For the album by The Jam, see Sound Affects.

Analog sound effect devices in a Greek radio studio

Deep, pulsating digital sound effect

Voice saying "Ja", followed by the same recording with a massive digital reverb

A blackbird singing, followed by the same recording with the blackbird singing with 5 voices

Sound effects (or audio effects) are artificially created or enhanced sounds, or sound processes used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media. In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to them, such as reverberation or flanging effects, often are called "sound effects".^{[citation needed]}

History[link]

The term Sound Effect ranges back to the early days of radio. In its Year Book 1931 the BBC published a major article about "The Use of Sound Effects". It considers sounds effect deeply linked with broadcasting and states: "It would be a great mistake to think of them as anologous to punctuation marks and accents in print. They should never be inserted into a programme already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of equal value with speech and music." It lists six "totally different primary genres of Sound Effect":

• The Realistic, Confirmatory Effect
• The Realistic, Evocative Effect
• The Symbolic, Evocative Effect
• The Conventionalised Effect
• The Impressionistic Effect
• Music as an Effect

According to the author, the key to Sound Effects is that "It is axiomatic that every Sound Effect, to whatever category it belongs, must register in the listener's mind instantaneously. If it fails to do so its presence could not be justified."^[1]

Film[link]

In the context of motion pictures and television, sound effects refers to an entire hierarchy of sound elements, whose production encompasses many different disciplines, including:

• Hard sound effects are common sounds that appear on screen, such as door slams, weapons firing, and cars driving by.
• Background (or BG) sound effects are sounds that do not explicitly synchronize with the picture, but indicate setting to the audience, such as forest sounds, the buzzing of fluorescent lights, and car interiors. The sound of people talking in the background is also considered a "BG," but only if the speaker is unintelligible and the language is unrecognizable (this is known as walla). These background noises are also called ambience or atmos ("atmosphere").
• Foley sound effects are sounds that synchronize on screen, and require the expertise of a Foley artist to record properly. Footsteps, the movement of hand props (e.g., a tea cup and saucer), and the rustling of cloth are common foley units.
• Design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a science fiction film, or are used in a musical fashion to create an emotional mood.

Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects (e.g. a "Car cutter" or "Guns cutter").

The process can be separated into two steps: the recording of the effects, and the processing. Sound effects are often custom recorded for each project, but to save time and money a recording may be taken from a library of stock sound effects (such as the famous Wilhelm scream). A sound effect library might contain every effect a producer requires, yet the timing and aesthetics of a tailor-made sound are often preferred.

Foley is another method of adding sound effects. Foley is more of a technique for creating sound effects than a type of sound effect, but it is often used for creating the incidental real world sounds that are very specific to what is going on onscreen, such as footsteps. With this technique the action onscreen is essentially recreated to try to match it as closely as possible. If done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded (location sound).

In the early days of film and radio, Foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime (while watching the picture). Today, with effects held in digital format, it is easy to create any required sequence to be played in any desired timeline.

Video games[link]

The principles involved with modern video game sound effects (since the introduction of sample playback) are essentially the same as those of motion pictures. Typically a game project requires two jobs to be completed: sounds must be recorded or selected from a library and a sound engine must be programmed so that those sounds can be incorporated into the game's interactive environment.

In earlier computers and video game systems, sound effects were typically produced using sound synthesis. In modern systems, the increases in storage capacity and playback quality has allowed sampled sound to be used. The modern systems also frequently utilize positional audio, often with hardware acceleration, and real-time audio post-processing, which can also be tied to the 3D graphics development. Based on the internal state of the game, multiple different calculations can be made. This will allow for, for example, realistic sound dampening, echoes and doppler effect.

Historically the simplicity of game environments reduced the required number of sounds needed, and thus only one or two people were directly responsible for the sound recording and design. As the video game business has grown and computer sound reproduction quality has increased, however, the team of sound designers dedicated to game projects has likewise grown and the demands placed on them may now approach those of mid-budget motion pictures.

Music[link]

Some pieces of music use sound effects that are made by a musical instrument or by other means. An early example is the 18th century Toy Symphony. Richard Wagner in the opera Das Rheingold (1869) lets a choir of anvils introduce the scene of the dwarfs who have to work in the mines, similar to the introduction of the dwarfs in the 1937 Disney movie Snow White. Klaus Doldingers soundtrack for the 1981 movie Das Boot includes a title score with a sonar sound to reflect the U-boat setting.

Recording[link]

The most realistic sound effects may originate from original sources; the closest sound to machine-gun fire that we can replay should be an original recording of actual machine guns.

However, real life and actual practice do not always coincide with theory. Often recordings of real life do not sound realistic on playback. That is why we have Foley and f/x. The realistic sound of bacon frying is the crumpling of cellophane. Rain may be recorded as salt falling on a piece of tinfoil.

