Faith Under the Fedora: Indiana Jones and the Heroic Journey Towards God

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\u27s 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

Indiana Jones. From: DiMare, P. C. (2011). Movies in american history : An encyclopedia Santa Barbara, Calif. : ABC-CLIO, c2011. pp 254-258

Themes of the Indiana Jones movies

Indiana Jones and the displaced daddy : Spielberg's quest for the good father, adulthood, and God.

"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 ideologicalimperative of Spielbergian cinema: patriarchal integrity is intimately connected with the quest for God, moral authority, national supremacy, and adulthood."--Abstract

Indiana Jones and the Kingdom of the Crystal Skull

This is a review of Indiana Jones and the Kingdom of the Crystal Skull (2008)

(Mis)representation at the movies: film, pedagogy, and postcolonial theory in the secondary English classroom

This thesis examines the potential role of film study in the secondary English and Language Arts classroom. Highlighting the frustrated current pedagogical relationship between most secondary instructors and film, it seeks to provide educators with resources to assist them in weaving motion pictures into their classrooms. Specifically, it describes using film to teach secondary students fundamental concepts of postcolonial critical theory. As a result, the thesis addresses three overarching questions: 1) To what extent can the study of film serve as a pedagogical tool in the secondary English classroom? 2) What strategies and concepts can instructors use to make the study of film in their classrooms a reality? 3) How can the study of film be used as a means of postcolonial theory? Three films comprise the thesis’s central focus: Steven Spielberg’s Raiders of the Lost Ark (1981) and Indiana Jones and the Temple of Doom (1984) and James Cameron’s Avatar (2009). By focusing on the medium’s ability to develop visual literacy skills—stressed by both NCTE and IRA as vital for students in the twenty-first century—the thesis provides ways that film can serve as a rich topic of analysis that both challenges and engages students. In addition, it focuses specific attention on using films to help students visualize and connect with postcolonial critical theory. The three films selected for examination in both the critical essays and the corresponding curricular design, in particular, embody and represent several areas of focus common to postcolonial analysis. A comprehensive literature review of film pedagogy and two critical essays on the selected films are paired with a curricular design consisting of ten lesson plans, complete with handouts, assessments, and instructional notes for educators to use in their own classrooms. Combined, these artifacts provide cogent arguments that film both can and should be included in the secondary curriculum as it links students’ inherent interest in multimedia content with the essential analytical and critical thinking skills that make up the heart of every English classroom

He comes back badder and bigger than ever!' : Adapting the masculine and negotiating the feminine in treasure-hunting adventure narratives

Over the last decades, genre fiction has witnessed the invasion of a host of female authors writing from a self-consciously feminist perspective who have shaken the structural and ideological foundations of genres such as romance, detective and science fiction. Some genres such as adventure, however, have remained recalcitrantly impervious to change and the ideological premises from which adventure operates remain essentially masculinist. Taking some recent examples of treasure-hunting adventure narratives as case studies, my aim in this paper is to analyse how adventure has incorporated superficial textual changes while failing to effect a profound transformation in the nature and form of its discourse, remaining a mummified stronghold of patriarchal conventions which are becoming increasingly outmoded

Women on the Silver Screen: A Look at the Various Roles of Women Across Film Genres

This Zine seeks to explore the various roles of women in several films across a multitude of genres and their significance, or lack thereof, in their respective films. Genres explored include romantic comedy, science fiction, action/adventure, and horror/thriller. Films often depict the state and views held by a society during its inception, either intentionally or subconsciously. Women have often been relegated to roles in films that affirm gender and cultural stereotypes.https://digitalcommons.butler.edu/spring_2023/1011/thumbnail.jp

General Rules and the Normativity of Causal Inferences in the First Book of Hume\u27s Treatise

In the paper, the author has undertaken the task of illuminating the meanings and connections that constitute Hume’s account of causality. The author’s method is critical, questioning the logical consistency and explanatory power of Hume’s skeptical causality and inference, only to eventually reveal the validity of Hume’s argument. Much of the analysis is spent making sense of the seemingly contradictory or confusing statements Hume makes in his Treatise; lots of examples help this process. The paper includes addressing the paradoxical connection between our internal/subjective general rules and our customs. It also examines the interesting question of how to judge the good or bad character of a potential new custom