16. Some People Call Him a Space Cowboy
16. Some People Call Him a Space Cowboy Kanan Jarrus, Outer Rim Justice, and the Legitimization of the Obama Doctrine Derek R. Sweet One would be hard pressed to refute the argument that the Star Wars universe stands as an exemplary model of cinematic bricolage. Cobbled together from a variety of popular cultural artifacts, the mélange that is the Star Wars space opera famously draws from 1950s serials, samurai epics, war films, and Westerns. Despite the mishmash of textual references that solidified into one of the most recognizable transmedia franchises of all time, Douglas Brode has argued that Star Wars, despite its technologized, futuristic aesthetic, is primarily a story about “cowboys in space.”1 In fact, the commonalities between the traditional Western and popular space opera seem so apparent to Will Wright that he positions Star Wars as “just another revision of the Western, the Western in intergalactic drag.”2 Even Lucas’s penchant for the films of Akira Kurosawa, the Japanese filmmaker known for his samurai epics, strengthens the case for reading Star Wars as a continuation of the Western filmic tradition. As Michael Kaminski argues, Kurosawa studied John Ford’s epic Westerns and incorporated Ford’s “long tracking shots, tension-driven editing, widescreen composition, and dynamic movement” into his own works.3 Though his admiration for the Western-influenced works of Kurosawa, as well as his own appreciation of Ford’s films, Lucas rehabilitates the Western mythos under a thin veneer of space opera.4 One of the more obvious manifestations of this Western mythos in the Star Wars pantheon is the Rebels character Kanan Jarrus.
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