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Indiana Jones and the Temple of Doom
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Indiana Jones and the Temple of Doom
Theatrical release poster by Drew Struzan
Directed by
Steven Spielberg
Produced by
Robert Watts
Screenplay by
Willard Huyck
Gloria Katz
Story by
George Lucas
Starring
Harrison Ford
Kate Capshaw
Amrish Puri
Roshan Seth
Philip Stone
Jonathan Ke Quan
Music by
John Williams
Cinematography
Douglas Slocombe
Edited by
Michael Kahn
Production
company
Lucasfilm Ltd.
Distributed by
Paramount Pictures
Release date
May 8, 1984 (1984-05-08) (Westwood)
May 23, 1984 (1984-05-23) (United States)
Running time
118 minutes[1]
Country
United States
Language
English
Sinhala
Hindi
Budget
$28.2 million[2]
Box office
$333.1 million
Indiana Jones and the Temple of Doom is a 1984 American action-adventure film directed by Steven Spielberg. It is the second installment in the Indiana Jones franchise and a prequel to the 1981 film Raiders of the Lost Ark, featuring Harrison Ford reprising his role as the title character. After arriving in North India, Indiana Jones is asked by desperate villagers to find a mystical stone and rescue their children from a Thuggee cult practicing child slavery, black magic and ritual human sacrifice in honor of the goddess Kali.
Executive producer and co-writer George Lucas decided to make the film a prequel as he did not want the Nazis to be the villains again. After three rejected plot devices, Lucas wrote a film treatment that resembled the film's final storyline. Lawrence Kasdan, Lucas's collaborator on Raiders of the Lost Ark, turned down the offer to write the script, and Willard Huyck and Gloria Katz were hired as his replacements, with the screenplay partly based upon the 1939 film Gunga Din.[3]
The film was released to financial success, but initial reviews were mixed, which criticized its violence, later contributing to the creation of the PG-13 rating.[4] However, critical opinion has improved since 1984, citing the film's intensity and imagination. Some of the film's cast and crew, including Spielberg, retrospectively view the film in a negative light, partly due to the film being the darkest and most overtly violent Indiana Jones film.[2] The film has also been the subject of controversy due to its portrayal of India and Hinduism.[5][6][7]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Editing
4 Release
4.1 Box office
4.2 Promotion
5 Reception
5.1 Critical response
5.2 Awards
5.3 Controversy
6 See also
7 References
8 External links
Plot[edit]
In 1935, Indiana Jones narrowly escapes the clutches of Lao Che, a crime boss in Shanghai, China. With his 11-year-old Chinese sidekick Short Round and the nightclub singer Willie Scott in tow, Indy flees Shanghai on an airplane that, unknown to them, is owned by Lao. While the three of them sleep on the plane, the pilots parachute out, and they leave the plane to crash over the Himalayas while dumping its fuel. Indy, Shorty, and Willie discover this and narrowly manage to escape by jumping out of the plane on an inflatable raft, and then riding down the slopes into a raging river. They come to Mayapore, a fictional village in northern India, where the poor villagers believe them to have been sent by Shiva to retrieve the sacred sivalinga stone stolen from their shrine, as well as the community's children, from evil forces in the nearby Pankot Palace. During the journey to Pankot, Indy hypothesizes that the stone may be one of the five fabled Sankara stones that promise fortune and glory.
The trio receive a warm welcome from the Prime Minister of Pankot Palace, Chattar Lal. The visitors are allowed to stay the night as guests, during which they attend a lavish but grotesque banquet given by the young Maharaja, Zalim Singh. Chattar Lal rebuffs Indy's questions about the villagers' claims and his theory that the ancient Thuggee cult is responsible for their troubles. Later that night, Indy is attacked by an assassin, leading Indy, Willie, and Shorty to believe that something is amiss. They discover a series of tunnels hidden behind a statue in Willie's room and set out to explore them, overcoming a number of booby-traps along the way.
The trio eventually reach an underground temple where the Thugs worship Kali with human sacrifice. They watch as the Thugs chain one of their victims in a cage and slowly lower him into a ceremonial fire pit, burning him alive. They discover that the Thugs, led by their high priest Mola Ram, are in possession of three of the five Sankara stones, and have enslaved the children to mine for the final two stones. As Indy tries to retrieve the stones, he, Willie, and Shorty are captured and separated. Indy is whipped and forced to drink a potion called the Blood of Kali, which places him in a trance-like state where he begins to mindlessly serve the Thugs. Willie, meanwhile, is kept as a human sacrifice, while Shorty is put to work in the mines alongside the enslaved children. Shorty breaks free and escapes back into the temple where he burns Indy with a torch, shocking him out of the trance. After defeating Chattar Lal, Indy stops Willie's cage and cranks it out of the pit just in time before it has a chance to enter the fire. They go back to the mines to free the children, but Indy is caught up in a fight with a hulking overseer. The Maharajah, who was also entranced, attempts to cripple Indy with a voodoo doll. Shorty spars with the Maharajah, ultimately burning him to snap him out of the trance. With his strength returned, Indy kills the overseer. The Maharajah then tells Shorty how to get out of the mines. While Mola Ram escapes, Indy and Shorty rescue Willie and retrieve the three Sankara stones, the village children escape.
After a mine cart chase to escape the temple, the trio emerge above ground and are again cornered by Mola Ram and his henchmen on a rope bridge high above a crocodile-infested river. Using a sword, Indy cuts the rope bridge in half, leaving everyone to hang on for their lives. Indy utters an incantation which causes the stones to glow red hot. Two of the stones fall into the river, while the last falls into Mola Ram's hand, burning his hand. Indy catches the now-cool stone, while Mola Ram falls into the river below and gets devoured by hungry crocodiles. The Thuggees then attempt to shoot Indy with arrows, until a company of British Indian Army riflemen, summoned by the Maharajah, arrive and open fire on the Thuggee archers. Indy, Willie, and Shorty return to the village with the children and give the missing stone back to the villagers.
Cast[edit]
See also: List of Indiana Jones characters
Harrison Ford as Dr. Henry "Indiana" Jones Jr.: An archaeologist adventurer who is asked by a desperate Indian village to retrieve a mysterious stone and rescue the missing village children. Ford undertook a strict physical exercise regimen headed by Jake Steinfeld to gain a more muscular tone for the part.[8]
Kate Capshaw as Wilhelmina "Willie" Scott: An American nightclub singer working in Shanghai. Willie is unprepared for her adventure with Indy and Short Round, and appears to be a damsel in distress. She also forms a romantic relationship with Indy. Over 120 actresses auditioned for the role, including Sharon Stone.[2][9] To prepare for the role, Capshaw watched The African Queen and A Guy Named Joe. Spielberg wanted Willie to be a complete contrast to Marion Ravenwood from Raiders of the Lost Ark, so Capshaw dyed her brown hair blonde for the part. Costume designer Anthony Powell wanted the character to have red hair.[3]
Amrish Puri as Mola Ram: A Thuggee priest who performs rituals of human sacrifices. The character is named after a 17th-century Indian painter. Lucas wanted Mola Ram to be terrifying, so the screenwriters added elements of Aztec and Hawaiian human sacrificers, and European devil worship to the character.[10] To create his headdress, make-up artist Tom Smith based the skull on a cow (as this would be sacrilegious), and used a latex shrunken head.[11]
Jonathan Ke Quan as Short Round: Indy's eleven-year-old Chinese sidekick, who drives the 1936 Auburn Boat Tail Speedster which allows Indy to escape during the opening sequence. Quan was chosen as part of a casting call in Los Angeles.[3] Around 6000 actors auditioned worldwide for the part: Quan was cast after his brother auditioned for the role. Spielberg liked his personality, so he and Ford improvised the scene where Short Round accuses Indy of cheating during a card game.[9] He was credited by his birthname, Ke Huy Quan.