Less realistic sound effects are digitally synthesized or sampled and sequenced (the same recording played repeatedly using a sequencer). When the producer or content creator demands high-fidelity sound effects, the sound editor usually must augment his available library with new sound effects recorded in the field.

When the required sound effect is of a small subject, such as scissors cutting, cloth ripping, or footsteps, the sound effect is best recorded in a studio, under controlled conditions. Such small sounds are often delegated to a foley artist and foley editor. Many sound effects cannot be recorded in a studio, such as explosions, gunfire, and automobile or aircraft maneuvers. These effects must be recorded by a sound effects editor or a professional sound effects recordist.

When such "big" sounds are required, the recordist will begin contacting professionals or technicians in the same way a producer may arrange a crew; if the recordist needs an explosion, he may contact a demolition company to see if any buildings are scheduled to be destroyed with explosives in the near future. If the recordist requires a volley of cannon fire, he may contact historical re-enactors or gun enthusiasts.

Depending on the effect, recordists may use several DAT, hard disk, or Nagra recorders and a large number of microphones. During a cannon- and musket-fire recording session for the 2003 film The Alamo, conducted by Jon Johnson and Charles Maynes, two to three DAT machines were used. One machine was stationed near the cannon itself, so it could record the actual firing. Another was stationed several hundred yards away, below the trajectory of the ball, to record the sound of the cannonball passing by. When the crew recorded musket-fire, a set of microphones were arrayed close to the target (in this case a swine carcass) to record the musket-ball impacts.

A counter-example is the common technique for recording an automobile. For recording "Onboard" car sounds (which include the car interiors), a three-microphone technique is common. Two microphones record the engine directly: one is taped to the underside of the hood, near the engine block. The second microphone is covered in a wind screen and tightly attached to the rear bumper, within an inch or so of the tail pipe. The third microphone, which is often a stereo microphone, is stationed inside the car to get the car interior.

Having all of these tracks at once gives a sound designer or audio engineer a great deal of control over how he wants the car to sound. In order to make the car more ominous or low, he can mix in more of the tailpipe recording; if he wants the car to sound like it is running full throttle, he can mix in more of the engine recording and reduce the interior perspective. In cartoons, a pencil being dragged down a washboard may be used to simulate the sound of a sputtering engine. What we would consider today to be the first recorded sound effect was of Big Ben striking 10:30, 10:45, and 11:00. It was recorded on a brown wax cylinder by technicians at Edison House in London. It was recorded July 16, 1890. This recording is currently in the public domain.

Processing effects[link]

As the car example demonstrates, the ability to make multiple simultaneous recordings of the same subject—through the use of several DAT or multitrack recorders—has made sound recording into a sophisticated craft. The sound effect can be shaped by the sound editor or sound designer, not just for realism, but for emotional effect.

Once the sound effects are recorded or captured, they are usually loaded into a computer integrated with an audio non-linear editing system. This allows a sound editor or sound designer to heavily manipulate a sound to meet his or her needs.

The most common sound design tool is the use of layering to create a new, interesting sound out of two or three old, average sounds. For example, the sound of a bullet impact into a pig carcass may be mixed with the sound of a melon being gouged to add to the "stickiness" or "gore" of the effect. If the effect is featured in a close-up, the designer may also add an "impact sweetener" from his or her library. The sweetener may simply be the sound of a hammer pounding hardwood, equalized so that only the low-end can be heard. The low end gives the three sounds together added weight, so that the audience actually "feels" the weight of the bullet hit the victim.

If the victim is the villain, and his death is climactic, the sound designer may add reverb to the impact, in order to enhance the dramatic beat. And then, as the victim falls over in slow motion, the sound editor may add the sound of a broom whooshing by a microphone, pitch-shifted down and time-expanded to further emphasize the death. If the film is science-fiction, the designer may phaser the "whoosh" to give it a more sci-fi feel. (For a list of many sound effects processes available to a sound designer, see the bottom of this article.)

Aesthetics[link]

When creating sound effects for films, sound recordists and editors do not generally concern themselves with the verisimilitude or accuracy of the sounds they present. The sound of a bullet entering a person from a close distance may sound nothing like the sound designed in the above example, but since very few people are aware of how such a thing actually sounds, the job of designing the effect is mainly an issue of creating a conjectural sound which feeds the audience's expectations while still suspending disbelief.

In the previous example, the phased 'whoosh' of the victim's fall has no analogue in real life experience, but it is emotionally immediate. If a sound editor uses such sounds in the context of emotional climax or a character's subjective experience, they can add to the drama of a situation in a way visuals simply cannot. If a visual effects artist were to do something similar to the 'whooshing fall' example, it would probably look ridiculous or at least excessively melodramatic.

