DOCSLIB.ORG

Star Wars and Philosophy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Star Wars and Philosophy Star Wars and Philosophy by Kevin S. Decker, Jason T. Eberl, William Irwin The Force Is with You... but You're Not a Jedi Yet Now this may shock you, but there's an arcane, little-known quotation, one rich in meaning, that appears in every Star Wars movie: "I've got a bad feeling about this." In each episode of George Lucas's "space opera," one of the main characters expresses this basic existential anxiety.1 It's an intuitive response to an undefined problem. Yet it has its root in the essentially philosophical thought that our relationship to the world is one of questioning. Questions sometimes emerge from wonder, sometimes from doubt. We stare up at the heavens, much as Luke did on Tatooine, and wonder about the extent of the universe, its origin, and its meaning. In a crisis of faith, much as Luke had when confronted by his parentage on Cloud City, we may doubt many of our firmly-held beliefs and preconceptions. We search our inner selves, as did Leia when Han was being lowered into the carbon- freezing chamber, and wonder about what it means to love or be virtuous. Sharing Han's skeptical worldly point of view, we may doubt that we have any existence as a mind or soul after our bodily processes are nullified by death. We comb through our junkyard, much as Watto constantly does, and wonder whether there are formulas describing the variances of the value character of the products of labor. But philosophy doesn't have a monopoly on wonder or doubt. You could be in a state of wonder reflecting upon the birth of your twin children, or while viewing the new piece of art on your favorite Hutt's wall. Similarly, you could be in doubt whether the modifications to your podracer are sufficient to allow you to be competitive in the Boonta Eve Race. In these cases, no philosophical questioning needs to occur. Philosophy begins with wonder but leads to thinking. The need to think things through, to change our mind and our environment, arises only because we get into sticky situations. Simple problems disclose their solutions almost immediately, like young Anakin's uncanny ability to fix machines. More difficult ones require us to search among alternatives for a solution: Should Obi-Wan tell Luke the truth about his father from the start or wait until he matures? Should Qui-Gon use Jedi "mind tricks" on Boss Nass to secure transport from the Gungan city? Philosophical problems are often distinguished by the fact that the problem itself is unclear-we need to settle certain things about the world and ourselves, sometimes at the deepest levels, before we can "blow this thing and go home." Now Star Wars doesn't wear its philosophy on its sleeve-it doesn't make clever allusions to Alice in Wonderland or the Kabbalah in an effort to jump-start the mind of the average viewer. Although these movies are primarily vehicles for action scenes and fantasy themes, they still involve characters reaching out and deeply within to solve problems that are significantly larger than themselves. In Star Wars, conflict is a constant, but it's not fighting in the "wars" of the title that spurs the development of the main characters' personalities-after all, "wars not make one great." Instead, it's the struggle to understand and overcome deep problems of identity, truth, freedom, and the tragic side of life that defines the rise, fall, and rise again of the Skywalker family and the impact they have on allies and enemies alike. Essentially, the Star Wars movies tell a simple story of tragedy, courage, and redemption. But under this simple guise the ageless questions of philosophy-many of which are examined in this book-derive new meaning when held against the background of its plot, colorful situations, and memorable characters. For example: * Are the virtues good because they are appreciated by the Jedi, or are they appreciated by the Jedi because they are good? (Plato) * Is Yoda a Jedi Master so great that a greater one can't be conceived of? (Anselm) * Can Anakin commit himself as a chaste, unattached Jedi Knight, but just not yet? (Augustine) * As absolute ruler of a galaxy-wide Empire, is it better to be loved or feared? (Machiavelli) * Am I a mind, a body, or an overweight glob of grease? (Descartes) * How do we know the sun will rise on Alderaan tomorrow, even if it has done so every day since the beginning of time? (Hume)3 * If Vader looks into the abyss, doesn't the abyss also look back into him? (Nietzsche) * Is hell other Sith lords? (Sartre) * Who's scruffy-lookin'? (Solo) Here, you'll encounter