''Star Wars'' sources and analogues

The Star Wars science fiction media franchise is acknowledged to have been inspired by many sources. These include southern and eastern Asian religions, Qigong, philosophy, classical mythology, Roman history, Zoroastrianism, parts of the Abrahamic religions, Confucianism, Shintō and Taoism, and countless cinematic precursors. Creator George Lucas stated "Most of the spiritual reality in the movie[s] is based on a synthesis of all religions. A synthesis through history; the way man has perceived the unknown and the great mystery and tried to deal with that or dealing with it".[1]

It is also speculated that Star Wars also takes inspirations from pre-Roman Celtic folklore (Arthurian legends are post-Roman, set around the third century AD).[2]

Lucas has also said that chivalry, knighthood, paladinism and related institutions in feudal societies inspired some concepts in the Star Wars movies, most notably the Jedi Knights. The work of the mythologist Joseph Campbell, especially his book The Hero with a Thousand Faces, directly influenced Lucas,[3] and is what drove him to create the "modern myth" of Star Wars. The natural flow of energy known as the Force is believed to have originated from the concept of qi/chi/ki, "the all-pervading vital energy of the universe".

To celebrate the 30th anniversary of Star Wars, The History Channel premiered a two-hour event covering the entire Star Wars saga entitled Star Wars: The Legacy Revealed. Featuring interviews from the likes of Stephen Colbert, Newt Gingrich, Nancy Pelosi, Tom Brokaw, Dan Rather, Peter Jackson, acclaimed scholars and others, the program delved further into the Heroic Epic concept and the influences of mythology and other motifs that were important in making Star Wars. Subjects include sins of the father and redeeming the father, coming of age, exiting the ordinary world and others.