Roshan Seth as Chattar Lal: The Prime Minister of the Maharaja of Pankot. Chattar, also a Thuggee worshiper, is enchanted by Indy, Willie and Short Round's arrival, but is offended by Indy's questioning of the palace's history and the archaeologist's own dubious past.
Philip Stone as Captain Philip Blumburtt: A British Indian Army Captain called to Pankot Palace for "exercises". Alongside a unit of his riflemen, Blumburtt assists Indy towards the end in fighting off Thuggee reinforcements.
Roy Chiao as Lao Che: A Shanghai crime boss who, with his sons, hires Indy to recover the cremated ashes of one of his ancestors, only to attempt to kill him and cheat him out of his fee, a large diamond.
David Yip as Wu Han: A friend of Indy. He is killed by one of Lao Che's sons while posing as a waiter at Club Obi Wan.
Raj Singh as Zalim Singh, the adolescent Maharajá of Pankot, who appears as an innocent puppet of the Thuggee faithful. In the end, he helps to defeat them.
D. R. Nanayakkara as Shaman: The leader of a small village that recruits Indy to retrieve their stolen sacred Shiva lingam stone.
Actor Pat Roach plays the Thuggee overseer in the mines. Spielberg, Lucas, Marshall, Kennedy, and Dan Aykroyd have cameos at the airport.[8]
Production[edit]
Development[edit]
When George Lucas first approached Steven Spielberg for Raiders of the Lost Ark, Spielberg recalled, "George said if I directed the first one then I would have to direct a trilogy. He had three stories in mind. It turned out George did not have three stories in mind and we had to make up subsequent stories."[12] Spielberg and Lucas attributed the film's tone, which was darker than Raiders of the Lost Ark, to their personal moods following the breakups of their relationships (George with his wife, and Spielberg with his girlfriend).[13] In addition, Lucas felt "it had to have been a dark film. The way Empire Strikes Back was the dark second act of the Star Wars trilogy."[3]
Lucas made the film a prequel as he did not want the Nazis to be the villains once more.[13] Spielberg originally wanted to bring Marion Ravenwood back,[12] with Abner Ravenwood being considered as a possible character.[3] Lucas created an opening chase scene that had Indiana Jones on a motorcycle on the Great Wall of China. In addition, Indiana discovered a "Lost World pastiche with a hidden valley inhabited by dinosaurs". Chinese authorities refused to allow filming,[8] and Lucas considered the Monkey King as the plot device.[13] Lucas wrote a film treatment that included a haunted castle in Scotland, but Spielberg felt it was too similar to Poltergeist. The haunted castle in Scotland slowly transformed into a demonic temple in India.[3]
Lucas came up with ideas that involved a religious cult devoted to child slavery, black magic and ritual human sacrifice. Lawrence Kasdan of Raiders of the Lost Ark was asked to write the script. "I didn't want to be associated with Temple of Doom," he reflected. "I just thought it was horrible. It's so mean. There's nothing pleasant about it. I think Temple of Doom represents a chaotic period in both their [Lucas and Spielberg] lives, and the movie is very ugly and mean-spirited."[8] Lucas hired Willard Huyck and Gloria Katz to write the script because of their knowledge of Indian culture.[12] Gunga Din served as an influence for the film.[3]
Huyck and Katz spent four days at Skywalker Ranch for story discussions with Lucas and Spielberg in early 1982.[3] They later said the early plot consisted of two notions of Lucas': that Indy would recover something stolen from a village and decide whether to give it back, and that the picture would start in China and work its way to India. Huyck says Lucas was very single-minded about getting through meetings, while "Steve would always stop and think about visual stuff."[14]
Lucas' initial idea for Indiana's sidekick was a virginal young princess, but Huyck, Katz and Spielberg disliked the idea.[10] Just as Indiana Jones was named after Lucas' Alaskan Malamute, Willie was named after Spielberg's Cocker Spaniel, and Short Round was named after Huyck's dog, whose name was derived from The Steel Helmet.[3]
Lucas handed Huyck and Katz a 20-page treatment in May 1982 titled Indiana Jones and the Temple of Death to adapt into a screenplay.[3] Scenes such as the fight scene in Shanghai, escape from the airplane and the mine cart chase came from original scripts of Raiders of the Lost Ark.[15][16]
Lucas, Huyck, and Katz had been developing Radioland Murders (1994) since the early 1970s. The opening music was taken from that script and applied to Temple of Doom.[15] Spielberg reflected, "George's idea was to start the movie with a musical number. He wanted to do a Busby Berkeley dance number. At all our story meetings he would say, 'Hey, Steven, you always said you wanted to shoot musicals.' I thought, 'Yeah, that could be fun.'"[3]
Lucas, Spielberg, Katz and Huyck were concerned how to keep the audience interest while explaining the Thuggee cult. Huyck and Katz proposed a tiger hunt but Spielberg said, "There's no way I'm going to stay in India long enough to shoot a tiger hunt." They eventually decided on a dinner scene involving eating bugs, monkey brains and the like. "Steve and George both still react like children, so their idea was to make it as gross as possible," says Katz.[14]
Lucas sent Huyck and Katz a 500-page transcript of their taped conversations to help them with the script.[14] The first draft was written in six weeks, in early August 1982. "Steve was coming off an enormously successful movie and George didn't want to lose him," said Katz. "He desperately wanted him to direct (Temple of Doom). We were under a lot of pressure to do it really, really fast so we could hold on to Steve."[16]
A second draft was finished by September. Captain Blumburtt, Chattar Lal, and the boy Maharaja originally had more crucial roles. A dogfight was deleted, as well as those who drank the Kali blood turned into zombies with physical superhuman abilities. During pre-production, the Temple of Death title was replaced with Temple of Doom. From March to April 1983, Huyck and Katz simultaneously performed rewrites for a final shooting script.[3]
Huyck and Katz later said Harrison Ford took many of the one liners originally given to Short Round.[16]
Filming[edit]
Steven Spielberg and Chandran Rutnam on a location in Sri Lanka during the filming of Indiana Jones and the Temple of Doom.
