
    “YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power.
    [Show full text]