Similarities and inspirations

Film and television

The classic science fiction film serial Flash Gordon served as an inspiration for Star Wars.
  • A New Hope includes many elements derived from the 1936 Universal serial Flash Gordon—the original property which George Lucas had sought to license before making the first Star Wars film—and its sequel, Flash Gordon Conquers the Universe. The basic plot involving the infiltration of a megalomaniacal outer-space Emperor's fortress by two heroes disguised in uniforms of soldiers of his army is drawn from Flash Gordon Conquers the Universe, with Luke Skywalker and Han Solo filling the roles of Flash Gordon and Prince Barin, respectively, and Ming the Merciless the Emperor. The Emperor's deadly, hostile planet (the Death Star/Mongo), a sometimes scantily-clad brunette space Princess whom the hero defends (Princess Leia/Princess Aura), a big, strong, hairy, animal-like ally (Chewbacca/Prince Thun of the Lion Men), a fearsome monster found underground and/or fought in an arena by the hero (the Rancor/the Gocko or Orangopoid), a city in the sky ruled by someone who originally works with the villains but later joins the heroes (Lando Calrissian of Cloud City), ray-guns, and dogfighting spaceships were all elements retained from the first Universal Flash Gordon serial. The opening text crawl of Star Wars is in the same style as the text openings of each chapter of the Flash Gordon Conquers The Universe serial.
  • Star Wars was also influenced by the tropes created for Buck Rogers, a character appearing in late 1920s pulp magazines, comic strips (1929–67) and later a 1939 film serial and a 1950–51 TV series.[3]
  • In an interview, Lucas has specifically cited the fact that he became acquainted with the term jidaigeki ("period drama", the Japanese genre of samurai films) while in Japan, and it is widely assumed that he took inspiration for the term Jedi from this.[4][5][6]
  • Akira Kurosawa films:
    • The Hidden Fortress (1958) – A New Hope features the exploits of C-3PO and R2-D2, whereas the plot of The Hidden Fortress is told from the point of view of two bickering peasants. The two peasants, Tahei and Matashichi, are first shown escaping a battle, while C-3PO and R2-D2 are first shown fleeing an attack in A New Hope. Additionally, both films feature a battle-tested General – Rokurota Makabe in The Hidden Fortress and Obi-Wan Kenobi in A New Hope – who assist a rebellion led by a princess and engage in a duel with a former rival whom they fought years earlier. Lucas also features many horizontal wipe scene transitions in Star Wars, a technique used thoroughly by Kurosawa in his films. Similarly, the Princess trades places with a slave girl in The Hidden Fortress, with the slave girl acting as a decoy for the real Princess. In The Phantom Menace, Queen Amidala trades places with one of her handmaidens who acts as a decoy.
    • Yojimbo (1961) inspired the brawl scene in the Cantina. Its sequel Sanjuro (1962) inspired the hiding-under-the-floor trick.[7]
    • Dersu Uzala (1975), just two years before the first Star Wars movie, there are two scenes that bear a striking resemblance to scenes in Star Wars. The first is the Captain and Dersu looking out over the horizon, seeing both the setting sun and the rising moon at the same time. This is much like when Luke Skywalker stares out on the sky with binary suns in A New Hope. The other scene is when Dersu and the Captain are suddenly caught in a blizzard, and they have to quickly build a shelter to spend the night, to survive the cold. The Captain collapses from the cold and Dersu has to drag and stuff him into the shelter. This is similar to the scene in The Empire Strikes Back where Han Solo cuts a tauntaun open with Luke's lightsaber and stuffs the unconscious Luke into it, when they get caught in a blizzard on the snow planet Hoth.
  • The costume for Darth Vader was visually inspired by the character "The Lightning" in the Republic Pictures serial The Fighting Devil Dogs. The Lightning also had an army of white-armored stormtroopers and flew through the sky in a large triangular airship (the "flying wing").
  • Darth Vader's need to wear his helmet to breathe recalls the oxygen helmets of the underground-dwelling Muranians in the 1935 Mascot serial The Phantom Empire, which are required by the caped Thunder Riders to be able to breathe on the surface.
  • The Phantom Menace features a pod racing action sequence. This entire sequence is inspired by the famous Chariot Race of Ben Hur. The climactic moment when Sebulba's Pod attaches itself to Anakin's Pod mimicks, almost shot for shot, the climactic moment of the scene in Ben Hur when Messala accidentally locks wheels with Ben Hur.