Huyck later recalled "at one point when we were writing it we told George "We know a lot of Indians. We've been there... I don't think they're going to think this is really so cool. Do you think you're going to have trouble shooting there?" He said, "Are you kidding? It's me and Steve." Months later they called and said, "We can't shoot in India. They're really upset." So they shot in Sri Lanka and London, mostly."[16]
The filmmakers were denied permission to film in North India and Amer Fort due to the government finding the script offensive.[8][12][15] The government demanded many script changes, rewritings and final cut privilege.[3] As a result, location work went to Kandy, Sri Lanka, with matte paintings and scale models applied for the village, temple, and Pankot Palace. Budgetary inflation also caused Temple of Doom to cost $28.17 million, $8 million more than Raiders of the Lost Ark.[15] Filming began on April 18, 1983 in Kandy,[17] and moved to Elstree Studios in Hertfordshire, England on May 5. Producer Frank Marshall recalled, "when filming the bug scenes, crew members would go home and find bugs in their hair, clothes and shoes."[17] Eight out of the nine sound stages at Elstree housed the filming of Temple of Doom. Lucas biographer Marcus Hearn observed, "Douglas Slocombe's skillful lighting helped disguise the fact that about 80 percent of the film was shot with sound stages."[18]
Harrison Ford with Chandran Rutnam on the set of Indiana Jones and the Temple of Doom which was shot in Kandy, Sri Lanka in 1983.
Danny Daniels choreographed the opening music number "Anything Goes". Capshaw learned to sing in Mandarin and took tap dance lessons. However the dress was fitted so tightly that Capshaw was not able to dance in it. Made by Barbara Matera out of original 1920s and 1930s beads, the dress was one of a kind. The opening dance number was actually the last scene to be shot, but the dress did feature in some earlier location shots in Sri Lanka, drying on a nearby tree. Unfortunately an elephant had started to eat it, tearing the whole back of the dress. Consequently, some emergency repair work had to be done by Matera with what remained of the original beads, and it was costume designer Anthony Powell who had to fill in the insurance forms. As to the reason for damage, he had no option but to put "dress eaten by elephant".[12]
Norman Reynolds could not return for Temple of Doom because of his commitment to Return of the Jedi. Elliot Scott (Labyrinth, Who Framed Roger Rabbit), Reynolds' mentor, was hired. To build the rope bridge the filmmakers found a group of British engineers from Balfour Beatty working on the nearby Victoria Dam.[3] Harrison Ford suffered a severe spinal disc herniation by performing a somersault while filming the scene with the assassin in Jones' bedroom. A hospital bed was brought on set for Ford to rest between takes. Lucas stated, "He could barely stand up, yet he was there every day so shooting would not stop. He was in incomprehensible pain, but he was still trying to make it happen."[8] With no alternatives, Lucas shut down production while Ford was flown to Centinela Hospital on June 21 for recovery.[17] Stunt double Vic Armstrong spent five weeks as a stand-in for various shots. Wendy Leech, Armstrong's wife, served as Capshaw's stunt double.[19]
Macau (then a Portuguese colony) was substituted for Shanghai,[15] while cinematographer Douglas Slocombe caught fever from June 24 to July 7 and could not work. Ford returned on August 8. Despite the problems during filming, Spielberg was able to complete Temple of Doom on schedule and on budget, finishing principal photography on August 26.[17] Various pick-ups took place afterwards. This included Snake River Canyon, in Idaho, Mammoth Mountain, Tuolumne and American River, Yosemite National Park, San Joaquin Valley, Hamilton Air Force Base and Arizona.[2] Producer Frank Marshall directed a second unit in Florida in January 1984, using alligators to double as crocodiles.[2][13] The mine chase was a combination of a roller coaster and scale models with dolls doubling for the actors.[15] Minor stop motion was also used for the sequence. Visual effects supervisors Dennis Muren, Joe Johnston and a crew at Industrial Light & Magic provided the visual effects work,[20] while Skywalker Sound, headed by Ben Burtt, commissioned the sound design. Burtt recorded Willie Scott's scream and roller coasters at Disneyland Park in Anaheim for the mine cart scene.[21]
Editing[edit]
"After I showed the film to George [Lucas], at an hour and 55 minutes, we looked at each other," Spielberg remembered. "The first thing that we said was, 'Too fast'. We needed to decelerate the action. I did a few more matte shots to slow it down. We made it a little bit slower, by putting breathing room back in so there'd be a two-hour oxygen supply for the audience."[2]
Release[edit]
Box office[edit]
Temple of Doom was released on May 23, 1984 in America, accumulating a record-breaking $45.7 million in its first week.[18] The film went on to gross $333.1 million worldwide, with $180 million in North America and $153.1 million in other markets.[22] The film had the highest opening weekend of 1984, and was that year's highest-grossing film (third in North America, behind Beverly Hills Cop and Ghostbusters).[23] It was also the tenth highest-grossing film of all time during its release.[22] It sold an estimated 53,532,800 tickets in the US.[24]
Promotion[edit]
Marvel Comics published a comic book adaptation of the film by writer David Michelinie and artists Jackson Guice, Ian Akin, Brian Garvey, and Bob Camp. It was published as Marvel Super Special #30[25] and as a three-issue limited series.[26]
LucasArts and Atari Games promoted the film by releasing an arcade game. Hasbro released a toy line based on the film in September 2008.[27]
Reception[edit]
Critical response[edit]
The film received mixed reviews upon its release,[8] but over the years the film's reception has shifted to a more positive tone. On Rotten Tomatoes, the film has an approval rating of 85%, based on 63 reviews, with an average rating of 7.3/10. The site's critical consensus reads, "It may be too 'dark' for some, but Indiana Jones and the Temple of Doom remains an ingenious adventure spectacle that showcases one of Hollywood's finest filmmaking teams in vintage form."[28] On Metacritic the film has a rating of 57 out of 100, based on reviews from 14 critics, indicating "mixed or average reviews".[29]
Roger Ebert gave the film a perfect four-star rating, calling it "the most cheerfully exciting, bizarre, goofy, romantic adventure movie since Raiders, and it is high praise to say that it's not so much a sequel as an equal. It's quite an experience."[30] Vincent Canby felt the film was "too shapeless to be the fun that Raiders is, but shape may be beside the point. Old-time, 15-part movie serials didn't have shape. They just went on and on and on, which is what Temple of Doom does with humor and technical invention."[31] Neal Gabler commented that "I think in some ways, Indiana Jones and the Temple of Doom was better than Raiders of the Lost Ark. In some ways it was less. In sum total, I'd have to say I enjoyed it more. That doesn't mean it's better necessarily, but I got more enjoyment out of it."[32] Colin Covert of the Star Tribune called the film "sillier, darkly violent and a bit dumbed down, but still great fun."[33] Pauline Kael, writing in The New Yorker, claimed it was "one of the most sheerly pleasurable physical comedies ever made."[34] Halliwell's Film Guide described the film as a "slow-starting adventure romp with much ingenuity and too much brutality and horror."[34]
