Thuggee

Group of thugs ca. 1894
Founded	before 1356
Named after	Hindi word for thief
Founding location	Central India
Years active	~450 years
Territory	India
Ethnicity	Indian
Criminal activities	Murder, robbery

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Thuggee (Hindi: ठग्गी or ṭhagī; Urdu: ٹھگ; Sanskrit: sthaga), also known as tuggee or simply thugs, was a religious cult and an organized gang of professional assassins who traveled in groups across India for several hundred years. They were first mentioned in the Ẓiyāʾ-ud-Dīn Baranī (English: History of Fīrūz Shāh) dated around 1356.^[1] In the 1830s they were targeted by William Bentinck, along with his chief captain William Henry Sleeman, for eradication. They were seemingly destroyed by this effort.^[2]

The Thuggee would join travellers and gain their confidence. This would allow them to then surprise and strangle them by tossing a handkerchief or noose around their necks. The killings were performed in honour of the goddess Kali and were very ritualistic.^[2] They would then rob the bodies of valuables and bury them. This led them to also be called Phansigar (English: utilizing a noose) a term more commonly used in southern India.^[3]

The term Thuggee is derived from Hindi word ठग, or ṭhag, which means thief. Related words are the verb thugna, to deceive, from Sanskrit स्थग sthaga meaning cunning, sly, fraudulent, dishonest, scoundrel, from स्थगति sthagati (English: he conceals).^[4] This term for a particular kind of murder and robbery of travellers is popular in South Asia and particularly in India.

History[link]

Origin and recruitment[link]

The earliest recorded mention of the Thugs as a special band or fraternity, rather than as ordinary thieves, is found in the following passage of Ziau-d din Barni's History of Firoz Shah (written about 1356):

In the reign of that sultan (about 1290), some Thugs were taken in Delhi, and a man belonging to that fraternity was the means of about a thousand being captured. But not one of these did the sultan have killed. He gave orders for them to be put into boats and to be conveyed into the lower country, to the neighbourhood of Lakhnauti, where they were to be set free. The Thugs would thus have to dwell about Lakhnauti and would not trouble the neighbourhood of Delhi any more." (Sir HM Elliot's History of India, iii. 141).

Membership was sometimes passed from father to son, in what would now be termed a criminal underclass. The leaders of long-established Thug groups tended to come from these hereditary lines, as the gang developed into a criminal 'tribe'. Other men would get to know a Thug band and would hope to be recruited, in the way that one might aspire to join an elite regiment or university: they were the best operators in "the business" and, like a regiment or college fraternity, once in the group, there was a camaraderie of numbers and shared experience. The robbery became less a question of solving problems of poverty and more a profession, like soldiering.

Sometimes the young children of the travellers would be spared and groomed to become Thugs themselves, as the presence of children would help allay suspicion. A fourth way of becoming a Thug was by training with a guru, similar to an apprenticeship for a guild or profession, during which the candidate could be assessed for reliability, courage, discretion and discipline.^[5]

Magnitude of the problem[link]

This unreferenced section requires citations to ensure verifiability.

Estimates of the total number of victims vary widely, depending on the author's idea of the length of existence of the Thugs (for which there are no reliable sources). According to the Guinness Book of Records the Thuggee cult was responsible for approximately 2,000,000 deaths, while British historian Mike Dash estimates that they killed 50,000 persons in total, based on his assumption that they only started to exist 150 years before their eradication in the 1830s.

Yearly figures for the early 19th century are better documented, but even they are inaccurate estimates. For example, gang leader Behram has often been considered the world's most prolific serial killer, blamed for 931 killings between 1790 and 1830. Reference to contemporary manuscript sources, however, shows that Behram actually gave inconsistent statements regarding the number of murders he had committed. While he did state that he had "been present at" 931 killings committed by his gang of 25 to 50 men, elsewhere he admitted that he had personally strangled "only" around 125 people. Having turned King's Evidence and agreed to inform on his former companions, furthermore, Behram never stood trial for any of the killings attributed to him, the total of which must thus remain a matter of dispute.^[6]

Suppression[link]

The Thuggee cult was suppressed by the British rulers of India in the 1830s.^[5] The arrival of the British and their development of a methodology to tackle crime meant the techniques of the Thugs had met their match. Suddenly, the mysterious disappearances were mysteries no longer and it became clear how even large caravans could be infiltrated by apparently small groups, that were in fact acting in concert. Once the techniques were known to all travellers, the element of surprise was gone and the attacks became botched, until the hunters became the hunted.