thoughtful and lively discussion of these questions, but not hard-and-fast answers to them-don't blame us, some of these questions have gone unanswered for over two thousand years! Judith Barad takes on the most ancient of these while exploring the virtues of the Jedi Order. Yoda is conceived of as a both a great Jedi Master and a wise Stoic sage by William Stephens. For Chris Brown, Anakin's fall and redemption may be unavoidable if evil is needed for good to exist. Emperor Palpatine, in the eyes of Kevin Decker, is the galaxy's most masterful practitioner of Machiavellian political arts. Robert Arp finds Descartes's question about mind and body just as intriguing to ask about C-3PO and R2- D2 as of ourselves, and Jerome Donnelly concurs that droids may be more "human" than the humans in Star Wars. While we know the answer to the Alderaan question, Jan-Erik Jones finds similar cocktail party discussions about expected cause-and-effect relationships still unresolved on our planet-just what makes gravity work anyway? Of course, Darth Vader's entire life is spent looking into the metaphorical abyss of darkness and evil, and occasionally into the literal abyss of space station reactor shafts; what this says about his moral character and capacity for redemption is the fascination of many in what follows. And while Sartre's question regards three strangers trapped in a room with "no exit" for all eternity, Brian Cameron notes that it takes only two Sith to dance the pas de deux Hegelian "dialectic" that leads to mutual self-destruction. These are by no means the only philosophical questions raised and addressed by our Force-sensitive contributors. Using nature and other sentient beings merely as means to one's own ends, valuing deception as a tool to bring about the greatest good, avoiding the dehumanizing influence of technology, finding the balance between love and duty, taking a leap of faith, and achieving the enlightened mind of "no mind" are also defining philosophical issues in Lucas's galaxy and our own. This book came together with Socrates's thought that wisdom, for humans as well as R5 droids, begins when we discover our own "bad motivators." The preceding questions and the issues they raise are deep and challenging, but thinking about them can be rewarding and even fun to those whose thinking is slightly more precise than a stormtrooper's aim. Consider this book a "Kessel Run" for your brain, and enjoy-you get bragging rights if you read the whole book in less than five parsecs! Part I "May The Force Be with You" The Philosophical Messages of Star Wars "You Cannot Escape Your Destiny" (Or Can You?): Freedom and Predestination in the Skywalker Family IASON T. EBERL In The Phantom Menace, Jedi Master Qui-Gon Jinn brings a nine-year- old boy, recently released from slavery and separated from his mother, before the Jedi Council to ask that he be trained in the ways of the Force. When the Council refuses to permit the boy's training, Qui-Gon declares, "He is the Chosen One. You must see that." To which Master Yoda replies, "Clouded this boy's future is." The boy is, of course, Anakin Skywalker-the future Darth Vader-and his being "the Chosen One" is based on a Jedi prophecy that refers to Anakin "bringing balance to the Force." Approximately thirty-five years {Star Wars time) after this exchange, Anakin's son, Luke, has nearly completed his training to become a Jedi Knight. After the deaths of Obi-Wan Kenobi and Yoda, Luke will be the "last of the Jedi" and the "last hope" for the galaxy to be saved from the tyrannical power of the Dark Side of the Force exercised by Darth Vader and Emperor Palpatine. Yoda tells Luke, however, that he will be a Jedi only if he faces Darth Vader in battle a second time (their first battle having ended badly for Luke and his extremities!) Luke balks at the idea of killing his own father. But the apparition of Obi- Wan responds, "You cannot escape your destiny. You must face Darth Vader again. " These scenes raise particularly interesting philosophical questions concerning freedom and moral responsibility.1 What does it mean for Anakin to be the Chosen One? Is it possible for him to fail to fulfill the prophecy? Is Anakin predestined to fall to the Dark Side and become Darth Vader? Must Luke unavoidably shoulder the burden of saving the galaxy? Or, does Anakin choose to ally himself with the Emperor? Could Luke have chosen to remain on Tatooine and live out his life tending his uncle's moisture farm instead of going with Obi-Wan? "Clouded This Boy's Future Is" Anakin Skywalker's destiny seems to have been set for him since before he was even born.