Dave Kehr gave a largely negative review; "The film betrays no human impulse higher than that of a ten-year-old boy trying to gross out his baby sister by dangling a dead worm in her face."[35] Ralph Novak of People complained "The ads that say 'this film may be too intense for younger children' are fraudulent. No parent should allow a young child to see this traumatizing movie; it would be a cinematic form of child abuse. Even Harrison Ford is required to slap Quan and abuse Capshaw. There are no heroes connected with the film, only two villains; their names are Steven Spielberg and George Lucas."[15] The Observer described it as "a thin, arch, graceless affair."[34] The Guardian summarized it as "a two-hour series of none too carefully linked chase sequences ... sitting on the edge of your seat gives you a sore bum but also a numb brain."[34] Leonard Maltin gave the movie only 2 out of 4 stars, saying that the film is "headache inducing" and "never gives us a chance to breathe", and chiding the "'gross-out' gags."[36]
Kate Capshaw called her character "not much more than a dumb screaming blonde."[15] Steven Spielberg said in 1989, "I wasn't happy with Temple of Doom at all. It was too dark, too subterranean, and much too horrific. I thought it out-poltered Poltergeist. There's not an ounce of my own personal feeling in Temple of Doom." He later added during the Making of Indiana Jones and the Temple of Doom documentary, "Temple of Doom is my least favorite of the trilogy. I look back and I say, 'Well the greatest thing that I got out of that was I met Kate Capshaw.' We married years later and that to me was the reason I was fated to make Temple of Doom."[2]
In 2014, Time Out polled several film critics, directors, actors and stunt actors to list their top action films.[37] Indiana Jones and the Temple of Doom was listed at 71st place on this list.[38]
Vulture, in a 2015 compilation of Steven Spielberg's films ranked from worst to best, ranked Temple of Doom #11, stating that "Jonathan Ke Quan's Short Round character is '"Mickey Rooney in Breakfast at Tiffany's"'-level offensive, and, fine, Kate Capshaw is no Karen Allen. But other than that, this movie is nonstop adrenaline, with Spielberg hell-bent on topping Raiders' stunt sequences."[39]
Awards[edit]
Dennis Muren and Industrial Light & Magic's visual effects department won the Academy Award for Best Visual Effects at the 57th Academy Awards. Soundtrack composer John Williams was, as he had been for his work on Raiders of the Lost Ark, again nominated for Original Music Score.[40] The visual effects crew won the same category at the 38th British Academy Film Awards. Cinematographer Douglas Slocombe, editor Michael Kahn, Ben Burtt and other sound designers at Skywalker Sound received nominations.[41] Spielberg, the writers, Harrison Ford, Jonathan Ke Quan, Anthony Powell and makeup designer Tom Smith were nominated for their work at the Saturn Awards. Temple of Doom was nominated for Best Fantasy Film but lost to Ghostbusters.[42]
Controversy[edit]
The film's depiction of Hindus caused controversy in India, and brought it to the attention of the country's censors, who placed a temporary ban on it.[5] The depiction of the goddess Kali as a representative of the underworld and evil was met with much criticism, as she is almost exclusively depicted as a goddess of change and empowerment (Shakti), meaning that while she does destroy, she almost always does so in order to effect positive change. The depiction of Indian cuisine was also criticized, as dishes such as baby snakes, eyeball soup, beetles, and chilled monkey brains are not actual Indian foods. Shashi Tharoor has condemned the film and has criticized numerous parts of the film as offensive and factually inaccurate.[6] Yvette Rosser has criticized the film for contributing to negative stereotypes of Indians in Western society, writing "[it] seems to have been taken as a valid portrayal of India by many teachers, since a large number of students surveyed complained that teachers referred to the eating of monkey brains."[7]
See also[edit]
White savior narrative in film
References[edit]
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^ Jump up to: a b c d e f g Rinzler, Bouzereau, Chapter 8: "Forward on All Fronts (August 1983 – June 1984)", p. 168—183
^ Jump up to: a b c d e f g h i j k l m n J.W. Rinzler; Laurent Bouzereau (2008). "Temple of Death: (June 1981 – April 1983)". The Complete Making of Indiana Jones. Random House. pp. 129–141. ISBN 978-0-09-192661-8.
Jump up ^ Anthony Breznican (August 24, 2004). "PG-13 remade Hollywood ratings system". Seattle Post-Intelligencer. Retrieved December 12, 2010.
^ Jump up to: a b Gogoi, Pallavi (November 5, 2006). "Banned Films Around the World: Indiana Jones and the Temple of Doom". BusinessWeek.
^ Jump up to: a b Tharoor, Shashi (March 10, 2007). "SHASHI ON SUNDAY: India, Jones and the template of dhoom". The Times of India.
^ Jump up to: a b Yvette Rosser. "Teaching South Asia". Missouri Southern State University. Archived from the original on January 8, 2005. Retrieved August 27, 2008.
^ Jump up to: a b c d e f g John Baxter (1999). "Snake Surprise". Mythmaker: The Life and Work of George Lucas. Avon Books. pp. 332–341. ISBN 0-380-97833-4.
^ Jump up to: a b "The People Who Were Almost Cast". Empire. Archived from the original on August 28, 2008. Retrieved August 26, 2008.
^ Jump up to: a b "Adventure's New Name". TheRaider.net. Retrieved April 23, 2008.
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^ Jump up to: a b c d e Indiana Jones: Making the Trilogy, 2003, Paramount Pictures
^ Jump up to: a b c d "Temple of Doom: An Oral History". Empire. May 1, 2008. Archived from the original on August 8, 2008. Retrieved May 1, 2008.
^ Jump up to: a b c "Gloria Katz and Willard Huyck's Best Defense Against Critics Is Their Screenwriting Track Record" By Donald G. McNeil Jr. August 20, 1984 People Magazine accessed April 22, 2015
^ Jump up to: a b c d e f g h Joseph McBride (1997). "Ecstasy and Grief". Steven Spielberg: A Biography. New York City: Faber and Faber. pp. 323–358. ISBN 0-571-19177-0.
^ Jump up to: a b c d "FORTUNE AND GLORY: Writers of Doom! Quint interviews Willard Huyck and Gloria Katz!" Ain't It Cool New 23 May 2014 accessed April 23, 2015
^ Jump up to: a b c d Rinzler, Bouzereau, Chapter 6: "Doomruners (April—August 1983), p. 142—167
^ Jump up to: a b Marcus Hearn (2005). The Cinema of George Lucas. Harry N. Abrams Inc. pp. 144–147. ISBN 0-8109-4968-7. ISBN 0-8109-4968-7, ISBN 0-8109-4968-7, ISBN 0-8109-4968-7.
Jump up ^ The Stunts of Indiana Jones, 2003, Paramount Pictures
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^ Jump up to: a b "Indiana Jones and the Temple of Doom". Box Office Mojo. Retrieved August 24, 2008.
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Jump up ^ Indiana Jones and the Temple of Doom at the Grand Comics Database
Jump up ^ Edward Douglas (February 17, 2008). "Hasbro Previews G.I. Joe, Hulk, Iron Man, Indy & Clone Wars". Superhero Hype!. Retrieved February 17, 2008.
Jump up ^ "Indiana Jones and the Temple of Doom". Rotten Tomatoes. Retrieved July 15, 2012.
Jump up ^ "Indiana Jones and the Temple of Doom". metacritic.com. Retrieved December 22, 2016.
Jump up ^ "Indiana Jones and the Temple of Doom". Chicago Sun-Times. Retrieved August 24, 2008.
Jump up ^ Canby, Vincent (March 23, 1983). "Indiana Jones and the Temple of Doom". The New York Times. Retrieved September 1, 2013.
Jump up ^ Hagen, Dan (January 1988). "Neal Gabler". Comics Interview (54). Fictioneer Books. pp. 61–63.
