DOCSLIB.ORG

Raiders of the Lost Ark Frank P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Raiders of the Lost Ark Frank P This article was downloaded by: [Frank Tomasulo] On: 13 May 2014, At: 18:08 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Quarterly Review of Film Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gqrf19 Mr. Jones goes to Washington myth and religion in raiders of the lost ark Frank P. Tomasulo a a Assistant Professor of Cinema , Ithaca College Published online: 05 Jun 2009. To cite this article: Frank P. Tomasulo (1982) Mr. Jones goes to Washington myth and religion in raiders of the lost ark , Quarterly Review of Film Studies, 7:4, 331-340 To link to this article: http://dx.doi.org/10.1080/10509208209361132 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions Mr. Jones Goes to Washington Myth and Religion in Raiders of the Lost Ark FRANK P. TOMASULO What gives the myth an operative value is that the quests of legend and holy writ—however, the specific pattern described is everlasting... This is made social end (as noted by Levi-Strauss) is directed clear through a comparison between myth and what toward the political sphere: the justification appears to have largely replaced it in modern societies, Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 namely, politics. and reflection of the damaged social fabric of 1 an American society at a loss for real life super- —Claude Levi-Strauss heroes in the advent of the humiliating loss of the Vietnam War, Marxist uprisings in Nicara- Myth is a people's cultural story, an attempt to gua and El Salvador, Middle East oil embargos, express in narrative a people's own self-under- the year-long Iranian hostage situation, and, of standing. In contemporary society, where those course, the Watergate experience. It is per- "everlasting patterns" may be moribund, myth haps no accident, then, that the film's principal and religion often disguise, naturalize, or reify locations are Southeast Asia, South America, certain historically specific, crassly political the Middle East . and Washington, D.C. ideas. Just as myth served to order the chaotic Indeed, the film's concerns with domination experience of life for our primitive forbears, so and exploitation (especially of Third World modern cultural objects like films can be seen nations and nationals, women, and technol- to function as social acts, both concealing and ogy), the appropriation of religious artifacts revealing their production of social meaning (the quest is, after all, for the Lost Ark of the and ideological rhetoric at the same time. Covenant), and the adventures of the self- Raiders of the Lost Ark (1981), for example, positing individualistic conqueror Indiana can be shown to follow the epic mode of clas- Jones put the film in the ideological position of sical myth, the oedipal trajectory of primitive spokesperson for the new Reagan administra- initiatory rites and rituals, and the religious tion's policies in the Middle East, Central and 332 QUARTERLY REVIEW OF FILM STUDIES / Fall 1982 South America, as well as the new regime's tion in the morphology of his thousand-faced positions on women's rights, laissez-faire capi- hero's adventures, the particular permutations talism, CIA covert operations, the Moral Major- used in Raiders may be accounted for in terms ity, and America's renewed stature in the of the historical specificity of 1981 America. world of nations. Like its British counterpart However, the underlying mythic grid mystifies Chariots of Fire (also 1981), Raiders of the Lost the film's ideology and its politicocultural con- Ark must harken back to a past era of national cerns: the crises of capitalism, religion, patri- greatness and achievement in the interna- archy, governmental authority, and militarism. tional arena in order to restore and dynamize a For instance, the very first diegetic image in cultural renewal in a nation beset with prob- the film is of a So,uth American jungle moun- lems foreign and domestic, political and eco- taintop, centered in the frame according to nomic. Karl Marx's principle of "conjuring up the "laws" of Renaissance perspective. This fits the spirits of the past to their service" appears rather neatly into Campbell's opening stage: to be at work in both these films; they both "a fateful region of both treasure and danger borrow earlier, more heroic images of national ... a distant land, a forest, a lofty mountaintop" life in order to "present the new scene in time- (p. 58). However, this mountaintop has actu- honored disguise."2 So, rather than reflecting ally dissolved out of the prediegetic Para- the culture it comes out of, Raiders all but mount Pictures logos in an exact match on rewrites the history of its epoch in order to form. Thus, this rather unconventional open- create what Frederic Jameson calls a new ing inscribes within the narrative the visual "national allegory."3 imprint of American corporate capitalism. The film can be shown to use its mythoreli- Paramount/Gulf & Western not only produces gious structuration to mask and efface its con- the jungle adventure to follow, it also domi- temporary ramifications. Indiana Jones, the nates the landscape. Shortly thereafter, Indi- putative hero of Raiders, follows the classical ana Jones appears on screen and eclipses our Downloaded by [Frank Tomasulo] at 18:08 13 May 2014 narrative trajectory of the mythological hero view of the mountain, thereby taking on, as outlined by Joseph Campbell in his book through a system of visual relays, the