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Upon its initial release in 1977, many critics regarded Star Wars as a childish retort to the mature American cinema of the seventies. Though full of sound and fury, some felt that it signified nothing. Four decades later, the significations are multiple as interpretations of the film's strange imagery and metaphoric potential continue to pile up.Interpreting Star Wars analyses and contextualises the dominant trends in Star Wars interpretation from the earliest reviews, through Lucasfilm's attempts to use its position as copyright holder to promote a single meaning, to the 21st century where the internet has rendered such authorial control impossible and new entries to the canon present new twists on old hopes.
Star Wars films --- History and criticism. --- History and criticism
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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. 'Star Wars and the History of Transmedia Storytelling' offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies' projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, 'Star Wars and the History of Transmedia Storytelling' demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building.
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"From Star Wars: A New Hope to The Rise of Skywalker, this is the first complete assessment and philosophical exploration of the Lucasfilm universe. Lucasfilm examines the ways these iconic films were shaped by global cultural mythologies and world cinema, as well as philosophical ideas from the fields of aesthetics and political theory. Cyrus Patell also looks at how this ever-expanding universe of cultural products and enterprises became a global brand and asks: can a film director be both an auteur and a corporation? More than any other film franchise, Star Wars and Lucasfilm have become part of the cultural imagination. The passionate fan base has played a decisive role in the themes, content, casting and direction of George Lucas' oeuvre. Within these pages, Patell explores what it means for films and their creator to become part of cultural history in an unprecedented way"--
Star Wars films. --- Motion pictures --- Motion picture producers and directors --- Aesthetics --- United States --- Lucas, George, --- Lucasfilm, Ltd. --- History. --- Lucas, George --- Star wars films. --- Lucasfilm. --- Star wars
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As secularization threatens the stability of traditional religions, Star Wars provides a case study of how key functions of religion may transfer to innovative organizations and subcultures that challenge conventional definitions of faith, sacredness, and revival. This Element therefore examines the vast community of fans, especially gamers, who have turned Star Wars into a parareligion, providing them with a sense of the meaning of life and offering psychological compensators for human problems. The research methods include ethnography, participant observation, census of roles played by gaming participants, and recommender system statistics. The Element also shows the genetic connections between Star Wars and its predecessors in science fiction. Investigating the Star Wars fandom phenomenon - which involves hundreds of thousands of people - illustrates how audience cults and client cults evolve. Ultimately, Star Wars remains culturally and economically significant as we approach completion of its first half-century.
Star Wars films --- Science fiction films --- Jedi (Fictitious characters) --- Religion and sociology. --- Influence. --- Religious aspects.
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DARK VADOR, Chevalier Jedi et Seigneur Sith, est le personnage central de la célèbre saga cinématographique Star Wars, développée par George Lucas dès 1977. Son apparence effrayante, son charisme intimidant et son terrible destin en ont fait l'une des plus grandes icônes de la culture populaire et l'incarnation du Mal absolu. Mais l'intérêt de la figure réside peut-être davantage dans ses ambivalences. Pour le comprendre, il faut croiser les regards sociologiques et esthétiques, politiques et poétiques, qui permettront de suivre tant le processus de radicalisation spirituelle du personnage que sa métamorphose physique. Dark Vador est un autre Prométhée moderne, une autre créature de Frankenstein, qui transgresse les limites humaines, les lois naturelles et les principes divins. Du jeune et impétueux Anakin Skywalker, dévoré par une colère romantique, au cyborg terrifiant en quête de rédemption, Dark Vador est l'un de nos grands mythes modernes qui raconte autant nos phobies que nos fantasmes contemporains.Car qui n'a jamais été tenté par le côté obscur ? Björn-Olav Dozo enseigne la sociologie des littératures populaires, les humanités numériques et les études vidéoludiques à l'Université de Liège. Il a collaboré à de nombreuses publications sur la bande dessinée et les cultures de masse. Il lui arrive parfois de se déguiser en Wookie ; il grogne alors de joie. Dick Tomasovic enseigne les théories et pratiques du cinéma et des arts du spectacle à l'Université de Liège. Il est l'auteur de nombreuses publications sur le cinéma et la culture populaire, dont Batman, une légende urbaine dans la même collection. Le soir tombé, il construit en cachette une nouvelle Etoile de la mort.
Vader, Darth --- Star wars --- Star Wars (Motion picture) --- Dark Vador --- Star Wars films --- Vader, Darth (Fictitious character)
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« Star Wars » dominates the film world. The combined box office revenue of the Star Wars movies equates to over 10 billion dollars, making it the second highest-grossing film franchise of all time. But this franchise is no blaster from the past. Its fantastically successful films have now been followed by multiple television series set in that same galaxy far, far away. The franchise's flagship television series, and likely the firmest fan favorite for some time to come, is The Mandalorian. Tracing the tale of the titular bounty hunter, traveling across the furthest reaches of that mythic galaxy, The Mandalorian has been greatly praised and highly acclaimed for creating characters with gravitas and originality, worlds with depth and impact, resulting in some of the best Star Wars content ever. Even though it's set in deep space, The Mandalorian has as much in common with Western movies as it does with science fiction. Saloons. Bandits. "Gun" duels. Bounty hunters. Outlaws with a price on their heads. Space exploration as a « final frontier ». And a wild hero who doesn't quite belong in a lawless part of the Galaxy after the fall of the Empire. The book takes you on a badass journey with a mysterious, lone gunfighter in the outer reaches of the galaxy, where your beskar armor will protect you from many things, but not the sight of a small, green, carnivorous humanoid with big black eyes and mysterious powers. This is the way.