Jump up ^ Covert, Colin (May 21, 2008). "Indiana Jones and the Temple of Doom". Star Tribune. Retrieved September 1, 2013.
^ Jump up to: a b c d Halliwell's Film Guide, 13th edition – ISBN 0-00-638868-X.
Jump up ^ Kehr, Dave (September 1, 1984). "Indiana Jones and the Temple of Doom". Chicago Reader. Retrieved September 1, 2013.
Jump up ^ Leonard, Maltin (September 24, 2010). "Leonard Maltin's 2010 Movie Guide". PENGUIN group. Retrieved December 22, 2016 – via Google Books.
Jump up ^ "The 100 best action movies". Time Out. Retrieved November 7, 2014.
Jump up ^ "The 100 best action movies: 80–71". Time Out. Retrieved November 7, 2014.
Jump up ^ Will Leitch & Tim Grierson (2018-03-28). "Every Steven Spielberg Movie Ranked from Best to Worst". Vulture. Retrieved 2018-04-15.
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Jump up ^ "Indiana Jones and the Temple of Doom". British Academy of Film and Television Arts. Retrieved August 25, 2008.
Jump up ^ "Past Saturn Awards". Saturn Awards. Archived from the original on February 11, 2009. Retrieved August 25, 2008.
Further reading
Willard Huyck; Gloria Katz (October 1984). Indiana Jones and the Temple of Doom: The Illustrated Screenplay. Ballantine Books. ISBN 0-345-31878-1.
James Kahn (May 1984). Indiana Jones and the Temple of Doom. novelization of the film. Ballantine Books. ISBN 978-0-345-31457-4.
Rinzler, J. W.; Bouzereau, Laurent (January 1, 2008). The Complete Making of Indiana Jones. Ebury Publishing. ISBN 978-0-09-192661-8.
Suzanne Weyn (May 2008). Indiana Jones and the Temple of Doom. "junior novelization" of the film. Scholastic Corporation. ISBN 0-545-04255-0.
External links[edit]
Wikimedia Commons has media related to Indiana Jones and the Temple of Doom.
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Official website
Indiana Jones and the Temple of Doom at LucasFilm.com
Indiana Jones and the Temple of Doom on IMDb
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Indiana Jones and the Temple of Doom at Rotten Tomatoes
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Indiana Jones
Raiders of the Lost Ark (1981)
Video game
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Comics
Iron Phoenix
Spear of Destiny
Tomb of the Gods
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Raiders of the Lost Ark: The Adaptation
Indyfans and the Quest for Fortune and Glory
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Temple du Péril
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v
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Steven Spielberg
Filmography
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Firelight (1964)
Slipstream (1967)
Amblin' (1968)
Night Gallery ("Eyes" segment, 1969)
L.A. 2017 (1971)
Duel (1971)
Something Evil (1972)
Savage (1973)
The Sugarland Express (1974, also wrote)
Jaws (1975)
Close Encounters of the Third Kind (1977, also wrote)
1941 (1979)
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Indiana Jones and the Temple of Doom (1984)
The Color Purple (1985)
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Always (1989)
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The Post (2017)
Ready Player One (2018)
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Poltergeist (1982, also produced)
The Goonies (1985)
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Memoirs of a Geisha (2005)
Flags of Our Fathers (2006)
Letters from Iwo Jima (2006)
Super 8 (2011)
The Hundred-Foot Journey (2014)
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[show]
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Indiana Jones and the Temple of Doom (1984)
Latino (1985)
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Labyrinth (1986)
Howard the Duck (1986)
Tucker: The Man and His Dream (1988)
Willow (1988)
The Land Before Time (1988)
Indiana Jones and the Last Crusade (1989)
Radioland Murders (1994)
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Star Wars: Episode III – Revenge of the Sith (2005)
Indiana Jones and the Kingdom of the Crystal Skull (2008)
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Red Tails (2012)
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Star Wars: The Last Jedi (2017)
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TV series
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Lego Star Wars: The Freemaker Adventures (2016–present)
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Parent: Walt Disney Studios (The Walt Disney Company)
[show]
v
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Films directed
Feature
THX 1138 (1971)
American Graffiti (1973)
Star Wars (1977)
Star Wars: Episode I – The Phantom Menace (1999)
Star Wars: Episode II – Attack of the Clones (2002)
Star Wars: Episode III – Revenge of the Sith (2005)
Short
Look at Life (1965)
Herbie (1965)
Freiheit (1966)
1:42.08 (1966)
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The Emperor (1967)
Anyone Lived in a Pretty How Town (1967)
6-18-67 (1967)
Filmmaker (1968)
Bald: The Making of THX 1138 (1971, uncredited)
Films written
The Empire Strikes Back (1980)
Raiders of the Lost Ark (1981)
Return of the Jedi (1983)
Indiana Jones and the Temple of Doom (1984)
Captain EO (1986)
Willow (1988)
Indiana Jones and the Last Crusade (1989)
Radioland Murders (1994)
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Strange Magic (2015)
Films produced
The Rain People (1969, associate)
More American Graffiti (1979)
Kagemusha (1980)
Body Heat (1981)
Twice Upon a Time (1983)
Latino (1985)
Mishima: A Life in Four Chapters (1985)
Labyrinth (1986)
Howard the Duck (1986)
Star Tours (1987)
Powaqqatsi (1988)
Tucker: The Man and His Dream (1988)
The Land Before Time (1988)
Star Wars: The Clone Wars (2008)
Star Tours – The Adventures Continue (2011)
Red Tails (2012)
Television
Caravan of Courage: An Ewok Adventure (1984)
Ewoks: The Battle for Endor (1985)
Star Wars: Ewoks (1985-86)
Star Wars: Droids (1985-86)
The Young Indiana Jones Chronicles (1992-96)
Star Wars: Clone Wars (2003-05)
The Adventures of Young Indiana Jones Documentaries (2007-08)
Star Wars: The Clone Wars (2008-14)
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Related
American Zoetrope
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WorldCat Identities
LCCN: n82224093
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Indiana_Jones_and_the_Temple_of_Doom&oldid=842382606"
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text:
Vis medicatrix naturae
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Vis medicatrix naturae (literally "the healing power of nature", and also known as natura medica) is the Latin rendering of the Greek Νόσων φύσεις ἰητροί ("Nature is the physician(s) of diseases"), a phrase attributed to Hippocrates. While the phrase is not actually attested in his corpus,[1] it nevertheless sums up one of the guiding principles of Hippocratic medicine, which is that organisms left alone can often heal themselves (cf. the Hippocratic primum non nocere).