  • Lucas has also cited John Ford's The Searchers and David Lean's Lawrence of Arabia as references for the style—if not the story—used in the films. A more direct homage to Lawrence of Arabia occurs in Attack of the Clones, as Padme and Anakin talk while walking around the Theed palace on Naboo. It was filmed at the Plaza de España in Seville, Spain, which in Lawrence of Arabia was the site of the British Army headquarters in Cairo, and was shot in the exact manner as the scene in Lawrence of Arabia where Allenby (Jack Hawkins) and Dryden (Claude Rains) discuss whether to give artillery to Lawrence's Arab troops. In the same film, Padme and Anakin also retreat to an estate called Varykino – the name of the Gromeko family estate in Doctor Zhivago. (Some also have considered Tom Courtenay's Pasha/Strelnikov character from Zhivago as an inspiration for Anakin/Darth Vader, but the similarities are likely coincidental.) Similarly, the chase sequence with Zam Wesell on Coruscant likely references Blade Runner; Lucas based many of the Coruscant cityscapes on Los Angeles in 2019. A reference to The Searchers occurs in Star Wars, when Luke discovers the burning moisture farm, while the Tusken Raiders sequence in Attack of the Clones recalls the climax of The Searchers. Han's showdown with Greedo in Star Wars resembles a scene in another John Ford movie, Cheyenne Autumn.
  • Lucas is also a fan of Sergio Leone's film Once Upon a Time in the West, and according to Leone's biographer, Christopher Frayling, he listened to the score from Leone's film while editing The Empire Strikes Back. Many have considered Vader's first appearance in A New Hope as being an "homage" to the introduction of Henry Fonda's villainous Frank in the Leone film.
  • The death scene of Yoda in Return of the Jedi is taken almost shot-for-shot from the death scene of the similarly mystical High Lama in Frank Capra's Lost Horizon (Yoda and the High Lama also both share a diminutive form and odd cadence of speech).
  • The attack on the Death Star in the climax of the film A New Hope is similar in many respects to the strategy of Operation Chastise from the 1954 British film, The Dam Busters. Rebel pilots have to fly through a trench while evading enemy fire and drop a single special weapon at a precise distance from the target to destroy the entire base with a single explosion; if one run fails another run must be made by a different pilot. Some scenes from the A New Hope climax are similar to those in The Dam Busters and some of the dialogue is nearly identical in the two films. These scenes are also heavily influenced by the action scenes from the fictional wartime film 633 Squadron. That film's finale shows the squadron's planes flying down a deep fjord while being fired at along the way by anti-aircraft guns lining its sides. George Lucas has stated in interviews that this sequence inspired the 'trench run' sequence in Star Wars.
  • The march on the Jedi Temple sequence in Revenge of the Sith potentially derives from Sergei Eisenstein's "Potemkin Stairs" montage in The Battleship Potemkin.[8]
  • During the execution of Order 66, the slaughter of the Jedi and the declaration of the Galactic Empire are reminiscent of the montage of massacres during the christening scene of The Godfather, a film directed by his friend and mentor Francis Ford Coppola. They are similar in the christening of one (the baby and the Empire) with the death of a group of others (the other dons and the Separatists).[8]
  • The Maschinenmensch – the robot in Fritz Lang's 1927 film Metropolis – inspired the look of C-3PO, although the Maschinenmensch is a gynoid whereas C-3PO has masculine programming.
  • Ray Harryhausen used stop motion animation to create a mechanical owl, Bubo, in Clash of the Titans (1981). Despite Bubo's similarities (Bubo is metallic and expresses by whistling and rotating its head) to the droid R2-D2 of the 1977 film Star Wars, Harryhausen claimed Bubo was created before Star Wars was released.[9]
  • George Lucas claims he became a fan of Star Trek when the original series broadcast in the late 1960s which played an influence on the development of Star Wars. He claimed he also visited Star Trek conventions.[10]
  • Lucas used the term the Force to "echo" its use by cinematographer Roman Kroitor in 21-87 (1963), in which Kroitor says, "Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God".[11] Although Lucas had Kroitor's line in mind specifically, Lucas said the underlying sentiment is universal and that "similar phrases have been used extensively by many different people for the last 13,000 years".[12]