The "Conjectural Sound" principle applies even to happenstance sounds, such as tires squealing, doorknobs turning or people walking. If the sound editor wants to communicate that a driver is in a hurry to leave, he will cut the sound of tires squealing when the car accelerates from a stop; even if the car is on a dirt road, the effect will work if the audience is dramatically engaged. If a character is afraid of someone on the other side of a door, the turning of the doorknob can take a second or more, and the mechanism of the knob can possess dozens of clicking parts. A skillful Foley artist can make someone walking calmly across the screen seem terrified simply by giving the actor a different gait.

Techniques[link]

In music and film/television production, typical effects used in recording and amplified performances are:

• echo - to simulate the effect of reverberation in a large hall or cavern, one or several delayed signals are added to the original signal. To be perceived as echo, the delay has to be of order 35 milliseconds or above. Short of actually playing a sound in the desired environment, the effect of echo can be implemented using either digital or analog methods. Analog echo effects are implemented using tape delays and/or spring reverbs. When large numbers of delayed signals are mixed over several seconds, the resulting sound has the effect of being presented in a large room, and it is more commonly called reverberation or reverb for short.
• flanger - to create an unusual sound, a delayed signal is added to the original signal with a continuously variable delay (usually smaller than 10 ms). This effect is now done electronically using DSP, but originally the effect was created by playing the same recording on two synchronized tape players, and then mixing the signals together. As long as the machines were synchronized, the mix would sound more-or-less normal, but if the operator placed his finger on the flange of one of the players (hence "flanger"), that machine would slow down and its signal would fall out-of-phase with its partner, producing a phasing effect. Once the operator took his finger off, the player would speed up until its tachometer was back in phase with the master, and as this happened, the phasing effect would appear to slide up the frequency spectrum. This phasing up-and-down the register can be performed rhythmically.
• phaser - another way of creating an unusual sound; the signal is split, a portion is filtered with an all-pass filter to produce a phase-shift, and then the unfiltered and filtered signals are mixed. The phaser effect was originally a simpler implementation of the flanger effect since delays were difficult to implement with analog equipment. Phasers are often used to give a "synthesized" or electronic effect to natural sounds, such as human speech. The voice of C-3PO from Star Wars was created by taking the actor's voice and treating it with a phaser.
• chorus - a delayed signal is added to the original signal with a constant delay. The delay has to be short in order not to be perceived as echo, but above 5 ms to be audible. If the delay is too short, it will destructively interfere with the un-delayed signal and create a flanging effect. Often, the delayed signals will be slightly pitch shifted to more realistically convey the effect of multiple voices.
• equalization - different frequency bands are attenuated or boosted to produce desired spectral characteristics. Moderate use of equalization (often abbreviated as "EQ") can be used to "fine-tune" the tone quality of a recording; extreme use of equalization, such as heavily cutting a certain frequency can create more unusual effects.
• filtering - Equalization is a form of filtering. In the general sense, frequency ranges can be emphasized or attenuated using low-pass, high-pass, band-pass or band-stop filters. Band-pass filtering of voice can simulate the effect of a telephone because telephones use band-pass filters.
• overdrive effects such as the use of a fuzz box can be used to produce distorted sounds, such as for imitating robotic voices or to simulate distorted radiotelephone traffic (e.g., the radio chatter between starfighter pilots in the science fiction film Star Wars). The most basic overdrive effect involves clipping the signal when its absolute value exceeds a certain threshold.
• pitch shift - similar to pitch correction, this effect shifts a signal up or down in pitch. For example, a signal may be shifted an octave up or down. This is usually applied to the entire signal, and not to each note separately. One application of pitch shifting is pitch correction. Here a musical signal is tuned to the correct pitch using digital signal processing techniques. This effect is ubiquitous in karaoke machines and is often used to assist pop singers who sing out of tune. It is also used intentionally for aesthetic effect in such pop songs as Cher's Believe and Madonna's Die Another Day.
• time stretching - the opposite of pitch shift, that is, the process of changing the speed of an audio signal without affecting its pitch.
• resonators - emphasize harmonic frequency content on specified frequencies.
• robotic voice effects are used to make an actor's voice sound like a synthesized human voice.
• synthesizer - generate artificially almost any sound by either imitating natural sounds or creating completely new sounds.
• modulation - to change the frequency or amplitude of a carrier signal in relation to a predefined signal. Ring modulation, also known as amplitude modulation, is an effect made famous by Doctor Who's Daleks and commonly used throughout sci-fi.
• compression - the reduction of the dynamic range of a sound to avoid unintentional fluctuation in the dynamics. Level compression is not to be confused with audio data compression, where the amount of data is reduced without affecting the amplitude of the sound it represents.
• 3D audio effects - place sounds outside the stereo basis
• reverse echo - a swelling effect created by reversing an audio signal and recording echo and/or delay whilst the signal runs in reverse. When played back forward the last echos are heard before the effected sound creating a rush like swell preceding and during playback.^[2]

See also[link]

• Audio signal processing
• Digital audio editor
• Guitar effects unit
• Sound card
• Comics vocabulary#Sound effects