Contents
1 Hippocrates
2 Renaissance and modern history
3 Relation to homeostasis
4 Relation to evolutionary medicine
5 See also
6 References
Hippocrates[edit]
Hippocrates believed that an organism is not passive to injuries or disease, but rebalances itself to counteract them. The state of illness, therefore, is not a malady but an effort of the body to overcome a disturbed equilibrium. It is this capacity of organisms to correct imbalances that distinguishes them from non-living matter.[2]
From this follows the medical approach that “nature is the best physician” or “nature is the healer of disease”. To do this Hippocrates considered a doctor’s chief aim was to help this natural tendency of the body by observing its action, removing obstacles to its action, and thus allow an organism to recover its own health.[3] This underlies such Hippocratic practices as blood letting in which a perceived excess of a humor is removed, and thus was taken to help the rebalancing of the body's humors.[4]
Renaissance and modern history[edit]
After Hippocrates, the idea of vis medicatrix naturae continued to play a key role in medicine. In the early Renaissance, the physician and early scientist Paracelsus had the idea of “inherent balsam”. Thomas Sydenham, in the 18th century considered fever as a healing force of nature.[3]
In the nineteenth-century, vis medicatrix naturae came to be interpreted as vitalism, and in this form it came to underlie the philosophical framework of homeopathy, chiropractic, hydropathy, osteopathy and naturopathy.[5] As Bynum notes, "Search the Internet for vis medicatrix naturae and you will find yourself in the land of what we now politely call 'alternative' or 'complementary' medicine".[5]
Relation to homeostasis[edit]
Walter Cannon's notion of homeostasis also has its origins in vis medicatrix naturae. "All that I have done thus far in reviewing the various protective and stabilizing devices of the body is to present a modern interpretation of the natural vis medicatrix.".[6] In this, Cannon stands in contrast to Claude Bernard (the father of modern physiology), and his earlier idea of milieu interieur that he proposed to replace vitalistic ideas about the body.[6] However, both the notions of homeostasis and milieu interieur are ones concerned with how the body's physiology regulates itself through multiple mechanical equilibrium adjustment feedbacks rather than nonmechanistic life forces.
Relation to evolutionary medicine[edit]
More recently, evolutionary medicine has identified many medical symptoms such as fever, inflammation, sickness behavior, and morning sickness as evolved adaptations that function as darwinian medicatrix naturae due to their selection as means to protect, heal, or restore the injured, infected or physiologically disrupted body.[7]
See also[edit]
Appeal to nature
References[edit]
Jump up ^ Hiroshi, H. (1998) "On Vis medicatrix naturae and Hippocratic Idea of Physis" Memoirs of School of Health Sciences, Faculty of Medicine, Kanazawa University 22:45-54 http://sciencelinks.jp/j-east/article/199907/000019990799A0162403.php Archived 2008-06-10 at the Wayback Machine.
Jump up ^ Grube, C. M. A (1954) “Greek medicine and the Greek genius” Phonix 8 123-135 JSTOR
^ Jump up to: a b Neuburger, M. (1944) "An Historical Survey of the Concept of Nature from a Medical Viewpoint" Isis 35 (1): 16–28 JSTOR
Jump up ^ Neuberger, M. (1932) 'The doctrine of the healing power of nature throughout the course of time'. Homeopathy College New York. OCLC 10366814
^ Jump up to: a b Bynum, W. F. (2001). "Nature's helping hand". Nature. 414 (6859): 21. Bibcode:2001Natur.414...21B. doi:10.1038/35102123. PMID 11689921.
^ Jump up to: a b Cross, S. T. Albury, W. R. (1987) "Walter B. Cannon, L. J. Henderson, and the Organic Analogy" Osiris 3:165-192 page 175 [1]
Jump up ^ Nesse, R. M. Williams, G. C. (1994) 'Why We Get Sick: The New Science of Darwinian Medicine' Vintage Books New York ISBN 0-679-74674-9
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If I Knew You Were Comin' I'd've Baked a Cake
From Wikipedia, the free encyclopedia
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"If I Knew You Were Comin' I'd've Baked a Cake"
Single by Eileen Barton
B-side
"Poco, Loco in the Coco"
Released
1950
Format
7-inch single
10-inch single
Recorded
January 1950
Genre
Dixieland
pop
Length
2:37
Label
National
Songwriter(s)
Al Hoffman
Bob Merrill
Clem Watts
Producer(s)
Tom Dowd
Eileen Barton singles chronology
"If I Knew You Were Comin' I'd've Baked a Cake"
(1950) "Dixieland Ball"
(1950)
"If I Knew You Were Comin' I'd've Baked a Cake" is a popular song written by Al Hoffman, Bob Merrill, and Clem Watts and published in 1950.
The best known version of the song was recorded by Eileen Barton in January 1950. The recording was released by National Records as catalog number 9103. When the song became too big a hit for National to handle, it arranged with Mercury Records to help with distribution.[1] The record first reached the Billboard magazine charts on March 3, 1950 and lasted 15 weeks on the chart, peaking at #1.[2] The song was one of Tom Dowd's first hits as a producer.[3]
In 1962, Barton's recording of the song was included in a list of 101 Perennial Singles Hits compiled by Billboard – a group "For year-round programming by juke box operators and radio stations ... a catalog of standards that can provide consistent earnings for operators and a wealth of material for discussion by broadcasters."[4]
Cover versions[edit]
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. (June 2017) (Learn how and when to remove this template message)
Another version was recorded by Georgia Gibbs. The recording was made on February 16, 1950 and released by Coral Records as catalogue number 60169. The record first reached the Billboard magazine charts on March 17, 1950 and lasted six weeks on the chart, peaking at #21.[2]
A British version was recorded by Dame Gracie Fields in 1950, and was used on a British television advertising campaign for Rightmove in 2007.
Another version was recorded by Betty Harris and a choir, with Art Mooney's Orchestra. The recording was made on February 15, 1950 and released by MGM Records as catalogue number 10660.
Bing Crosby and Bob Hope recorded a version together that expanded on the standard lyrics to include verses about making a meal and preparing a goose.[5]
In Australia, a version was recorded by June Hamilton in May, 1950 and released by Pacific Records as catalog number 10-0030.
Barton performed a second recording of the song for MGM in 1959. The new version reached #117 in the Music Vendor survey.
Two versions of the song were recorded for Sesame Street. The first was recorded in 1969 in a skit involving Ernie and Cookie Monster. A second version involving Cookie Monster and Count von Count was recorded in 1976 and released on the B side of "C is for Cookie".
Baker Bob sang that song before Piella Bakewell murdered him at the beginning of the Wallace and Gromit cartoon A Matter of Loaf and Death.
A version was used as the opening theme to Exit 57, a sketch comedy series that aired on Comedy Central and starred Amy Sedaris, Paul Dinello, Stephen Colbert, Mitch Rouse, and Jodi Lennon.
Manhattan band The Maxes recorded a version of the song in 2008 as part of a 12-song Al Hoffman collection titled "The Maxes Sing Al Hoffman."
The song appeared on the M*A*S*H (TV series) during the season one episode "Henry, Please Come Home" [original air date 11/19/1972]. Two Tokyo based geisha girls performed the song, along with acoustic guitar accompaniment, to Hawkeye Pierce, Henry Blake and Trapper John McIntyre.
The song appeared in the 1978 film adaptation of Same Time, Next Year. When Doris is preparing to shower, George tells her that the song that played while they were making love was "If I Knew You Were Coming Id've Baked A Cake" and tells her that it will be their song. George later plays a part of the song on the piano in a later scene of the movie.
Certain versions of the song include the lyrics If I Knew You Were Comin' I'd've Baked a Cake "this morning" instead of "how d'you do".
Charts[edit]
Chart (1950)
Peak
position
US Best-Selling Pop Singles (Billboard)[6]
1
References[edit]
Jump up ^ "Billboard".