Literature

The legendary King Arthur (illustrated in the center) has a significant parallel to Luke Skywalker as a young orphaned hero embarking on a journey to restore peace and justice to his society. Arthur's use of his sword Excalibur as a tool of achieving objectives is reflected by Luke's use of his lightsaber in the same manner.[13]
  • Joseph Campbell's comparative mythology book The Hero with a Thousand Faces, directly influenced Lucas, and is what drove him to create the "modern myth" of Star Wars.[14][15]
  • E.E. 'Doc' Smith's writings contain elements central to the Star Wars universe.[16] These elements include:
    • Spherical, moon-size spaceships.
    • Smaller, spherical, jet-less fighters with accumulators for beamed power.
    • Spacehounds of IPC includes light swords of slicing "blade of flame" and "planes of force" wielded by spherical ships, also attested in melee combat.
    • Smith's Lensmen have the telepathic powers of the Jedi derived from crystalline lenses mirroring Kyber crystals in Star Wars.
    • In Triplanetary, a "tractor beam" from an artificial planetoid captures another vessel and a damsel in distress adventure ensues.
    • Space armor with a general focus on melee combat using space axes.
    • Norlaminian worship of "the All-Controlling Force" along with general use of "force" powers throughout.
    • A Golden Meteor is the emblem and insignia of the galactic protectors.
    • A galactic trade in drugs which are used as currency: Thionite in Smith, Spice in Star Wars.
    • A galactic corps of heroes with telepathic powers. (Note: Lensman was written 10 years before Green Lantern)
    • Benevolent guardians seeking to fight evil. (Called Arisians in Lensman; Aquillian in the second draft script for Star Wars.)
    • A dark, unseen enemy seeking galactic domination. (Called Boskone in Lensman; Bogan in the second draft script for Star Wars.)
    • Special powers running down through family lines, with twins playing a significant role.
    • Epic space battles involving fleets of ships.
    • Large-scale weapons including a free-roaming planet-sized fortress[17] and the sunbeam[18] (capable of focusing the sun's rays, similar to Starkiller Base in The Force Awakens).
    • Jettisoning a space lifeboat with a data spool containing secrets of the enemy's ultimate weapon, the 'Grand Base'.[19]
    • Training with a helmet with a blast shield, yet able to 'see' due to special powers.[19]
    • Passing a ship off as a chunk of loose metal.[19]
    • Numerous uses of the word coruscant, a term which had declined in use after the 19th century.[20]
  • The science fiction writer Isaac Asimov stated on several occasions that George Lucas's galaxy-wide Empire bore a close resemblance to the galaxy depicted in Asimov's Foundation Series. The greatest differences are that Asimov's Galaxy contains almost no robots and no non-human aliens. Asimov addressed both issues directly in the saga's later volumes, most notably Foundation's Edge and Foundation and Earth. Since Asimov's death in 1992, the Star Wars cinematic universe has gained new Asimov-esque elements: The Phantom Menace introduced the planet Coruscant, which bears a close resemblance to Asimov's Trantor.
  • The section of A New Hope in which the heroes are trapped in the belly of the Death Star and must make a daring escape has similarities to Fellowship of The Ring. The group is unwillingly drawn down an alternative path when they discover the traditional safe route is destroyed by the enemy. The group is attacked by a tentacled monster and pursued by a resident army (Orcs in Tolkien's novel, Stormtroopers in the film). Looking for an exit, the group only manages to escape after the old wizard sacrifices his life to an evil monster (the Balrog in Fellowship, and Darth Vader in Star Wars) to buy the rest time to escape. With his last words he yells at his friends to "fly" ("Run" in modern English) instead of trying to rescue him. There are other similarities between The Lord of the Rings and the original Star Wars trilogy, including the second entry of each franchise, The Two Towers and The Empire Strikes Back portraying the military advancement of the antagonists. Return of the King and Return of the Jedi share a similar title, and also similar finale in which the heroes are assisted to victory by an Army they initially did not know existed (The Ewok Army in Jedi, The Army of the Dead in King). The real climactic battle is occurring elsewhere with Luke confronting the Emperor in the Death Star throne room, and in King, Frodo is inside Mount Doom fighting Gollum for the ring.
  • Star Wars borrows significantly from Arthurian mythology; especially with respect to plot and main character development. The life and character development of Luke Skywalker resembles that of the legendary King Arthur. Both are orphans who later become heroes in their early adulthood. Both also have mentors who are much older and provide them guidance and/or training. Arthur was mentored by Merlin; whereas Luke was mentored and trained by Obi-Wan Kenobi prior to continuing his training and mentor-ship with Yoda.[21][22][23] The role of Anakin Skywalker as the father of the hero, Luke Skywalker, mirrors that of Uther Pendragon who is King Arthur's father. Qui Gon-Jinn, Master Yoda and Obi-Wan Kenobi's roles match that of Merlin during the era of Anakin Skywalker and Uther Pendragon respectively.[24]
  • Star Wars shares many similarities with Frank Herbert's Dune,[25] including the desert planet setting with a moisture-based economy, spice smugglers, obese interstellar antagonists, and a mystical mind control-using sect with great influence over galactic politics — Herbert himself once enumerated 37 similarities.[26] The influence was even more distinct in early Star Wars versions, with Princess Leia guarding a shipment of "aura spice" instead of the Death Star plans. The script for Jodorowsky's Dune was circulating in Hollywood at the time of Lucas' early work on Star Wars.[27][28][29]
  • There has been a long debate among fans about the influence that comic book writer Jack Kirby had on the original Star Wars trilogy.[30] Kirby's time at DC Comics between 1971 and 1975 was defined by his creation of the New Gods saga. This intergalactic story involved the New God, Orion of the planet New Genesis, being prophesied by the Source as the warrior to defeat Darkseid - the tyrannical ruler of the planet Apokolips, and, by doing so, bring peace to the universe and end the conflict between the two planets. Unknown to Orion was that he was the son of the evil Darkseid. Parallels can thus be drawn between the nature of the relationships between Orion and Darkseid to Luke Skywalker and Darth Vader, as well as between the mythical Source and the Force . According to some accounts, Lucas met comic book writer and editor Roy Thomas at a dinner in 1972, during which Lucas described the plot of Star Wars, to which Thomas noticed the similarity between this and Kirby's New Gods, which was then already a published series.[31]
  • Many Chinese fans of the franchise believe the characters and plot of the original Star Wars trilogy to be directly analogous to Jin Yong's wuxia novel The Return of the Condor Heroes. Supporting this theory, the mythical concept of the Force bears striking resemblance to the concepts of internal energy and qi, which form a primary element in traditional wuxia literature. Other arguments may include the clothing style in the Star Wars movies being similar to that in early adaptations of Jin Yong's novels, as well as the similarity in the main leads' motivation and relationship.
  • Lucas mentioned that he read the American translation of Perry Rhodan, a German science-fiction pulp novel series in the late 1960s and early 1970s and considers the series to be an "inspiration, less strong than Flash Gordon, but it influenced the design of many starships of Star Wars".[32][33]