Civil servant William Henry Sleeman, superintendent, 'Thuggee and Dacoity Dept.' in 1835, and later its Commissioner in 1839.

Reasons for success included:

• the dissemination of reports regarding Thuggee developments across territorial borders, so that each administrator was made aware of new techniques as soon as they were put in practice, so that travellers could be warned and advised on possible counter-measures.
• the use of King's evidence programmes gave an incentive for gang members to inform on their peers to save their own lives. This undermined the code of silence that protected members.
• at a time when, even in Britain, policing was in its infancy, the British set up a dedicated police force, the Thuggee Department, and special tribunals that prevented local influence from affecting criminal proceedings.
• the police force applied the new detective methodologies to record the locations of attacks, the time of day or circumstances of the attack, the size of group, the approach to the victims and the behaviours after the attacks. In this way, a single informant, belonging to one gang in one region, might yield details that would be applicable to most, or all, gangs in a region or indeed across all India.

The initiative of suppression was due largely to the efforts of the civil servant William Sleeman, who captured "Feringhea" (also called Syeed Amir Ali, on whom the novel Confessions of a Thug is based) and got him to turn King's evidence. He took Sleeman to a grave with a hundred bodies, told him the circumstances of the killings, and named the Thugs who had done it.^[7] After initial investigations confirmed what Feringhea had said, Sleeman started an extensive campaign involving profiling and intelligence. A police organisation known as the 'Thuggee and Dacoity Department' was established within the Government of India, with William Sleeman appointed Superintendent of the department in 1835. Thousands of men were either put in prison, executed, or expelled from British India.^[5] The campaign was heavily based on informants recruited from captured Thugs who were offered protection on the condition that they told everything that they knew. By the 1870s, the Thug cult was extinct, but it led to the promulgation of the Criminal Tribes Act of 1871. Although it was repealed upon independence of India, the concept of 'criminal tribes' and 'criminal castes' is still prevalent in India.^[8][9] The Department remained in existence until 1904, when it was replaced by the Central Criminal Intelligence Department (CID).

Possible misinterpretation by the British and skepticism about existence[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)

In her book The Strangled Traveler: Colonial Imaginings and the Thugs of India (2002), Martine van Woerkens suggests that evidence for the existence of a Thuggee cult in the 19th century was in part the product of "colonial imaginings" — British fear of the little-known interior of India and limited understanding of the religious and social practices of its inhabitants. For a comparison, see Juggernaut and the Black Hole of Calcutta.

Krishna Dutta, while reviewing Mike Dash's Thug: the true story of India's murderous cult in The Independent, argues:^[10]

"In recent years, the revisionist view that thuggee was a British invention, a means to tighten their hold in the country, has been given credence in India, France and the US, but this well-researched book objectively questions that assertion."

In his book, Dash rejects scepticism about the existence of a secret network of groups with a modus operandi that was different from highwaymen, such as dacoits. To prove his point Dash refers to the excavated corpses in graves, of which the hidden locations were revealed to Sleeman's team by Thug informants. In addition, Dash treats the extensive and thorough documentation that Sleeman made. Dash rejects the colonial emphasis on the religious motivation for robbing, but instead asserts that monetary gain was the main motivation for Thuggee and that men sometimes became Thugs due to extreme poverty. He further asserts that the Thugs were highly superstitious and that they worshipped the Hindu goddess Kali, but that their faith was not very different from their contemporary non-Thugs. He admits, though, that the Thugs had certain group-specific superstitions and rituals.

Aftermath[link]

The discovery of the Thuggee was one of the main reason why the Criminal Tribes Act was created. Of a Government Report made in 1839 by Major Sleeman of the Indian Service, Mark Twain wrote:^[7]

There is one very striking thing which I wish to call attention to. You have surmised from the listed callings followed by the victims of the Thugs that nobody could travel the Indian roads unprotected and live to get through; that the Thugs respected no quality, no vocation, no religion, nobody; that they killed every unarmed man that came in their way. That is wholly true—with one reservation. In all the long file of Thug confessions an English traveller is mentioned but once—and this is what the Thug says of the circumstance:

"He was on his way from Mhow to Bombay. We studiously avoided him. He proceeded next morning with a number of travellers who had sought his protection, and they took the road to Baroda."