^ Jump up to: a b Whitburn, Joel (1973). Top Pop Records 1940-1955. Record Research.
Jump up ^ Selvin, Joel (2015). Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues. Counterpoint. p. 32.
Jump up ^ "101 Perennial Singles Hits" (PDF). Billboard. December 10, 1962. p. 47. Retrieved 18 September 2015. [permanent dead link]
Jump up ^ WAMU-FM broadcast of National Public Radio show at 9 PM Eastern time on March 30, 2008.
Jump up ^ "Best-Selling Pop Singles". Billboard: 40. April 15, 1955. ISSN 0006-2510. Retrieved October 10, 2015.
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Eileen Barton
Singles
"If I Knew You Were Comin' (I'd've Baked a Cake)"
"Cry"
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"Don't Let the Stars Get in Your Eyes"
"Pine Tree, Pine over Me"
"Sway (¿Quién será?)"
Related articles
Video Village
Book:Eileen Barton
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text:
New England Colonies
From Wikipedia, the free encyclopedia
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The New England Colonies of British America included Connecticut Colony, Colony of Rhode Island and Providence Plantations, Massachusetts Bay Colony, and Province of New Hampshire, as well as a few smaller short-lived colonies. The New England colonies were part of the Thirteen Colonies and eventually became five of the six states in New England.[1] Captain John Smith was the author of the 1616 work A Description of New England which first applied the term "New England"[2] to the coastal lands from Long Island Sound to Newfoundland.[3]
Contents
[hide]
1 Before the Mayflower
2 Pilgrims and Puritans
3 Founding (1636)
4 Commerce
5 Wartime Enslavement of Enemy Combatants in New England
6 Education
7 See also
8 Notes
9 Sources
Before the Mayflower[edit]
The English royal charters granted land to the north to Queen Elizabeth, land to the south to the London Company.
France, England, and other countries made several attempts to colonize New England early in the 17th century, and those nations were often in contention for lands in the New World. French nobleman Pierre Dugua Sieur de Monts established a settlement on Saint Croix Island, Maine in June 1604 under the authority of the King of France. The small St. Croix River Island is located on the northern boundary of present-day Maine. Nearly half the settlers perished due to the harsh winter and scurvy, and the survivors moved north out of New England to Port-Royal of Nova Scotia (see symbol "R" on map to the right) in the spring of 1605.[4]
King James I of England recognized the need for a permanent settlement in New England, and he granted competing royal charters to the Plymouth Company and the London Company. The Plymouth Company ships arrived at the mouth of the Kennebec River (then called the Sagadahoc River) in August 1607 where they established a settlement named Sagadahoc Colony, better known as Popham Colony (see symbol "Po" on map to right) to honor financial backer Sir John Popham. The colonists faced a harsh winter, the loss of supplies following a storehouse fire, and mixed relations with the indigenous tribes.
Colony leader Captain George Popham died, and Raleigh Gilbert decided to return to England to take up an inheritance left by the death of an older brother—at which point, all of the colonists decided to return to England. It was around August 1608 when they left on the ship Mary and John and a new ship built by the colony named Virginia of Sagadahoc. The 30-ton Virginia was the first sea-going ship ever built in North America.[5]
Conflict over land rights continued through the early 17th century, with the French constructing Fort Pentagouet near present-day Castine, Maine in 1613. The fort protected a trading post and a fishing station and was considered the first longer-term settlement in New England. It changed hands multiple times throughout the 17th century among the English, French, and Dutch colonists.[6]
In 1614, Dutch explorer Adriaen Block traveled along the coast of Long Island Sound and then up the Connecticut River to present-day Hartford, Connecticut. By 1623, the Dutch West India Company regularly traded for furs there and, ten years later, they fortified it for protection from the Pequot Indians and named the site "House of Hope" (also identified as "Fort Hoop," "Good Hope," and "Hope").[7]
Pilgrims and Puritans[edit]
A group of Puritans known as the Pilgrims arrived on the Mayflower from England and the Netherlands to establish Plymouth Colony in modern-day Massachusetts, the second successful English colony in North America, following Jamestown, Virginia. About half of the one hundred-plus passengers on the Mayflower died that first winter, mostly because of diseases contracted on the voyage followed by a harsh winter.[8] In 1621, an Indian named Squanto taught the colonists how to grow corn and where to catch eels and fish. His assistance was invaluable and helped the Pilgrims to survive the early years of the colonization. The Pilgrims lived on the same site where Squanto's Patuxet tribe had established a village before they were wiped out from diseases.[9]
The Plymouth settlement faced great hardships and earned few profits, but it enjoyed a positive reputation in England and may have sown the seeds for further immigration. Edward Winslow and William Bradford published an account of their adventures in 1622 called Mourt's Relation.[10] This book was only a small glimpse of the hardships and adventures encountered by the Pilgrims, but it may have served to encourage other Puritans to emigrate during the Great Migration.
Major boundaries of Massachusetts Bay and neighboring colonial claims in the 17th century and 18th century. Modern state boundaries are partially overlaid for context.
The Puritans in England first sent smaller groups in the mid-1620s to establish colonies, buildings, and food supplies, learning from the Pilgrims' harsh experiences of winter in the Plymouth Colony. In 1623, the Plymouth Council for New England (successor to the Plymouth Company) established a small fishing village at Cape Ann under the supervision of the Dorchester Company. The first group of Puritans moved to a new town at nearby Naumkeag after the Dorchester Company dropped support, and fresh financial support was found by Rev. John White. Other settlements were started in nearby areas; however, the overall Puritan population remained small through the 1620s.[11]
A larger group of Puritans arrived in 1630, leaving England because they desired to worship in a manner that differed from the Church of England. Their views were in accord with those of the Pilgrims who arrived on the Mayflower, except that the Pilgrims were known as "separatists" because they felt that they needed to separate themselves from the Church of England, whereas the later Puritans were content to remain under the umbrella of the Church of England. The separate colonies were governed independent of each other until 1691, when Plymouth Colony was absorbed into the Massachusetts Bay Colony to form the Province of Massachusetts Bay.
Early dissenters of the Puritan laws were often banished from the Massachusetts Bay Colony. The Connecticut Colony was started after Puritan minister Thomas Hooker left Massachusetts Bay with around 100 followers in search of greater religious and political freedom. Puritan minister Roger Williams left Massachusetts Bay to found the Rhode Island Colony, while John Wheelwright left with his followers to a colony in present-day New Hampshire and shortly thereafter on to present day Maine. The Puritans also established the American public school system for the express purpose of ensuring that future generations would be able to read the Bible for themselves, which was a central tenet of Puritan worship.[12]
Founding (1636)[edit]
It was the dead of winter in January 1636 when Salem minister Roger Williams had been banished from the Massachusetts Bay Colony because of theological differences. In Salem, he preached that government and religion should be separate; he also believed that the Wampanoag and Narragansett tribes had been treated unfairly. That winter, the tribes helped Williams to survive and sold him land for a new colony in present-day Providence, Rhode Island which he named Providence Plantation in recognition of the intervention of Divine Providence in establishing the new colony. It was unique in its day in expressly providing for religious freedom and a separation of church from state.