Opera

Historical

The Samurai, nobility and officer caste of medieval and early-modern Japan, are a strong influence on the concept of the Jedi as sword fighting martial artist warriors who served as guardians of society.

Modern and early modern history

The stormtroopers from the movies share a name with the German stormtroopers. Imperial officers' uniforms also resemble some historical German Army uniforms (see Wehrmacht) and the political and security officers of the Empire resemble the black clad SS down to the imitation silver death's head insignia on their officer's caps (although the uniforms technically had more basis with the German Uhlans within the Prussian Empire[35]). World War II terms were used for names in Star Wars; examples include the planets Kessel (a group of encircled forces), Hoth (Hermann Hoth was a German general who served on the snow laden Eastern Front), and Tatooine (Tataouine - a province south of Tunis in Tunisia, roughly where Lucas filmed for the planet; Libya was a WWII arena of war).[36] Palpatine being Chancellor before becoming Emperor mirrors Adolf Hitler's role as Chancellor before appointing himself Dictator. The Great Jedi Purge alludes to the events of The Holocaust, the Great Purge, the Cultural Revolution, and the Night of the Long Knives. In addition, Lucas himself has drawn parallels between Palpatine and his rise to power to historical dictators such as Julius Caesar, Napoleon Bonaparte, and Adolf Hitler. The final medal awarding scene in A New Hope, however, references Leni Riefenstahl's Triumph of the Will.[37] The space battles in A New Hope were based on filmed World War I and World War II dogfights.[3]

Continuing the use of Nazi inspiration for the Empire, J. J. Abrams, the director of The Force Awakens, has said that the First Order, an Imperial offshoot which serves as the main antagonist of the sequel trilogy, is also inspired by another aspect of the Nazi regime. Abrams spoke of how several Nazis fled to Argentina after the war and he claims that the concept for the First Order came from conversations between the scriptwriters about what would have happened if they had started working together again.[38]

In a 2005 interview, George Lucas was asked the origins of the name "Darth Vader", and replied: "Darth is a variation of dark. And Vader is a variation of father. So it's basically Dark Father." (Rolling Stone, June 2, 2005). Vader is the Dutch word for "father" (the Dutch word is instead pronounced "fah-der"), and the German word for "father" (Vater) is similar. However, in the earliest scripts for Star Wars, the name "Darth Vader" was given to a human Imperial general with no apparent relationships.[39]

Commentators have noted the strong political analogies in the Star Wars universe to contemporary American politics. Major analogies include Lucas's opposition to the Vietnam War being seen in the original trilogy.[40] Lucas even said in 2005 that Star Wars "was really about the Vietnam War, and that was the period where Richard Nixon was trying to run for a [second] term, which got me to thinking historically about how do democracies get turned into dictatorships. Because the democracies aren't overthrown; they're given away."[41] This claim was likewise backed up by the 1973 draft for the first movie, then-called The Star Wars, where Lucas specifically mentioned that the theme involved an independent planet named Aquillae that was compared to North Vietnam, and that the Empire was "America 10 years from now",[42][43] and by Walter Murch, who claimed Lucas, after his failure with Apocalypse Now, decided to do Star Wars as a way to channel the anti-war and pro-Vietcong ideology in a disguised form.[44] Ian McDiarmid, when recalling something Lucas told him during filming of Return of the Jedi, also implied that the Oval Office, and in particular, Nixon's presidency, played a role in the design of the Emperor's throne room.[45] Political themes in Rogue One have also been noted.[46][47][48]