We do not know who he was; he flits across the page of this rusty old book and disappears in the obscurity beyond; but he is an impressive figure, moving through that valley of death serene and unafraid, clothed in the might of the English name.

We have now followed the big official book through, and we understand what Thuggee was, what a bloody terror it was, what a desolating scourge it was. In 1830 the English found this cancerous organization embedded in the vitals of the empire, doing its devastating work in secrecy, and assisted, protected, sheltered, and hidden by innumerable confederates —big and little native chiefs, customs officers, village officials, and native police, all ready to lie for it, and the mass of the people, through fear, persistently pretending to know nothing about its doings; and this condition of things had existed for generations, and was formidable with the sanctions of age and old custom. If ever there was an unpromising task, if ever there was a hopeless task in the world, surely it was offered here—the task of conquering Thuggee. But that little handful of English officials in India set their sturdy and confident grip upon it, and ripped it out, root and branch! How modest do Captain Vallancey's words sound now, when we read them again, knowing what we know:

"The day that sees this far-spread evil completely eradicated from India, and known only in name, will greatly tend to immortalize British rule in the East."

It would be hard to word a claim more modestly than that for this most noble work.

—Chapter xlvi, conclusion.

The practice[link]

Thuggee is described as a cult of people engaged in mass murder. The modus operandi was to join a caravan and become accepted as bona-fide travellers themselves. The Thugs would need to delay any attack until their fellow travellers had dropped the initial wariness of the newcomers and had been lulled into a false sense of security, gaining their trust. Once the travellers had allowed the Thugs to join them and disperse amongst them - a task which might sometimes, depending on the size of the target group, require accompaniment for hundreds of miles - the Thugs would wait for a suitable place and time before killing and robbing them.

There were obviously variations on this theme. When tackling a large group, a Thuggee band might disperse along a route and join a group in stages, concealing their acquaintanceship, such that they could come to outnumber their intended victims by small, non-threatening increments. If the travellers had doubts about any one party, they might confide their worries to another party of the same Thuggee band. The trusted band would thus be the best placed to deal with these members of the caravan at the appropriate time, but might also be able to advise their colleagues to 'back off' or otherwise modify their behavior, to allay suspicion.

The killing place would need to be remote from local observers and suitable to prevent escape (e.g., backed against a river). Thugs tended to develop favored places of execution, called beles. They knew the geography of these places well—better than their victims. They needed to, if they were to anticipate the likely escape routes and hiding-places of the quicker-witted and more determined of the travellers.

The timing might be at night or during a rest-break, when the travellers would be busy with chores and when the background cries and noise would mask any sounds of alarm. A quick and quiet method, which left no stains and required no special weapons, was strangulation. This method is particularly associated with Thuggee and led to the Thugs also being referred to as the Phansigars, or "noose-operators", and simply as "stranglers" by British troops. Usually two or three Thugs would strangle one traveller. The Thugs would then need to dispose of the bodies: they might bury them or might throw them into a nearby well.^[5]

The leader of a gang was called the 'jemadar': this is an ordinary Indian word and is now used as the rank of an Army officer (Lieutenant), who would command a similar number of men to a Thuggee gang-leader. An English equivalent term might be 'the Boss' or 'the Guv'nor' (Governor).

As with modern criminal gangs, each member of the group had his own function: the equivalent of the 'hit-man,' 'the lookout,' and the 'getaway driver' would be those Thugs tasked with luring travelers with charming words or acting as guardian to prevent escape of victims while the killing took place.

They usually killed their victims in darkness while the Thugs made music or noise to escape discovery. If burying bodies close to a well-travelled trade-route, they would need to disguise the 'earthworks' of their graveyard as a camp-site, tamping down the covering mounds and leaving some items of rubbish or remnants of a fire to 'explain' the disturbances and obscure the burials.

