Explore the vast range of titles available.

Star Wars may have started out as a film about a Manichean battle between good and evil, but as countless filmmakers, novelists, animators, fan artists and even cosplayers have taken the opportunity to play in the fictional world George Lucas created, it has expanded into something far greater, resulting in a richly layered and diverse Star Wars multiverse.  Drawing from a full range of Star Wars media, including comics, children's books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery.

Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood-by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from the New Hollywood of the 1970s, incorporating lens flares, wobbly camerawork, haphazard framing, and other cinematography that called attention to the person behind the camera. In the context of digital imagery, however, these aesthetic strategies had the opposite effect, heightening the sense of realism by calling on tropes suggesting the authenticity to which viewers were accustomed. ILM's style, on display in the most successful films of the 1980s and beyond, was so convincing that other studios were forced to follow suit, and today, ILM is a victim of its own success, having fostered a cinematic monoculture in which it is but one player among many.

This study explored the costume evolution of the Star Wars film characters Padme Amidala and Leia Organa as romantic relationships were introduced and progressed and how this impacted their positions of power. The study aimed to investigate how female characters have their position of power minimized through the use of costume as their involvement in romantic relationships evolves throughout the films. Objectification theory was used as a theoretical framework under which the study was carried out. The researchers utilized a qualitative content analysis of the audio and visual content of the first six Star Wars films. The results indicated that both characters were objectified through costume. Before romantic relationships were introduced, both women were acknowledged for their positions of power which were emphasized by their costumes. It was observed that as both women progressed in their romantic relationships, their perceived power decreased, and an increase of objectification through greater skin exposure occurred.

Cass R. Sunstein is the Robert Walmsley University Professor at Harvard, where he is founder and director of the Program on Behavioral Economics and Public Policy. He is the author of many books, including the bestseller Nudge: Improving Decisions about Health, Wealth, and Happiness (with Richard H. Thaler). His 2016 book The World According to Star Wars attempts to understand the Star Wars universe in ten chapters through the lenses of Sunstein's academic interests, namely: culture, sociology, psychology, behavioral science, and political science. The book is both personal and theoretical, practical and academic. It takes accurate measure of the genesis of the movies, the movies themselves, and briefly, but trenchantly, it examines concepts such as reputational cascades and speculates on what Star Wars can teach viewers about constitutional disputes.

In 1977, Star Wars blazed across the screen to become one of the highest grossing and most beloved movies of all time. It was followed by two sequels and three prequels, all of which became blockbusters. Comic books, novels, graphic novels, and magazines devoted to the films have added to the mythology of George Lucas’s creation. Despite the impact of the franchise on popular culture, however, discussion of the films from a scholarly perspective has not kept pace with the films. In Myth, Media, and Culture in Star Wars: An Anthology, Douglas Brode and Leah Deyneka have assembled an intriguing collection of essays addressing the influences that shaped the films, as well as the impact the franchise has had on popular culture. Contributors to this volume discuss the Star Wars universe and what its connection to various cultural touchstones—from fairy tales and Joseph Campbell to Disneyland and Marvel comics—mean to viewers. Essays examine the films in the franchise as well as incarnations of the Star Wars universe in video games, comic books, and television programs, including the films’ influence on new generations of filmmakers. A companion volume to Sex, Politics, and Culture in Star Wars, Myth, Media, and Culture in Star Wars is a diverse collection of criticism that investigates the dynamic force that Star Wars has become in popular culture, from every imaginable angle.

In 1977, Star Wars blazed across the screen to become one of the highest grossing and most beloved movies of all time, spawning an unprecedented merchandising phenomenon. It was followed by two sequels and three prequels, all of which became blockbusters. Comic books, novels, graphic novels, and magazines devoted to the films added to the mythology of George Lucas’s creation. Despite the impact of the franchise on popular culture, however, discussion of the films from a scholarly perspective has not kept pace with the films. In Sex, Politics, and Religion in Star Wars: An Anthology, Douglas Brode and Leah Deyneka have assembled a provocative collection of essays exploring some of the more intriguing aspects of the Star Wars phenomenon. Contributors to the volume tackle such hot topics as race and racism in the Star Wars galaxy, Judeo-Christian and Eastern religious themes, homosexual romance, and philosophical and political implications—both earthbound and otherworldly. These essays interpret the Star Wars universe from a variety of perspectives—including feminist and Freudian—offering insights from writers who bring a new passion to the subject. A companion volume to Myth, Media, and Culture in Star Wars, Sex, Politics, and Religion in Star Wars is an authoritative anthology incorporating scholarly analysis with engaging insights. It will engross readers, both fans and scholars alike.

Drawing on the model of Obi-Wan Kenobi from Star Wars, Josh Starr considers how school leaders who are no longer in their early career can continue to lead in way that will prepare the Luke Skywalkers who are coming behind them. Obi-Wan shows that there’s value in stepping away from the action to become a voice in the head of those on the front line, that it’s important to recognize that others may be better mentors, and that a time will come when others must take the lead.

ABSTRACT This study uses Foucault’s theory of subjectivity for a deeper understanding of how anti-fans react to the insertion of political identities in the narratives of media products. The research considers the growing insertion of representativeness in the entertainment industry and the fact that fan communities are conducive to disagreements and resistance. The study assessed how Star Wars anti-fans reacted to the introduction of characters representative of political identities in the new phase of the saga. Foucault’s archeogenealogical method was used to analyze messages posted on the franchise’s biggest fan forum from 2014 to 2020. Results pointed to two moral agencies descriptive of intolerance and amorality, which converge to a subject-form searching for “normality.” These findings have indicated a segregation behavior, which perpetuates a given social status quo and mobilizes desires to impose it, a fact that features what Foucault defined as fascist life. RESUMEN Este estudo utiliza a teoria da subjetividade de Foucault para compreender melhor como os antifãs reagem à inserção de identidades políticas nas narrativas dos produtos midiáticos, levando em consideração a crescente inserção da representatividade na indústria do entretenimento e o fato de que as comunidades de fãs são um ambiente propício para desentendimentos e resistências. Para tanto, avaliamos como os antifãs de Star Wars reagiram à introdução de personagens representativos de identidades políticas na nova fase da saga. O método arqueogenealógico de Foucault foi utilizado para analisar as mensagens postadas no maior fórum de fãs da franquia entre 2014 e 2020. Os resultados apontaram para duas agências-morais descritivas da intolerância e da amoralidade, que convergem para uma forma-sujeito que busca uma “normalidade”. Esses achados indicaram um comportamento segregacionista, que perpetua um determinado status quo social e mobiliza desejos de impô-lo, fato que caracteriza o que Foucault definiu como vida fascista. RESUMO Este estudo utiliza a teoria da subjetividade de Foucault para compreender melhor como os antifãs reagem à inserção de identidades políticas nas narrativas dos produtos midiáticos, levando em consideração a crescente inserção da representatividade na indústria do entretenimento e o fato de que as comunidades de fãs são um ambiente propício para desentendimentos e resistências. Para tanto, avaliamos como os antifãs de Star Wars reagiram à introdução de personagens representativos de identidades políticas na nova fase da saga. O método arqueogenealógico de Foucault foi utilizado para analisar as mensagens postadas no maior fórum de fãs da franquia entre 2014 e 2020. Os resultados apontaram para duas agências-morais descritivas da intolerância e da amoralidade, que convergem para uma forma-sujeito que busca uma “normalidade”. Esses achados indicaram um comportamento segregacionista, que perpetua um determinado status quo social e mobiliza desejos de impô-lo, fato que caracteriza o que Foucault definiu como vida fascista.