Roger Williams returned to England two times to prevent the attempt of other colonies to take over Providence and to charter or incorporate Providence and other nearby communities into the Colony of Rhode Island and Providence Plantations.[13]
A map of the Connecticut, New Haven, and Saybrook colonies
Later in 1636, Thomas Hooker left Massachusetts with one hundred followers and founded a new English settlement just north of the Dutch Fort Hoop that became Connecticut Colony. The community was first named Newtown then renamed Hartford shortly afterwards to honor the English town of Hertford. One of the reasons why Hooker left was that only members of the church could vote and participate in the government in Massachusetts Bay, which he believed should include any adult male owning property. The Connecticut Colony was not the first settlement in Connecticut (the Dutch were first) or even the first English settlement (Windsor was first in 1633). Thomas Hooker obtained a royal charter and established Fundamental Orders, considered to be one of the first constitutions in North America. Other colonies later merged into the royal charter for the Connecticut Colony, including New Haven and Saybrook.
Commerce[edit]
Whaling in small wooden boats with hand harpoons was a hazardous enterprise, even when hunting the "right" whale.
The earliest colonies in New England were usually fishing villages or farming communities on the more fertile land along the rivers. The rocky soil in the New England Colonies was not as fertile as the Middle or Southern Colonies, but the land provided rich resources, including lumber that was valued for building homes and ships. Lumber was also a resource that could be exported back to England, where there was a shortage of wood. In addition, the hunting of wildlife provided furs to be traded and food for the table.
In Massachusetts their economy was heavily based on small industries with people working as porters, tanners, shopkeepers and metalworkers. They had merchants which carried raw materials such as furs, timber, and the tar and pitch needed for shipbuilding. Trade went on directly between the English colonists and the European Caribbean islands.
The New England Colonies were located near the ocean where there was an abundance of whales, fish, and other marketable sea life. Excellent harbors and some inland waterways offered protection for ships and were also valuable for fresh water fishing. By the end of the 17th century, New England colonists had created an Atlantic trade network that connected them to the English homeland as well as the West African slave coast, the Caribbean's plantation islands, and the Iberian Peninsula. Colonists relied upon British and European imports for glass, linens, hardware, machinery, and other items for the colonial household.
The Southern Colonies could produce tobacco, rice, and indigo in exchange for imports, whereas New England's colonies could not offer much to England beyond fish, furs, and lumber. Inflation was a major issue in the economy. During the 18th century, shipbuilding drew upon the abundant lumber and revived the economy, often under the direction of the British Crown.[14]
Wartime Enslavement of Enemy Combatants in New England[edit]
Enslavement of enemies defeated in war was a common practice in European nations at this time. This was a policy that had been going on for decades in Ireland, particularly since the time of Elizabeth I and during the mid-17th century Cromwell wars in Britain and Ireland, where large numbers of Irish, Welsh, and Scots prisoners of war were sent as slaves to plantations in the West Indies, especially to Barbados and Jamaica.[15]
The practice of selling enemy combatants into slavery was begun in the American colonies during the Pequot War and King Philip's War. Military leader Benjamin Church spoke out at that time against enslavement of Indians. (Church's militia company was responsible for killing King Philip in August 1676.) In the summer of 1675, he described the enslavement of Indian combatants as "an action so hateful…that (I) opposed it to the loss of the good will and respect of some that before were (my) good friends." This said, Church was an owner of African slaves himself, like many Englishmen in the colony.[16]
Ships carrying captured war combatants began to leave New England ports during King Philip's War (1675-78) for places far away late in 1675 and, by the next summer, the shipping out of slaves had turned into a regular process which continued for the three years of the war. The policy concerning war enemies was that "no male captive above the age of fourteen years should reside in the colony."[17]
It is estimated that at least a thousand New England Indian warriors were sold as slaves during King Philip's War, with over half of those coming from Plymouth. By the end of the war, villages that were once crowded Indian population centers were empty of inhabitants, due to the fact that the male Indian population had risen in armed war against their English neighbors.[18]
Education[edit]
In the New England Colonies, the first settlements of Pilgrims and the other Puritans who came later taught their children how to read and write in order that they might read and study the Bible for themselves. Depending upon social and financial status, education was taught by the parents home-schooling their children, public grammar schools, and private governesses, which included subjects from reading and writing to Latin and Greek and more.
See also[edit]
Middle Colonies
Southern Colonies
Chesapeake Colonies
Thirteen Colonies
History of Massachusetts
Historical outline of Massachusetts
British Colonial America
New England
Manor of East Greenwich
History of New England
Dominion of New England
New England Confederation
Notes[edit]
Jump up ^ Gipson
Jump up ^ Bisceglia
Jump up ^ Smith
Jump up ^ St. Croix Celebration. "St. Croix Island History". Archived from the original on 2001-08-03. Retrieved 2008-12-21.
Jump up ^ "Maine’s First Ship: Historic Overview". Maine's First Ship. Retrieved 22 July 2013.
Jump up ^ "New France Forts". New France New Horizons. Retrieved 2009-01-10.
Jump up ^ New York Historical Society, p. 260
Jump up ^ Deetz, Patricia Scot; James F. Deetz. "Passengers on the Mayflower: Ages & Occupations, Origins & Connections". The Plymouth Colony Archive Project. Retrieved 2008-11-10.
Jump up ^ NativeAmericans.com. "Squanto (The History of Tisquantum)". Archived from the original on June 5, 2007. Retrieved September 20, 2014.
Jump up ^ Bradford, William (1865). Mourt’s Relation, or Journal of the Plantation at Plymouth. Boston: J. K. Wiggin. Retrieved 2008-12-23.
Jump up ^ Young, Alexander (1846). Chronicles of the First Planters of the Colony of Massachusetts Bay, 1623-1636. Boston: C. C. Little and J. Brown. p. 26. Retrieved 2008-12-23.
Jump up ^ The Library of Congress Web Site. "America as a Religious Refuge: The Seventeenth Century". Retrieved 2008-11-11.
Jump up ^ Roger Williams, Family Association. "Biography of Roger Williams". Retrieved 2009-02-07.
Jump up ^ . N.p.. Web. 20 Aug 2013. <https://www.boundless.com/u-s-history/britain-and-the-settling-of-the-colonies-1600-1750/settling-new-england/commerce-in-the-new-england-colonies/>.
Jump up ^ Nathaniel Philbrick. Mayflower: A story of Courage, Community and War (Viking 2006) p. 253
Jump up ^ Nathaniel Philbrick. Mayflower: A story of Courage, Community and War (Viking 2006) pp 253, 345
Jump up ^ Nathaniel Philbrick. Mayflower: A story of Courage, Community and War (Viking 2006) p. 345
Jump up ^ Nathaniel Philbrick. Mayflower: A story of Courage, Community and War (Viking 2006) p. 332
Sources[edit]
Bisceglia, Michael (12 February 2008). "John Smith: The man who named New England". Sea Coast Online. Retrieved April 28, 2013.
Gipson, Lawrence. The British Empire Before the American Revolution (15 volumes) (1936-1970). Knopf.
Collections of the New York Historical Society. New York: H. Ludwig. 1841.
Smith, John, Captain & Admiral (1616). Royster, Paul, ed. A Description of New England (1616): An Online Electronic Text Edition. Electronic Texts in American Studies.
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