The Awakening (1980)

Many critics and readers of The Awakening (1980)'s source Bram Stoker novel "The Jewel of Seven Stars" commented on the book's gruesome finale. According to Wikipedia, "When republished in 1904...the original ending was retained, but when Stoker attempted to republish it once more, shortly before his death in 1912, he was told that he would have to change the ending. As a result, Stoker removed Chapter XVI "Powers - Old and New" and gave the book a new, happier ending. For many years the original ending was unavailable to most readers. The 2008 Penguin Classics edition of 'The Jewel of Seven Stars'...restored the original text, including the original ending and Chapter XVI, and included the second, happier ending as an appendix".

The Awakening (1980)

There was only about a six day break for Charlton Heston between the start of shooting this movie, and the end of filming on Heston's previous picture The Mountain Men (1980). That's six days between Heston having a red beard, wearing buckskins in an 1830s American Wyoming setting, and a contemporary setting, in an academic gown at London University, lecturing on archaeology.

One of several supernatural films featuring Egypt and/or Archaeology released during the early 1980s. The movies include Sphinx (1981), The Awakening (1980), Dawn of the Mummy (1981), Raiders of the Lost Ark (1981) and The Curse of King Tut's Tomb (1980).

One of two 1980 movies shot by veteran British cinematographer Jack Cardiff in 1980, the other was The Dogs of War (1980). The following year D.O.P. Cardiff would lens another horror movie, Ghost Story (1981).

The awakening of interest in ancient civilisations in recent centuries has resulted in the accumulation by museums of a vast range of ancient artefacts I both in storage and on display. Many of these items, which have remained intact for millenia, buried underground or sealed in subterranean chambers, are deteriorating rapidly after only a matter of years since their discovery. In too many instances, unique examples of long-dead crafts and cultures have been lost to mankind, and with the passage of time the situation, if left unchanged, can only worsen. The problems facing those intent on preserving our heritage are manifold - problems of funding, environment and space. Since to gain funds the artefacts must be displayed to the public, they are inevitably concentrated in the centres of population. Here they face the greatest risks from pollution and vibration, and space is at premium. To display the artefacts to the public risks theft and vandalism, and even more, handling by the most innocent of visitor will, in time, ruin even robust specimens. Even when removed from public access, normal climatic variations in temperature, humidity and illumination take their toll. To complete the depressing picture, the effects of earthquakes and other natural disasters, and the threat of war in many parts of the world must all be considered. The solution of these problems is simply stated - isolation of the artefacts from the impacts of all these effects. In practice though, the solution is far from simple using the conventional approach. The setting up of artificial environments in existing museums involves installation and continual operation of costly air conditioning schemes, and extensive modifications. Resiting museums away from cities is both unattractive and inconvenient, and construction of new, purpose- built museums, with all the requisite environmental and security safeguards is often out of the question when the cost of new city sites is included, even given that such sites are available.

Circannual observations of captive American Robins under natural illumination revealed that the birds awakened earlier (relative to sunrise) and showed roosttime restlessness and retired later (relative to sunset) during the summer than during the winter. These effects suggest that the illumination levels coinciding with awakening, retiring, and roosttime restlessness are respectively lower during the breeding season than at other times of year. 041b061a72