Star Wars films. --- Space warfare. --- Space sciences. --- Cinéma et sciences. --- Guerre spatiale. --- Sciences spatiales. --- Star wars. --- Star wars --- Vulgarisation scientifique.
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Étudier les aspects juridiques des différents pans de la pop culture constitue l'un des enjeux pédagogique et de recherche qu'un groupe d'universitaires s'est donné il y a quelques années. Cet ouvrage, qui constitue le second opus de la série Droit et pop culture, s'attache à étudier l'univers de la saga Star Wars au regard des canons du droit public et privé. Le lecteur, fan ou non de Star Wars, découvrira dans ce travail collectif une analyse rigoureuse de la Force, du système intergalactique et des protagonistes de l'univers de Star Wars au regard des modèles et règles, entre autres, du droit international, du droit administratif, du droit de la famille et du droit canon. Que la force soit avec chaque heureux lecteur de cet ouvrage.
Law --- Droit --- Droit et cinéma --- Star Wars films --- Guerre des étoiles (Films) --- Culture and law --- Culture et droit --- Philosophy --- Philosophie --- Law and legislation. --- Star wars --- Droit.
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Par le prisme d'un cas particulièrement emblématique dans le domaine des blockbusters, la double trilogie Star Wars créée par George Lucas (1977-2005), le présent ouvrage propose une étude approfondie de la création musicale contemporaine dans le cinéma américain, en montrant comment les transformations techniques et esthétiques ont pu à la fois accompagner et susciter l'apparition de pratiques musicales et sonores spécifiques. Il offre une reconstitution détaillée de l'atelier de création collective de la bande-son en s'intéressant à des figures souvent délaissées dans les études sur la musique de cinéma, les monteurs, le sound designer et les mixeurs. Au croisement de l'analyse musicale, de l'histoire du cinéma et des technologies, ce volume met en œuvre une interdisciplinarité affirmée, dans une approche comparative systématique et transversale. S'appuyant sur des sources manuscrites inédites et des entretiens personnels avec Conrad Pope et Kenneth Wannberg, la réflexion se déploie sur trois axes complémentaires : l'évolution de l'écriture musicale, la transformation du traitement des partitions au montage, les articulations renouvelées entre musique, dialogue et effets sonores dans les deux trilogies.
Musique de film --- Cinéma et musique --- Composition (musique) --- Musique --- Au cinéma. --- Williams, John (1932-....). --- Lucas, George (1944-....). --- Motion picture music --- Star Wars films. --- Motion pictures --- Film, Musique de --- Guerre des étoiles (Films) --- Montage (Cinéma) --- Mixage. --- Design sonore. --- Editing. --- Williams, John, --- Cinéma et musique --- Création (esthétique) --- Williams, John --- Lucas, George --- Star wars --- Musique de film -- États-Unis --- Star Wars films --- Composition (Music) --- Motion pictures and music --- Creation (Literary, artistic, etc.) --- Williams, John, 1932-
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Provides a close analysis of 'Star Wars' as a film and argues that it represented a continuation rather than a departure from Lucas' early experimental work. Brooker argues that Lucas is drawn both to the order and control of the Empire and the energy and creativity of the Rebels.
Lucas, George --- Star Wars films --- History and criticism. --- Lucas, George, --- Star wars (film) (série) --- Histoire et critique --- Star wars (Motion picture) --- film --- filmanalyse --- filmtheorie --- filmgeschiedenis --- twintigste eeuw --- Verenigde Staten --- Lucas George --- 791.471 LUCAS --- Star wars, a new hope (Motion picture) --- Star wars, episode IV, a new hope --- Star wars, episode 4, a new hope --- Star wars, episode four, a new hope --- Star wars IV, a new hope --- Adventures of Luke Starkiller as taken from the 'Journal of the Whills' (Motion picture) --- Adventures of the Starkiller (Motion picture) --- Csillagok háborúja (Motion picture) --- Gwiezdne wojny (Motion picture) --- Guerra de las galaxias (Motion picture) --- Guerra de les galàxies (Motion picture) --- Guerra nas estrelas (Motion picture) --- Guerre des étoiles (Motion picture) --- Guerre stellari (Motion picture) --- Hvezdné války (Motion picture) --- Hviezdne vojny (Motion picture) --- Jang-e setarehha (Motion picture) --- Krieg der Sterne (Motion picture) --- Polemos tōn astrōn (Motion picture) --- Ratovi zvezda (Motion picture) --- Ratovi zvijezda (Motion picture) --- Razboiul stelelor (Motion picture) --- Stjärnornas krig (Motion picture) --- Stjernekrigen (Motion picture) --- Stjörnustríð (Motion picture) --- Sutâ wôzu (Motion picture) --- Tähtede sõda (Motion picture) --- Tähtien sota (Motion picture) --- Yildiz Savaslari(Motion picture) --- Zvaigzdziu karai (Motion picture) --- Звёздные войны (Motion picture) --- Πόλεμος των ἀστρων (Motion picture) --- Междузвездни войни (Motion picture) --- Empire strikes back (Motion picture) --- Starcrash (Motion picture) --- Star wars (film) (série)
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