References[link]

External links[link]

Wikimedia Commons has media related to: Sound effects

• How to make your own Foley sound effects
• The Guide to Sound Effects
• Multi Channel Surfing

Dr. Henry Walton "Indiana" Jones, Jr.^[12] is a fictional character and the protagonist of the Indiana Jones franchise. George Lucas and Steven Spielberg created the character in homage to the action heroes of 1930s film serials. The character first appeared in the 1981 film Raiders of the Lost Ark, to be followed by Indiana Jones and the Temple of Doom in 1984, Indiana Jones and the Last Crusade in 1989, The Young Indiana Jones Chronicles from 1992 to 1996, and Indiana Jones and the Kingdom of the Crystal Skull in 2008. Alongside the more widely known films and television programs, the character is also featured in novels, comics, video games, and other media. Jones is also featured in the theme park attraction Indiana Jones Adventure, which exists in similar forms at Disneyland and Tokyo DisneySea.

Jones is most famously played by Harrison Ford and has also been portrayed by River Phoenix (as the young Jones in The Last Crusade), and in the television series The Young Indiana Jones Chronicles by Corey Carrier, Sean Patrick Flanery, and George Hall. Doug Lee has supplied Jones's voice to two LucasArts video games, Indiana Jones and the Fate of Atlantis and Indiana Jones and the Infernal Machine, while David Esch supplied his voice to Indiana Jones and the Emperor's Tomb and John Armstrong in Indiana Jones and the Staff of Kings^[13].

Particularly notable facets of the character include his iconic look (bullwhip, fedora, and leather jacket), sense of humor, deep knowledge of many ancient civilizations and languages, and fear of snakes.

Indiana Jones remains one of cinema's most revered movie characters. In 2003, he was ranked as the second greatest movie hero of all time by the American Film Institute.^[14] He was also named the sixth greatest movie character by Empire magazine.^[15] Entertainment Weekly ranked Indy 2nd on their list of The All-Time Coolest Heroes in Pop Culture.^[16] Premiere magazine also placed Indy at number 7 on their list of The 100 Greatest Movie Characters of All Time.^[17] Since his first appearance in Raiders of the Lost Ark, he has become a worldwide star. On their list of the 100 Greatest Fictional Characters, Fandomania.com ranked Indy at number 10.^[18] In 2010, he ranked #2 on Time Magazine's list of the greatest fictional characters of all time, surpassed only by Sherlock Holmes.^{[citation needed]}

Appearances[link]

Indiana Jones is from Princeton, NJ and was first introduced in the 1981 film Raiders of the Lost Ark, set in 1936. The character is presented as an adventurer reminiscent of the 1930s film serial treasure hunters and pulp action heroes, whose research is funded by Marshall College (named after producer Frank Marshall)^[19] a fictional college in Connecticut, where he is a professor of archaeology. In this first adventure, he is pitted against the Nazis, traveling the world to prevent them from recovering the Ark of the Covenant (see also Biblical archaeology). He is aided by Marion Ravenwood and Sallah. The Nazis are led by Jones's archrival, a Nazi-sympathizing French archaeologist named René Belloq, and Arnold Toht, a sinister Gestapo agent.

The 1984 prequel, Indiana Jones and the Temple of Doom, set in 1935, took the character into a more horror-oriented story, skipping his legitimate teaching job and globe trotting, and taking place almost entirely in India. This time, Jones attempts to recover children and the Sankara stones from the bloodthirsty Thuggee cult. He is aided by Short Round and accompanied by Willie Scott (Kate Capshaw).

The third film, 1989's Indiana Jones and the Last Crusade, set in 1938, returned to the formula of the original, reintroducing characters such as Sallah and Marcus Brody, a scene from Professor Jones's classroom (he now teaches at Barnett College), the globe trotting element of multiple locations, and the return of the infamous Nazi mystics, this time trying to find the Holy Grail. The film's introduction, set in 1912, provided some back story to the character, specifically the origin of his fear of snakes, his use of a bullwhip, the scar on his chin, and his hat; the film's epilogue also reveals that "Indiana" is not Jones's first name, but a nickname he took from the family dog. The film was a buddy movie of sorts, teaming Jones with his father, often to comical effect. Although Lucas intended at the time to do five films, this ended up being the last for over eighteen years, as Lucas could not think of a good plot element to drive the next installment.^[20]

The 2008 film, Indiana Jones and the Kingdom of the Crystal Skull, became the latest film in the series. Set in 1957, 19 years after the third film, it pits an older, wiser Indiana Jones against Soviet agents bent on harnessing the power of a crystal skull associated with extraterrestrials discovered in South America by his former colleague Harold Oxley (John Hurt). He is aided in his adventure by an old lover, Marion Ravenwood (Karen Allen), and her son—a young greaser named Henry "Mutt" Williams (Shia LaBeouf), later revealed to be his biological child, Henry Jones III. There were rumors that LaBeouf will take over the Indy franchise.^[21] This film also reveals that Jones was recruited by the Office of Strategic Services (a predecessor department to the CIA) during World War II, attaining the rank of Colonel in the United States Army and running covert operations with MI6 agent George McHale on the Soviet Union.