Ancient and medieval history

A depiction of a science fictional civilization living a medieval Earth-like existence; a concept that Star Wars is a major example of.[49]
  • Ancient and medieval history play amongst the strongest and significant influences on Star Wars which reflects ancient Earth history in its settings, including architectural, social and hierarchical structures (i.e. the existence of monarchies and empires) as well as story lines which reflect ancient and medieval history. The transformation of the Old Republic into the Galactic Empire parallels that of the Roman Republic which transformed into the Roman Empire in the same manner of conspiracy and manipulation. Lucas was quoted as saying: "I love history, so while the psychological basis of Star Wars is mythological, the political and social bases are historical".[36]
  • Author Nick Jamilla explains that unlike mainstream futuristic stories, with Star Wars, George Lucas ties in science fiction with ancient history, comparing the Jedi to the Samurai and historical European swordsmanship. He also parallels the spiritual aspects of the Jedi to eastern monks and philosophy.[50][51]
  • Star Wars reflects ancient history in its planetary settings. For example, the planet Coruscant imitates Ancient Rome as the capital of the Old Republic and later the Galactic Empire; whereas Tatooine imitates the ancient Middle East (specifically the Arabian Peninsula) and North Africa in ancient times as being barren desert and sparsely populated (which it still is today to a certain degree).[52] Coruscant and Naboo are also two of many planets in the Star Wars galaxy exhibit architecture inspired by those of ancient Greece, Rome and other ancient southern/southeastern European societies.[53][54][55][56]
  • In his book The Medieval Hero on Screen: Representations from Beowulf to Buffy, author Tom Henthorne argues that 1970s science fiction movies such as the Star Wars films and E.T. bring back neo-medieval themes at young boys with a masculine tone in his view. He argues the knighthood-type plots give a sense of encouragement to young boys and give girls the image of being their prizes or captives waiting to be rescued.[57]
  • The Samurai warriors of Japan are somewhat parallel to the concept of the Jedi as an elite warrior class specialized in combat and swordsmanship techniques charged with protecting their respective societies.[58]

