Released in May 1977, the original Star Wars movie inaugurated the age of the movie blockbuster. It also redefined the use of cinematic special effects, creating a new textual universe that now stretches through three decades, two trilogies and generations of fascinated viewers. The body of critical analysis that has developed from this epic focuses primarily on the Star Wars universe as a contemporary myth. However, like any fiction, it must also be viewed--and consequently analyzed--as a product of the culture which created it. The essays in this book analyze the Star Wars trilogies as a culturally and historically specific phenomenon. Moving away from the traditional myth-based criticism of the films, the essayists employ a cultural studies model to examine how this phenomenon intersects with social formations such as economics, technology, race and gender. Critical approaches are varied and include political and economic analysis informed by feminism, contemporary race theory, Marxism, new media studies and post-humanism. Among the topics covered are the connections between the trilogies and our own cultural landscape; the problematic issues of race and gender; and the thematic implications of Lucas' presentation of technology. Instructors considering this book for use in a course may request an examination copy here.

Star Wars defined popular, big-screen science fiction. Still, what many viewers best recall is assertive, hilarious Leia, the diminutive princess with a giant blaster who had to save them all. As the 1977 film arrived, women were marching for equality and demanding equal pay, with few onscreen role models. Leia echoed their struggle and showed them what they could be. Two more films joined in, though by the early eighties, post-feminism was pushing back and shoving the tough heroine into her pornographic gold bikini. After a sixteen-year gap, the prequels catered to a far different audience. Queen Amidala’s decoy power originates in how dominated she is by her massive royal gowns. This obsession with fashion but also costuming as a girly superpower fits well with the heroines of the time. The third wavers filled the screens with glamorous, mighty girls – strong but not too strong, like the idealistic teen Ahsoka of Clone Wars. However, space colonialism, abusive romance, and sacrifice left these characters a work in progress. Finally, the sequel era has introduced many more women to fill the galaxy: Rey, Jyn, Rose, Maz, Qi’ra, Val, L3-37, Captain Phasma, Admiral Holdo, and of course General Leia. Making women the central warriors and leaders while keeping them powerful and nonsexualized emphasizes that they can share in the franchise instead of supporting male Jedi. There’s also more diversity, though it’s still imperfect. Hera and Sabine on the spinoff cartoon Rebels and the many girls in the new franchise Forces of Destiny round out the era, along with toys, picture books, and other hallmarks of a new, more feminist fourth wave for the franchise.

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.

The study combines theories of myth, popular culture, structuralism and poststructuralism to explain the enormous appeal of »Star Wars« and »Harry Potter«. Although much research already exists on both stories individually, this book is the first to explicitly bring them together in order to explore their set-up and the ways in which their structures help produce ideologies on gender and ethnicity. Hereby, the comparison yields central insights into the workings of modern myth and uncovers structure as integral to the success of the popular genre. It addresses academic audiences and all those wishing to approach the tales from a fresh angle.

Longtime fans of Carrie Fisher and her body of work will welcome this smart and thoughtful tribute to a multimedia legend.

Understanding Religion and Popular Culture 2nd edition provides an accessible introduction to this exciting and rapidly evolving field. Divided into two parts, Issues in Religion and Genres in Popular Culture, it encourages readers to think critically about the ways in which popular cultural practices and products, especially those considered as forms of entertainment, are laden with religious ideas, themes, and values. This edition has been thoroughly revised and includes five new chapters, updated case studies, and contemporary references. Among the areas covered are religion and film, food, violence, music, television, cosplay, and fandom. Each chapter also includes a helpful summary, glossary, bibliography, discussion questions, and suggestions for further reading/viewing. Providing a set of practical and theoretical tools for learning and research, this book is an essential read for all students of Religion and Popular Culture, or Religion and Media more broadly.

Explores the production, representation, and reception of prominent female superheroes in mainstream superhero comics, television shows, and films.