Load more

Recommended publications
  • Queen Padmé Tales: the Fifth Sith
    Queen Padmé Tales: The Fifth Sith About this screenplay Objective [ An illustrated screenplay crossing Star Wars Ep. I, the Selinaverse (itself crossing Star Trek TNG/DS9, Buffy, Judaism, Israel, Objectivism, etc.) the real world online/offline life in 2010s/2020s, and Spaceballs. This screenplay is not written in the Hollywood blessed format because good hackers (= resourceful and rule bending heroes) who include the talented actors and actresses in this film, can withstand reading a raw and non-CSS- styled XHTML5 file. That - and hackers like me do not have the time to massage a screenplay into Hollywood's whimsical format only to be rejected, rinse and repeat. ] Licence [ Emblem: This text is Copyright by Shlomi Fish , 2021 and is made available under the Creative Commons Attribution 4.0 Unported Licence (CC-by) (or at your option - any later version). ] Dedication [ The Dedication: ] Main Scene Anakin quitting jedi school Criticising Anakin [ Padmé is sitting in her office in the morning using a desktop Linux system. A male cat is lying above the keyboard. ] Padmé: [in an E-mail] Anakin, to be frank, I am tired of you being so occupied with finishing that wretched Jedi school, that you seem oblivious to yourself and everybody else in a truly self-harming way. Were you aware of the attempt to assassinate me? Or the Naboo's crown's takeover attempt? Padmé: They did suggest I give you an ultimatum so here it is: either you give me enough attention or we'll part ways. I may record a heartache song or two ( Tiffany published her share of them so it won't surprise too many ), but I'll survive.
    [Show full text]
  • (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released.
    [Show full text]
  • An Experiment in Comedy, Stunts, and Visual Effects
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-16-2016 “Down to the Last:” An experiment in comedy, stunts, and visual effects Margaret Ann Broach University of New Orleans, mbroach@uno.edu Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Film Production Commons Recommended Citation Broach, Margaret Ann, "“Down to the Last:” An experiment in comedy, stunts, and visual effects" (2016). University of New Orleans Theses and Dissertations. 2246. https://scholarworks.uno.edu/td/2246 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact scholarworks@uno.edu. “Down to the Last:” An experiment in comedy, stunts, and visual effects A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements of the degree of Master of Fine Arts In Film and Theatre With a concentration in Film Production By Margaret Broach B.F.A.
    [Show full text]
  • Young Frankenstein
    elementary ELEMENTARY R A I N B O W S A2 (Waystage) R A I N B O W S Approx. number of head-words: 700 Young Frankenstein Frederick Frankenstein, a young American surgeon, has inherited a castle in Young Transylvania from his grandfather Victor, the famous scientist who had given life to inanimate tissues, creating a monster. Together with a humpback, an attractive assistant and the old housekeeper, the grandson successfully repeats the experiment, after finding his grandfather’s books and notes. Young Frankenstein Young Frankenstein However, something goes wrong and the creature turns out to be a dangerous monster. The final dramatic turns of events are surprising and funny. From Mel Brooks’ exhilarating film masterpiece, a comical parody of the gothic and horror genre. beginner • A1 (Breakthrough) Levels of accredited examination boards: elementary • A2 (Waystage) UCLES: Flyers / KET Trinity: Grade 3, 4 pre-intermediate • B1 (Threshold) Pitman: Elementary intermediate • B2 (Vantage) ESB: Foundation 3 Edexcel: Basic post-intermediate • C1 (Effectiveness) Grammar structures: specified inside List of the grammar structures per level BEGINNER • A1 (Breakthrough) Nouns, short compound nouns, common adjectives, be, have, can, must, countable/uncountable nouns, articles, will future, imperative, basic prepositions of time and place, adverbs, numbers, some/any/no, personal pronouns, possessive adjectives/pronouns, ’s, demonstrative adjectives/pronouns, present progressive, present simple, simple wh-questions, was/were. ELEMENTARY • A2 (Waystage)