Television[link]

From 1992 to 1996, George Lucas executive-produced a television series named The Young Indiana Jones Chronicles, which was designed as an educational program for children, spotlighting historical figures and important events, using the concept of a prequel to the films as a draw. The show featured a standard formula of a 93-year-old Jones (George Hall), wearing an eye patch, introducing a story, and then an adventure with either a 17-year-old Jones (Sean Patrick Flanery) or a 10-year-old Jones (Corey Carrier), and even a baby Indy (Neil "Boulie" Boulane). Historical figures featured on the show include Mustafa Kemal Atatürk, Leo Tolstoy, Pancho Villa, Charles de Gaulle, Mata Hari, Eliot Ness, Ernest Hemingway, Jiddu Krishnamurti, Patrick Pearse, Emperor Karl and Empress Zita of Austria-Hungary, Vladimir Lenin, T. E. Lawrence, Pablo Picasso, Igor Stravinsky, Winston Churchill, Herman Göring, Sigmund Freud, Theodore Roosevelt, Manfred von Richthofen, and John Ford, in such diverse locations as Egypt, India, China, and the whole of Europe.

One episode, "Young Indiana Jones and the Mystery of the Blues", is bookended by Harrison Ford, reprising his role as the character. Indiana loses one of his eyes sometime between 1957 and when the "Old Indy" segments take place.

The show provided some backstory for the films, as well as new information regarding the character. He was born July 1, 1899, and his middle name is Walton (Lucas's middle name). It is also mentioned that he had a sister called Suzie who died as an infant of fever, and that he eventually has a daughter and grandchildren who appear in some episode introductions and epilogues. His relationship with his father, first introduced in Indiana Jones and the Last Crusade, was further fleshed out with stories about his travels with his father as a young boy. A large portion of the series centered around his activities during World War I.

In 1999, Lucas removed the episode introductions and epilogues by George Hall for the VHS and DVD releases, as he re-edited the episodes into chronologically ordered feature-length stories. The series title was also changed to The Adventures of Young Indiana Jones.

Video games[link]

The character has appeared in several officially licensed games, including LEGO Indiana Jones video games, beginning with adaptations of Raiders of the Lost Ark, Temple of Doom, two adaptations of The Last Crusade (one with purely action mechanics, one with an adventure and puzzle based structure) and Indiana Jones' Greatest Adventures which included the storylines from all three of the original films.

Following this, the games branched off into original storylines with Indiana Jones in the Lost Kingdom, Indiana Jones and the Fate of Atlantis, Indiana Jones and the Infernal Machine, Indiana Jones and the Emperor's Tomb and Indiana Jones and the Staff of Kings.^[22] Emperor's Tomb sets up Jones's companion Wu Han and the search for Nurhaci's ashes seen at the beginning of Temple of Doom. The first two games were developed by Hal Barwood and starred Doug Lee as the voice of Indiana Jones; Emperor's Tomb had David Esch fill the role and Staff of Kings starred John Armstrong.

Indiana Jones and the Infernal Machine was the first Indy-based game presented in three dimensions, as opposed to 8-bit graphics and side-scrolling games before.

There is also a small game from Lucas Arts Indiana Jones and His Desktop Adventures. A video game was made for young Indy called Young Indiana Jones and the Instruments of Chaos, as well as a video game version of The Young Indiana Jones Chronicles.

Two Lego Indiana Jones games have also been released. Lego Indiana Jones: The Original Adventures was released in 2008^[23] and follows the plots of the first three films. It was followed by LEGO Indiana Jones 2: The Adventure Continues in late 2009. The sequel includes an abbreviated reprise of the first three films, but focuses on the plot of Indiana Jones and the Kingdom of the Crystal Skull.

Indiana Jones has also made cameo appearances as an unlockable character in the games Mercenaries: Playground of Destruction and Lego Star Wars: The Complete Saga.

Social gaming company Zynga introduced Indiana Jones to their "Adventure World" game in late 2011.^[24]

Theme parks[link]

Indiana Jones is featured at several Walt Disney theme park attractions. The Indiana Jones Adventure attractions at Disneyland and Tokyo DisneySea ("Temple of the Forbidden Eye" and "Temple of the Crystal Skull," respectively) place Indy at the forefront of two similar archaeological discoveries. These two temples each contain a wrathful deity who threatens the guests who ride through in World War II troop transports. The attractions, some of the most expensive of their kind at the time, opened in 1995 and 2001, respectively, with sole design credit attributed to Walt Disney Imagineering. Disney did not license Harrison Ford's likeness for the North American version; nevertheless, a differentiated Indiana Jones audio-animatronic character appears at three points in both attractions. However, the Indiana Jones featured in the DisneySea version does use Harrison Ford's likeness but uses Japanese audio for all of his speaking parts. In 2010, some of the Indy audio-animatronics at the Disneyland version have been replaced and now resemble Ford.^[25]

Disneyland Resort Paris also features an Indiana Jones-titled ride where people speed off through ancient ruins in a runaway mine wagon similar to that found in Indiana Jones and the Temple of Doom. Indiana Jones and the Temple of Peril is a looping roller coaster engineered by Intamin, designed by Walt Disney Imagineering, and opened in 1993.