References

  1. ↑ Science of Star Wars (2005 documentary)
  2. ↑ "Celtic myths: the tales that might have inspired Star Wars and Harry Potter". History Extra.
  3. 1 2 3 Empire of Dreams: The Story of the Star Wars Trilogy (documentary). 2004.
  4. ↑ Duggan, Jedi M. "History of the Jedi & The Jedi Religion". Jedi Sanctuary. Archived from the original on 2007-06-30. Retrieved 2007-07-19.
  5. ↑ "Trivia for Star Wars (1977)". Internet Movie Database. Retrieved 2007-07-19.
  6. ↑ "Star Wars: The Legacy Revealed". 2007-05-28. about 90 minutes in. The History Channel. Missing or empty |series= (help)
  7. ↑ Robey, Tim (May 8, 2014). "10 films that influenced Star Wars". The Daily Telegraph. Telegraph Media Group. Retrieved May 10, 2014.
  8. 1 2 "Movies Star Wars: Episode 3 – Revenge of the Sith". Christianity Today. Archived from the original on May 8, 2008. Retrieved 2008-05-17.
  9. ↑ Ray Harryhausen and Tony Dalton, Ray Harryhausen: An Animated Life, page 270 (London: Aurum Press Ltd, 2003) ISBN 1-85410-940-5.
  10. ↑ Trek Nation (2010 documentary)
  11. ↑ The Mythology of Star Wars (2000 documentary)
  12. ↑ Silberman, Steve (May 1, 2005). "Life After Darth". Wired. Retrieved May 23, 2016.
  13. ↑ "Studying Skywalkers: Excalibur and the Lightsaber - StarWars.com". 3 June 2016.
  14. ↑ Higgs, John (November 7, 2015). "The Hero's Journey: The idea you never knew had shaped Star Wars". Salon. Retrieved May 24, 2016.
  15. ↑ Seastrom, Lucas O. (October 22, 2015). "MYTHIC DISCOVERY WITHIN THE INNER REACHES OF OUTER SPACE: JOSEPH CAMPBELL MEETS GEORGE LUCAS – PART I". StarWars.com. Retrieved May 24, 2016.
  16. ↑ "Wookie books: the science fiction that inspired George Lucas's Star Wars". The Guardian.
  17. ↑ Smith, E.E. Gray Lensman.
  18. ↑ Smith, E.E. Second Stage Lensman.
  19. 1 2 3 Star Wars Origins http://www.moongadget.com/origins/doc.html. Retrieved 6 November 2017. Missing or empty |title= (help)
  20. ↑ Google Books Ngram Viewer https://books.google.com/ngrams/graph?year_start=1800&year_end=2008&corpus=15&smoothing=7&case_insensitive=on&content=coruscant&direct_url=t4%3B%2Ccoruscant%3B%2Cc0%3B%2Cs0%3B%3Bcoruscant%3B%2Cc0%3B%3BCoruscant%3B%2Cc0%3B%3BCORUSCANT%3B%2Cc0. Retrieved 6 November 2017. Missing or empty |title= (help)
  21. ↑ "FREE Luke Skywalker vs. King Arthur Essay". exampleessays.com.
  22. ↑ "Star Wars/Arthurian Legend Comparison Tale". angelfire.com.
  23. ↑ Alan Lupack; Barbara Tepa Lupack (2001). King Arthur in America. Boydell & Brewer. pp. 324–. ISBN 978-0-85991-630-1.
  24. ↑ Evans Lansing Smith; Nathan Robert Brown (2008). The Complete Idiot's Guide to World Mythology. Alpha Books. pp. 303–. ISBN 978-1-59257-764-4.
  25. ↑ "Frank Herbert's Epic Dune Series". Kirkus Reviews.
  26. ↑ "The Quietus - Opinion - In Defence Of... - Wild Sting: In Defence Of Dune". The Quietus.
  27. ↑ "Star Wars Origins - Frank Herbert's Dune". moongadget.com.
  28. ↑ Kensler, Chris. "How 'Dune' almost prevented 'Star Wars' from ever being". Fox News.
  29. ↑ O'Falt, Chris. "Q&A: 'Jodorowsky's Dune' Explores the Unmade Space Epic That Paved the Way for 'Star Wars'". The Hollywood Reporter.
  30. ↑ "Kirby, Lucas, and Campbell". Kirby Dynamics.
  31. ↑ Ro, Ronin (2004). Tales To Astonish : Jack Kirby, Stan Lee, and the American Comic Book Revolution. Bloomsbury Publishing. p. 199. ISBN 1-58234-345-4.
  32. ↑ Der deutsche Zukunftsroman 1918-1945: Gattungstypologie und ... - Dina Brandt - Google Books. Books.google.ch. Retrieved 2014-08-05.
  33. ↑ "Science-Fiction-Serie aus Rastatt soll verfilmt werden: Perry Rhodan fordert Darth Vader zum Duell - Seite 2 - Aus aller Welt - Panorama" (in German). Handelsblatt. Retrieved 2014-08-05.
  34. ↑ "Star Wars and Wagner's Ring". 12 February 2004. Archived from the original on 12 February 2004.
  35. ↑ http://www.starwars.com/news/from-world-war-to-star-wars-stormtroopers