    [Show full text]
  • Young Frankenstein • May 10-15, 2011 • TPAC’S Andrew Jackson Hall
    OnStage The official playbill and performing arts magazine of the TENNESSEE PERFORMING ARTS CENTER HCA/TriStar Broadway at TPAC • TPAC Family Field Trip • TPAC Presents • TPAC’s Signature Series Young Frankenstein • May 10-15, 2011 • TPAC’s Andrew Jackson Hall www.tpac.org POWERING YOUR family time u plugged It’s often said that there are no small parts. At First Tennessee, we believe that there are no small dreams either. That’s why we offer a wide-range of financial services designed to help your family enjoy more of the things that matter most. So whether you’re looking for a convenient checking account or help with a home loan, our friendly staff is always available to play a supporting role. Banking products and services provided by First Tennessee Bank National Association. Member FDIC. ©2009 First Tennessee Bank National Association. www.firsttennessee.com Sure, it’s just a tire. Like the ancient redwood is just a tree. bridgestonetire.com 1-800-807-9555 tiresafety.com 11bridge5056 Arts 7.125x10.875.indd 1 1/28/11 1:46:37 PM REPRESENTATIONAL PHOTO REPRESENTATIONAL hen we learned how sick Mom was, we didn’t know what Wto do. We’re so thankful that we asked her doctor about Alive Hospice. They came into our home like family, helping Mom stay with us where she wanted to be. 1718 Patterson Street | Nashville, TN 37203 615-327-1085 or 800-327-1085 | www.alivehospice.org We provide loving care to people with life-threatening illnesses, support to their families, and service to the community in a spirit of enriching lives.
    [Show full text]
  • Star Wars: a Critical Analysis 1
    Running head: STAR WARS: A CRITICAL ANALYSIS 1 Star Wars: A Critical Analysis Karen McCain Southern New Hampshire University Popular Culture Professor Lovejoy December 15, 2019 STAR WARS: A CRITICAL ANALYSIS 2 Star Wars: A Critical Analysis Star Wars Final Project Notes The original Star Wars trilogy of films by George Lucas known as Episode IV: A New Hope, Episode V: The Empire Strikes Back, Episode VI: Return of the Jedi appeared on movie screens in 1977, 1980, and 1983, respectively(Lucasfilm, 1977)(Lucasfilm, 1980)(Lucasfilm, 1983). It is the traditional story of the heroes’ journey. A young farm boy reluctantly becomes the hero of The Resistance in the struggle against the evil Galactic Empire that is endeavoring to rule the galaxy. It’s a morality play. There are lessons of good versus evil or light versus darkness, believing in one’s self, loyalty, faith, trust, and perseverance. It is also a story of forgiveness and redemption. These films have breakoff stories, a series of prequels and sequels, video games, home decor, countless amounts of apparel and merchandise including the beloved “action figure”. There are animated and live-action television shows inspired by the original Star Wars films. This trilogy has been around long enough and has been popular enough to work its way deeply into popular culture. To understand it’s influence better one can employ the use of four different lenses to study it closer. There is the lens of history, the humanities, natural and applied sciences, and the social sciences. Using these different lenses to look at Star Wars’ effect on culture will help us understand it from different angles and much more deeply.