The Indiana Jones Epic Stunt Spectacular! is a live show that has been presented in the Disney's Hollywood Studios theme park of the Walt Disney World Resort with few changes since the park's 1989 opening under a different name. The 25-minute show presents various stunts framed in the context of a feature film production, and recruits members of the audience to participate in the show. Stunt artists in the show re-create and ultimately reveal some of the secrets of the stunts of the Raiders of the Lost Ark films, including the well-known "running-from-the-boulder" scene. Stunt performer Anislav Varbanov was fatally injured in August 2009, while rehearsing the popular show.^[26] Also at Disney's Hollywood Studios, an audio-animatronic Indiana Jones appears in another attraction; during the The Great Movie Ride's Raiders of the Lost Ark segment.

Character description and formation[link]

In his role as a college professor of archaeology, Henry Jones Jr. is scholarly and learned in a tweed suit, lecturing on ancient civilizations. In Indiana Jones and the Kingdom of the Crystal Skull, it is revealed that Jones is influenced by the Marxist Archaeologist, Vere Gordon Childe, whose qualified acceptance of cultural diffusionism theory he propounds. Ironically, though Childe loathes fieldwork,^[27] Indy goes on to say, "If you want to be a good archaeologist, you gotta get out of the library." This is in tongue-in-cheek contrast to the previous film's comment, "Seventy percent of all archaeology is done in the library."

However, at the opportunity to recover important artifacts, Dr. Jones transforms into "Indiana," a "non-superhero superhero" image he has concocted for himself.^[28] Producer Frank Marshall said, "Indy [is] a fallible character. He makes mistakes and gets hurt. [...] That's the other thing people like: He's a real character, not a character with superpowers."^[29] Spielberg said there "was the willingness to allow our leading man to get hurt and to express his pain and to get his mad out and to take pratfalls and sometimes be the butt of his own jokes. I mean, Indiana Jones is not a perfect hero, and his imperfections, I think, make the audience feel that, with a little more exercise and a little more courage, they could be just like him."^[30] According to Spielberg biographer Douglas Brode, Indiana created his heroic figure so as to escape the dullness of teaching at a school. Both of Indiana's personas reject one another in philosophy, creating a duality.^[28] Harrison Ford said the fun of playing the character was because Indiana is both a romantic and a cynic,^[31] while scholars have analyzed Indiana as having traits of a lone wolf; a man on a quest; a noble treasure hunter; a hardboiled detective; a human superhero; and an American patriot.^[32]

Like many characters in his films, Jones has some autobiographical elements of Spielberg. Indiana lacks a proper father figure because of his strained relationship with his father, Henry Senior. His own contained anger is misdirected at the likes of Professor Abner Ravenwood, his mentor at the University of Chicago, leading to a strained relationship with Marion Ravenwood.^[28] The teenage Indiana bases his own look on a figure from the prologue of Indiana Jones and the Last Crusade, after being given his hat.^[33] Marcus Brody acts as Indiana's positive role model at the college.^[33] Indiana's own insecurities are made worse by the absence of his mother.^[34] In Indiana Jones and the Temple of Doom, the character becomes the father in a temporary family unit with Willie Scott and Short Round to survive. Indiana is rescued from the evil of Kali by Short Round's dedication. Indiana also saves many children from slavery.^[34]

Because of Indiana's strained relationship with his father, who was absent much of Indiana's youth searching for the Holy Grail, the character does not pursue the more spiritual aspects of the cultures he studies. Indiana uses his knowledge of Shiva to ultimately defeat Mola Ram.^[34] In Raiders, however, he is wise enough to close his eyes in the presence of God in the Ark of the Covenant. By contrast, his rival Rene Belloq dies horribly for having the audacity to try to communicate directly with God.^[28]

In Crusade's prologue, Indiana's intentions are revealed as prosocial, as he believes artifacts "belong in a museum." In the film's climax, Indiana undergoes "literal" tests of faith to retrieve the Grail and save his father's life. He also remembers Jesus as a historical figure – a humble carpenter – rather than an exalted figure when he recognizes the simple nature and tarnished appearance of the real Grail amongst a large assortment of much more ornately decorated ones. Henry Senior rescues his son from falling to his death when reaching for the fallen Grail, telling him to "let it go," overcoming his mercenary nature.^[33] The Young Indiana Jones Chronicles explains how Indiana becomes solitary and less idealistic after fighting in World War I.^[35] In Indiana Jones and the Kingdom of the Crystal Skull, Jones is older and wiser, whereas his sidekicks Mutt and Mac are youthfully arrogant and greedy, respectively.^[36]