One reason given for the Thuggee success in avoiding detection and capture so often and over such long periods of time is a self-discipline and restraint in avoiding groups of travellers on shorter journeys, even if they seemed laden with suitable plunder. Choosing only travellers far from home gave more time until the alarm was raised and the distance made it less likely that colleagues would follow on to investigate the disappearances. Another reason given is the high degree of teamwork and co-ordination both during the infiltration phase and at the moment of attack. This was a sophisticated criminal elite that knew its business well and approached each 'operation' like a military mission.

Use of garotte[link]

The garotte is often depicted as the common weapon of the Thuggee.^[11][12] It is sometimes described as a Rumāl (head covering or kerchief), or translated as "yellow scarf". "Yellow" in this case may refer to a natural cream or khaki colour rather than bright yellow. Most Indian males in Central India or Hindustan would have a puggaree or head-scarf, worn either as a turban or worn around a kullah and draped to protect the back of the neck. Types of scarves were also worn as cummerbunds, in place of a belt. Any of these items could have served as strangling ligatures.

Religion and Thuggee[link]

Colour lithograph of Kali

Thuggee groups might be Muslim, Hindu or sometimes Sikh.^[13][14] The patron deity of the Thuggee was the Hindu Goddess Kali (or Durga), whom they often called Bhavani^[15] or Bhowanee.^[16] Many Thuggees worshipped Kali but most supporters of Kali did not practise Thuggee.

The majority of Hindu followers only seem to be related during the early periods of development through their religious creed and staunch worship of Kali, one of the Hindu Tantric Goddesses. At a time of political unrest, with changes from Hindu Rajput rulers to Muslim Moghul emperors and viceroys, and possibly back again, a wise group would display allegiance to both creeds, but its ultimate loyalty was probably only to itself.

"There seem to have been very few Sikh Thugs. But Sahib Khan, the Deccan strangler, 'knew Ram Sing Siek: he was a noted Thug leader - a very shrewd man,' who also served with the Pindaris for a while and was responsible for the assassination of the notorious Pindari leader Sheikh Dulloo."^[17]

Thuggee viewpoint[link]

Thuggee trace their origin to the battle of Kali against Raktabija; however, their foundation myth departs from Brahminical versions of the Puranas. Thuggee consider themselves to be children of Kali, created out of her sweat. This is similar to the way Kali was created from aggression and willingness to fight for Durga.^[18]

According to some sources, especially old colonial sources, Thuggee believe they have a positive role, saving humans' lives. Without Thuggee's sacred service, Kali might destroy all the human kind:

• "It is God who kills, but Bhowanee has name for it."
• "God is all in all, for good and evil."
• "God has appointed blood for her (Bhowanee) food, saying 'khoon tu kao', feed thou upon blood. In my opinion it is very bad, but what she can do, being ordered to subsist upon blood!"
• "Bhowanee is happy and more so in proportion to the blood that is shed."^[16]

In contrast, Dash states that they did not have a religious motive to kill and that the colonial sources were wrong and prejudiced in that respect.

In popular culture[link]

