With his
signature bullwhip and fedora, the familiar sounds of his orchestral anthem,
and his eventful explorations into the arcana of world religions, Indiana Jones
– archeologist, adventurer, and ophidiophobe – has become one of the most
recognizable heroes of the silver screen.
Since his debut in 1981’s Raiders of the Lost Ark, Indiana Jones has
appeared in three sequels, and Steven Spielberg has recently announced that he
will soon begin production on a fifth Indiana Jones film. Along the way, the character has spawned a
raft of children’s novels, cartoon and live-action television series, and video
and role-playing games.
Despite the
longevity and popularity of the Indiana Jones franchise, however, it has rarely
been the focus of academic criticism, a fact which is surprising considering
the critical attention enjoyed by other early George Lucas and Steven Spielberg
films. As stories about archeology, the
Indiana Jones tales reflect an array of ethical questions and representational
issues regarding the nature of the past.
As stories about an American man globe-trotting in the middle of the
twentieth century, Indiana Jones’s adventures intersect with a wide range of
cultural narratives about World War II, the late colonial era, and late-century
nostalgia for perceived mid-century ideals.
As stories about the sacred, Indiana Jones’s quests engage questions
about the nature of the sublime, the representation of the otherworldly, and
the role of narrative in constructing reality.