Origins and inspirations[link]

Indiana Jones is modeled after the strong-jawed heroes of the matinée serials and pulp magazines that George Lucas and Steven Spielberg enjoyed in their childhoods (such as the Republic Pictures serials, and the Doc Savage series). Sir H. Rider Haggard's safari guide/big game hunter Allan Quatermain of King Solomon's Mines, who dates back to 1885, is a notable template for Jones.^[37] The two friends first discussed the project in Hawaii around the time of the release of the first Star Wars film.^[38] Spielberg told Lucas how he wanted his next project to be something fun, like perhaps a James Bond film. According to sources, Lucas responded to the effect that he had something "even better,"^[38] or that he "got that beat."^[39]

Two of the possible bases for "Indiana" Jones are Professor Challenger, created by Sir Arthur Conan Doyle in 1912 for his novel, The Lost World, who was in turn based on his Doyle physiology professor, Sir William Rutherford, an adventuring academic, albeit a zoologist/anthropologist.^{[citation needed]}

The character was originally named "Indiana Smith" (perhaps in a nod to the 1966 Western film Nevada Smith), after an Alaskan Malamute Lucas owned in the 1970s ("Indiana"); however, Spielberg disliked the name "Smith," and Lucas casually suggested "Jones" as an alternative based on the archaeologist Vendyl Jones.^[38]

Lucas has said on various occasions that Sean Connery's portrayal of British secret agent James Bond was one of the primary inspirations for Jones, a reason Connery was chosen for the role of Indiana's father in Indiana Jones and the Last Crusade.^[40][41]

Costume designer Deborah Nadoolman Landis said the inspiration for Indiana's outfit was Charlton Heston's Harry Steele in Secret of the Incas: "We did watch this film together as a crew several times, and I always thought it strange that the filmmakers did not credit it later as the inspiration for the series."^[42]

Historical Models[link]

Many people are said to be the real-life inspiration of the Indiana Jones character—although none of the following have been confirmed as inspirations by Lucas or Spielberg. There are some suggestions, listed here in alphabetical order by last name:

• Beloit College professor and paleontologist Roy Chapman Andrews.^[43]
• Italian archaeologist and circus strongman Giovanni Battista Belzoni (1778–1823).^[44]
• Yale University professor, historian, and explorer Hiram Bingham III, who rediscovered and excavated the lost city of Machu Picchu,^[45] and chronicled his find in the bestselling book The Lost City of the Incas in 1948.^[46]
• University of Chicago archaeologist Robert Braidwood.^[47]
• University of Chicago archaeologist James Henry Breasted.^[48]
• The British archaeologist Percy Fawcett, who spent much of his life exploring the jungles of northern Brazil, and who was last seen in 1925 returning to the Amazon Basin to look for the Lost City Of Z. A fictionalized version of Fawcett appears to Jones in the book Indiana Jones And The Seven Veils.^[7]
• British archaeologist and soldier T. E. Lawrence.^[49]
• The Northwestern University anthropologist, professor and adventurer William Montgomery McGovern.^[50]
• Frederick Albert Mitchell-Hedges.^[51]
• German archaeologist Otto Rahn.^[52]

Costume[link]

Upon requests by Spielberg and Lucas, the costume designer gave the character a distinctive silhouette through the styling of the hat; after examining many hats, the designers chose a tall-crowned, wide-brimmed fedora. As a documentary of Raiders pointed out, the hat served a practical purpose. Following the lead of the old "B"-movies that inspired the Indiana Jones series, the fedora hid the actor's face sufficiently to allow doubles to perform the more dangerous stunts seamlessly. Examples in Raiders include the wider-angle shot of Indy and Marion crashing a statue through a wall, and Indy sliding under a fast-moving vehicle from front to back. Thus it was necessary for the hat to stay in place much of the time.