• The story of Thuggee was popularised by books such as Philip Meadows Taylor's novel Confessions of a Thug, 1839, leading to the word "thug" entering the English language. Ameer Ali, the protagonist of Confessions of a Thug was said to be based on a real Thug called Syeed Amir Ali.
• Italian novelist Emilio Salgari has the protagonist fight the rising Thuggee cult in The Mystery of the Black Jungle (1887/1895).
• John Masters' novel The Deceivers also deals with the subject.
• A more recent book is George Bruce's The Stranglers: The cult of Thuggee and its overthrow in British India (1968).
• Dan Simmons's Song of Kali, 1985, features a Thuggee cult.
• The 19th century American writer Mark Twain discusses the Thuggee fairly extensively in chapters 9 and 10 of "Following the Equator: Volume II", 1897, THE ECCO PRESS, ISBN 0-88001-519-5.
• Christopher Moore's novel, Lamb: The Gospel According to Biff, Christ's Childhood Pal, describes a Thuggee ritual.
• George Macdonald Fraser's novel Flashman in the Great Game (1975) makes references to the "cult" of Thuggee, while the phrase: "pass the tobacco" is used as a verbal signal for the killing to begin.
• The DC Comics character Ravan is a Thuggee assassin who kills to delay the return of Kali. He is the enemy of Kobra who seeks to bring about her return.
• The two most popular depictions of the cult in film are the 1939 film, Gunga Din, and the 1984 film, Indiana Jones and the Temple of Doom. The Indiana Jones movie is notable for Amrish Puri's villain, who is shown chanting lines such as "maaro maaro sooar ko, chamdi nocho pee lo khoon" - literally "Kill, Kill the pig, flay his skin, drink his blood". Temple of Doom was temporarily banned in India for an allegedly racist portrayal of Indians. Both films have the heroes fighting secret revivals of the cult to prevent them from resuming their reigns of terror, although Temple of Doom included features that were never part of the Thuggee, such as removal of the heart during a ritual.
• In the 1956 film Around the World in Eighty Days, starring David Niven, Passepartout (played by Cantinflas) rescues a princess captured by the Thuggee and sentenced to burn to death in the funeral pyre with her deceased husband. (In the original Jules Verne novel, Thuggee are mentioned only briefly, and not directly in connection with this princess.)^[19]
• The 1968 Bollywood film Sangharsh, based on a story by Jnanpith Award winner, Mahasweta Devi, presented a fictionalised account of vendetta within a Thuggee cult in the holy Indian town of Varanasi.
• The 1988 film version of The Deceivers (film), produced by Ismail Merchant and starring Pierce Brosnan, is a fictionalised account of the initial discovery and infiltration of the Thuggee sect by an imperial British administrator.
• In an episode of Highlander: The Series, "The Wrath of Kali", Duncan MacLeod deals with immortal Kamir (played by Indian actor Kabir Bedi), last of the Thuggee.
• In Suzanne Enoch's historical romance novel A Lady's Guide to Improper Behavior, the protagonist is the sole survivor of a Thuggee massacre. He attempts to restore both his reputation and those of the men who died under his command against the self-serving libel of the East India Company.
• In Glen Cook's Black Company series, the Thuggee play a significant role in two books: Shadow Games and Dreams of Steel.

See also[link]

• Highwayman

References[link]

Bibliography[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Dash, Mike Thug: the true story of India's murderous cult ISBN 1-86207-604-9, 2005
• Dutta, Krishna (2005) The sacred slaughterers. Book review of Thug: the true story of India's murderous cult by Mike Dash. In The Independent (Published: 8 July 2005) text
• Guidolin, Monica "Gli strangolatori di Kali. Il culto thag tra immaginario e realtà storica", Aurelia Edizioni, 2012, isbn: 978-88-89763-50-6.
• Paton, James 'Collections on Thuggee and Dacoitee', British Library Add. Mss. 41300
• Woerkens, Martine van The Strangled Traveler: Colonial Imaginings and the Thugs of India (2002),

External links[link]

• Acting in the "Theatre of Anarchy": 'The Anti-Thug Campaign' and Elaborations of Colonial Rule in Early-Nineteenth Century India by Tom Lloyd (2006) in PDF file format
• Parama Roy: Discovering India, Imagining Thuggee. In: idem, Indian Traffic. Identities in Question in Colonial and Postcolonial India. University of California Press 1998. (in html format)

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

Michael Hardt

Michael Hardt speaking at the Seminário Internacional Mundo. 2008
Born	1960 Washington, D.C.
Era	20th-century philosophy
Region	Western Philosophy
School	Continental philosophy, Autonomist thought, Queer theory
Main interests	Political philosophy, literature
Influenced by Antonio Negri

Michael Hardt at Subversive Film Festival

Michael Hardt (born 1960)^[1] is an American literary theorist and political philosopher perhaps best known for Empire, written with Antonio Negri and published in 2000.^[2] It has been praised as the "Communist Manifesto of the 21st Century."^[3]

Hardt and his co-author suggest that what they view as forces of contemporary class oppression, globalization and the commodification of services (or production of affects), have the potential to spark social change of unprecedented dimensions. A sequel, Multitude: War and Democracy in the Age of Empire, published in August 2004, details the notion, first propounded in Empire, of the multitude as possible locus of a democratic movement of global proportions.

The third and final part of the trilogy, Commonwealth, appeared in the Fall of 2009.