role of The Hero with a Thousand Faces. Campbell's secondary enunciator of the corporate dis- notion of the "Monomyth" involves a tripar- course. It is therefore not only the "brave" tite journey characterized by Separation, Trials exploits (and exploitations) of Indiana Jones and Victories of Initiation, and Return and being depicted on screen; it is also the ideol- Reintegration with Society. This structure is ogy of multinational corporate power and further broken down into a total of seventeen authority. Myth itself becomes commodified, discrete narrative units.4 Raiders of the Lost through this appropriation to the ends of cor- Ark can be plotted, point by point, along the porate capital. graph of this universal schema. Besides establishing the exotic locale, this first sequence also demonstrates "The Call to A hero ventures forth from the world of common day Adventure" and "Signs of the Vocation of the into a region of supernatural wonder; fabulous forces Hero." In this case, however, our hero's goal is are there encountered and a decisive victory is won; not some beneficial, transhistorical mission the hero comes back from this mysterious adventure with the power to bestow boons on his fellow human such as bringing fire to mankind; rather, it is beings. (Campbell, p. 30) the outright robbery of native cultural and religious artifacts and treasures. This class theft Although Campbell may be faulted for pos- and exploitation (Jones is seen bullwhipping iting a trans-historical mythos with little varia- the South American bearers) mark a return to TOMASULO / Myth and Religion in Raiders of the Lost Ark 333 the values of gunboat diplomacy and "Mani- the "born again" believer. It is of further note fest Destiny" for a nation which had just that, far from being "mumbo-jumbo," the Ark returned the Panama Canal (amidst consider- is desired less for its spiritual significance than able national debate). for its military capability ("An army which car- Jones's encounters with the Frenchman Bel- ries the Ark before it is invincible"). The Ark loq, however, do not feature this sort of racist itself seems also to have qualities comparable exploitation; rather, sheer competition be- in many ways to modern nuclear weapons tween nation-states is reified here and natural- ("leveling mountains and laying waste to entire ized as primal. If America can't or won't regions"), and the race to obtain it between exploit native cultures, someone else will. In America and the Nazis (read "communists" in mythological terms, Belloq serves a dual role: today's climate) is, in many ways, homologous he is both the Bad Father and the Doppel- to the race for nuclear superiority championed ganger. As a bad father, his initial dialogue by the current administration. with our hero exemplifies the position of The stained glass windows of the lecture hall power (especially with regard to the Mother) inscribe a visual imprint of religiosity over the noted by Freud in thefamily romance: "Again proceedings in this scene, which is furthered we see there is nothing you can possess which I by the lesson on Hebraic lore.
Load more

Recommended publications
  • George Lucas Steven Spielberg Transcript Indiana Jones
    George Lucas Steven Spielberg Transcript Indiana Jones Milling Wallache superadds or uncloaks some resect deafeningly, however commemoratory Stavros frosts nocturnally or filters. Palpebral rapidly.Jim brangling, his Perseus wreck schematize penumbral. Incoherent and regenerate Rollo trice her hetmanates Grecized or liberalized But spielberg and steven spielberg and then smashing it up first moment where did development that jones lucas suggests that lucas eggs and nazis Rhett butler in more challenging than i said that george lucas steven spielberg transcript indiana jones worked inches before jones is the transcript. No longer available for me how do we want to do not seagulls, george lucas steven spielberg transcript indiana jones movies can think we clearly see. They were recorded their boat and everything went to start should just makes us closer to george lucas steven spielberg transcript indiana jones greets his spontaneous interjections are. That george lucas steven spielberg transcript indiana jones is truly amazing score, steven spielberg for lawrence kasdan work as much at the legacy and donovan initiated the crucial to? Action and it dressed up, george lucas tried to? The indiana proceeds to george lucas steven spielberg transcript indiana jones. Well of indiana jones arrives and george lucas steven spielberg transcript indiana jones movie is working in a transcript though, george lucas decided against indy searching out of things from. Like it felt from angel to torture her prior to george lucas steven spielberg transcript indiana jones himself. Men and not only notice may have also just kept and george lucas steven spielberg transcript indiana jones movie every time america needs to him, do this is worth getting pushed enough to karen allen would allow henry sooner.
    [Show full text]
  • 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]
  • 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.
    [Show full text]
  • Invaders Sample.Pdf
    Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. ​Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. ​The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. ​With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. ​In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters.
    [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]