    "The exact cut of the uniforms was certainly familiar, but didn’t rely precisely on the dress of the Second World War. The overall color palette and feel for the Empire was intended to be fascist, but earlier Prussian military uniforms inspired the actual cut of the uniforms designed by John Mollo. The tunic and pants worn by Imperial officers were based on the uniform of German Uhlans, a division of mounted lancers that predated Nazi Germany. This style of uniform was used through the end of World War I, but was not a hallmark of the Third Reich."
  36. 1 2 Klein, Christopher. "The Real History That Inspired "Star Wars"". HISTORY.com.
  37. ↑ "Star Wars: Attack of the Clones". TIME Magazine. 2002-04-21. Archived from the original on 2002-06-05. Retrieved 2009-12-13. The people give their democracy to a dictator, whether it's Julius Caesar or Napoleon or Adolf Hitler. Ultimately, the general population goes along with the idea ... That's the issue I've been exploring: how did the Republic turn into the Empire?
  38. ↑ Dyer, James. "JJ Abrams Spills Details On Kylo Ren".
  39. ↑ "George Lucas and the Cult of Darth Vader". Rolling Stone.
  40. ↑ O'Connor, Michael (September 14, 2016). "What are the Politics of 'Star Wars'?". Newsweek. Retrieved February 15, 2017.
  41. ↑ Caro, Mark (May 18, 2005). "'Star Wars' inadvertently hits too close to U.S.'s role". Chicago Tribune. Retrieved November 12, 2017.
  42. ↑ Rinzler, J.W., The Making of Star Wars, page 7-8, 16-18.
  43. ↑ Taylor, Chris. How Star Wars Conquered the Universe. p. 87-88, 109-110, 125.
  44. ↑ The Conversations: Walter Murch and the Art of Editing Film. Ondaatje, Michael; Knopf (2005). p.70.
    "Originally George Lucas was going to direct ('Apocalypse Now'), so it was a project that George and John [Milius] developed for [American] Zoetrope. That was back in 1969. Then when Warner Brothers cancelled the funding for Zoetrope, the project was abandoned for a while. After the success of 'American Graffiti' in 1973, George wanted to revive it, but it was still too hot a topic, the [Vietnam] war was still on, and nobody wanted to finance something like that. So George considered his options: What did he really want to say in 'Apocalypse Now?' The message boiled down to the ability of a small group of people to defeat a gigantic power simply by the force of their convictions. And he decided, All right, if it's politically too hot as a contemporary subject, I'll put the essence of the story in outer space and make it happen in a galaxy long ago and far away. The rebel group were the North Vietnamese, and the Empire was the United States. And if you have 'the force,' no matter how small you are, you can defeat the overwhelmingly big power. 'Star Wars' is George's transubstantiated version of 'Apocalypse Now.'"
  45. ↑ Irvine, Lindesay (7 November 2005). "Lindesay Irvine talks to Ian McDiarmid". the Guardian.
  46. ↑ Somin, Ilya (December 29, 2016). "Rogue One and the Politics of Star Wars". The Washington Post. Retrieved February 15, 2017.
  47. ↑ Doescher, Ian (December 26, 2016). "The Empire Is Us: The Politics of 'Rogue One'". Politico Magazine. Retrieved February 15, 2017.
  48. ↑ Khachatrian, Harry (December 19, 2016). "REVIEW: 'Rogue One' Is Far More Conservative Than Liberal". The Daily Wire. Retrieved September 20, 2017.
  49. ↑ Albrecht Classen (1 January 2011). Handbook of Medieval Studies: Terms – Methods – Trends. Walter de Gruyter. p. 862. ISBN 978-3-11-021558-8.
  50. ↑ Nick Jamilla (25 June 2008). Sword Fighting in the Star Wars Universe: Historical Origins, Style and Philosophy. McFarland. ISBN 978-0-7864-5179-1.
  51. ↑ Nick Jamilla (2002). Shimmering Sword: Samurai, Western, and Star Wars Sword Fighting. NBK Pub. ISBN 978-0-9718796-0-7.
  52. ↑ The Mythology of Star Wars (2000 documentary)
  53. ↑ Star Wars Episode I: The Phantom Menace
  54. ↑ Star Wars Episode II: Attack of the Clones
  55. ↑ Star Wars Episode III: Revenge of the Sith
  56. ↑ Star Wars Episode VI: Return of the Jedi (1997 special edition, 2004 DVD edition)
  57. ↑ Henthorne, Tom. Boys to Men: Medievalism and Masculinity in Star Wars and ET: The Extra-Terrestrial. The Medieval Hero on Screen: Representations from Beowulf to Buffy (2004): 73-90.
  58. ↑ Star Wars: Evolution of the Lightsaber Duel (2015 documentary)
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