The hat became so iconic that the filmmakers could only come up with very good reasons or jokes to remove it. If it ever fell off during a take, filming would have to stop to put it back on. In jest, Ford put a stapler against his head to stop his hat from falling off when a documentary crew visited during shooting of Indiana Jones and the Last Crusade. This created the urban legend that Ford stapled the hat to his head.^[53] Although other hats were also used throughout the movies, the general style and profile remained the same. Elements of the outfit include:

• The fedora was supplied by Herbert Johnson Hatters in England for the first three films. It was referred to as "The Australian Model" by costume designer Deborah Landis and was fitted with a Petersham bow.^[54] The fedora for Crystal Skull was made by Steve Delk and Marc Kitter of the Adventurebilt Hat Company of Columbus, Mississippi.
• The leather jacket, a hybrid of the "Type 440" and the A-2 jacket, was made by Leather Concessionaires (now known as Wested Leather Co.) for Raiders of the Lost Ark and Indiana Jones and the Last Crusade. For Indiana Jones and the Temple of Doom, jackets were made in-house at Bermans & Nathans in London based on a stunt jacket they provided for Raiders of the Lost Ark. Tony Nowak made the jacket for Indiana Jones and the Kingdom of the Crystal Skull.
• The bag was a modified Mark VII British gas mask bag, usually worn under the jacket with the exception of Crystal Skull where the bag was worn over the jacket.
• The whip was a 8 to 10 foot (2.4 to 3.0 m) bullwhip crafted by David Morgan for the first three films. The whips for Crystal Skull were crafted by a variety of people, including Terry Jacka, Joe Strain and Morgan (different lengths and styles were likely used in specific stunts).
• The pistol was usually a World War I-era revolver, including the Webley Government (Last Crusade and Crystal Skull), or a .45 ACP Smith & Wesson Hand Ejector 2nd model revolver (Raiders). He has also used an M1917 revolver (Temple of Doom), a Nagant M1895 (Young Indiana Jones), and a 9 mm Browning Hi-Power (Raiders).^[55] The weapon is carried in a military pattern flap holster.
• The shoes were made by Alden. A stock style (model 405) that had been a favorite of Ford's before the movies, they are still sold today (though in a redder (brick) shade of brown than seen in the movies) and are popularly known as "Indy Boots."^[56]

The fedora and leather jacket from Indiana Jones and the Last Crusade are on display at the Smithsonian's American History Museum in Washington, D.C.^[57] The collection of props and clothing from the films has become a thriving hobby for some aficionados of the franchise.^[58] Jones' whip was the third most popular film weapon, as shown by a 2008 poll held by 20th Century Fox, which surveyed approximately two thousand film fans.^[59]

Casting[link]

Originally, Spielberg suggested Harrison Ford; Lucas resisted the idea, since he had already cast the actor in American Graffiti, Star Wars, and The Empire Strikes Back, and did not want Ford to become known as his "Bobby De Niro" (in reference to the fact that fellow director Martin Scorsese regularly cast Robert De Niro in his films).^[38] During an intensive casting process, Lucas and Spielberg auditioned many actors, and finally cast then little-known actor Tom Selleck as Indiana Jones. Shortly afterward pre-production began in earnest on Raiders of the Lost Ark.^[38] However, CBS refused to release Selleck from his contractual commitment to Magnum, P.I. (which was gradually gaining momentum in the ratings), forcing him to turn down the role.^[38] One of CBS's concerns was that shooting for Magnum P.I. conflicted with shooting for Raiders, both of which were to begin about the same time. However, Selleck was to say later in an interview that shooting for Magnum P.I. was delayed and did not actually begin until shooting for Raiders had concluded.

After Spielberg suggested Ford again, Lucas gave in, and Ford was cast in the role less than three weeks before filming began.^[38]

Influence[link]

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Though some archaeologists criticize Indy's methods as befitting a "looter" rather more than a careful worker of precious sites, many have adopted the popular figure as something of a standard-bearer for their profession.^[60] The industry magazine Archaeology, believing that Jones, as one editor said, was "a horrible archaeologist but a great diplomat for archaeology,"^[60] named eight past and current archaeologists who they felt "embodied [Jones'] spirit" as recipients of the "Indy Spirit Awards" in 2008.^[61] That same year Ford himself was elected to the Board of Directors of the Archaeological Institute of America. Commenting that "understanding the past can only help us in dealing with the present and the future," Ford was praised by the association's president for his character's "significant role in stimulating the public's interest in archaeological exploration."^[62]

While himself a homage to various prior adventurers, aspects of Indiana Jones also directly influenced some subsequent characterizations:

• Lara Croft, the female archaeologist of the Tomb Raider series, was originally designed as a man, but was changed to a woman, partly because the developers felt that the original design was too similar to Indiana Jones.^[63] Paramount Pictures, which distributed the Indiana Jones film series, would later make two films based on the Tomb Raider games.
• Prince of Persia producer Ben Mattes explained that their "inspiration was anything Harrison Ford has ever done: Indiana Jones, Han Solo."^[64]
• The video game series Uncharted is also very heavily influenced and inspired by Indiana Jones. The main character, Nathan Drake, also shares many similarities with Indiana Jones himself, both visually and personality-wise. The design team felt the sources shared themes of mystery and "what-if scenarios" that romanticized adventure and aimed to include those in Uncharted.^[65]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Indiana Jones

• IndianaJones.com – the official Indiana Jones site
• Indiana Jones at the Internet Movie Database
• The Indiana Jones Wiki – A wiki devoted to Indiana Jones