    [Show full text]
  • Once Upon a Time Warp...In a Galaxy Very, Very
    Once upon a time warp.... In a galaxy very, very, very, very, far away, there lived a ruthless race of beings known as . Spaceballs. Chapter Eleven The evil leaders of Planet Spaceball, having foolishly squandered their precious atmosphere, have devised a secret plan to take every breath of air away from their peace-loving neighbor, Planet Druidia. Today is Princess Vespa's wedding day. Unbeknownst to the princess, but knownst to us, danger lurks in the stars above... SPACEBALLS: THE CROSSOVER Index Ships, Vehicles, and Space Stations Cannon Fodder Races & Droids Equipment The Schwartz Skills Quick Planets Overview Races Characters Ships, Vehicles, and Space Stations Craft: Eagle Five Eagle Five is the personal ship of Lone Starr Type: Modified Winnebago Space Cruiser and Barfolomew, famous space pilots. It has a Scale: Starfighter complicated jamming system and is one of the Length: 7m fastest ships in the galaxy. It is always a mess, Crew: 1 or 2 (can coordinate) and rock music is always playing. Passengers: 3 ------------------------------------------------------------ Cargo Capacity: 1/2 ton Craft: Spaceball One Consumables: 2 months Type: Custom Transforming Battle Ship Hyperdrive Multiplier: x2 (Normal)/ x1 Scale: Capital (Hyperactive) Length: 20km Backup: x15 Crew: 50,000; Gunners: 645 Nav Computer: Yes Passengers: 200,000 Maneuverability: 3D Cargo Capacity: 50 million tons Space: 8 Consumables: 10 years Atmosphere: 365; 1050 kmh Hyperdrive Multiplier: (Light X2) (Ridiculous Hull: 3D X1) (LudicrousX1/2) Shields: 3D Backup: x10
    [Show full text]
  • The Lost (Boys) Pdf, Epub, Ebook
    THE LOST (BOYS) PDF, EPUB, EBOOK Steve Ressel | 330 pages | 22 Nov 2010 | B*friend | 9780978748319 | English | United States The Lost (Boys) PDF Book Polls today reveal that Americans still have a slight preference for boys. The rockets? D etermining Factors. With my family. What's the most important part about saving the day? Tags: maxs, video, lost, boys, the lost boys, vhs, tapes, santa carla, california. While much of TV production is currently in uncharted territory due to the COVID pandemic, that isn't stopping networks from beginning to set their programming slates for the future. Take, for example, first-time mom Arlene Bordinhao of Las Vegas, who was convinced she was having a girl. Boys more often have asthma , yet they're more likely than girls to outgrow it by adolescence. Turn on your television! M oving into Adulthood W hile there are more boys born than girls, by the time these children reach adulthood the ratio thins out to about boys to girls. Tags: brain dead radio, lost, boys, the lost boys, horror, vampire, 80s, movies, pop culture, bff, best friends, bdr. Michael Mainieri, Jr. Baby girls are five times more likely than boys are to get hemangiomas, raised red birthmarks caused by a buildup of blood vessels. Females are often aborted in the womb, resulting in a higher birth ratio of boys. They usually disappear by age 9 but can be treated with steroids or removed by lasers. The Lost Boys Poster By filmy. He then considered the film to be even better that the direct to video sequels he worked on in the past.
    [Show full text]
  • Young Frankenstein” (1974) by Dr
    Short Review: “Young Frankenstein” (1974) by Dr. John L. Flynn Young Frankenstein (1974). Venture Films and Crossbow Productions, b/w, 108 min. Director: Mel Brooks. Producer: Michael Gruskoff. Screenwriters: Brooks and Gene Wilder. Cast: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, and Gene Hackman. Directed by Mel Brooks, with the same inspired zaniness of his “Blazing Saddles” (1974), this brilliant pastiche spoofed many of the familiar clichés of the horror/sci-fi genre while, at the same time, paying homage to the traditional forms which over the many decades had become classic. Baron Beauford von Frankenstein has finally passed away, willing his estate to his great grandson (Wilder). When Dr. Frederick Frankenstein (pronounced FRONK-kon-steen) arrives in the fantasy land of Transylvania, he resumes the work of his ancestor. Aided by hunchbacked Igor, pronounced EYE-gore (Feldman), and sexy assistant Inga (Garr), Frankenstein creates yet another monster (Boyle). When the creature goes on its predictable rampage, it leaves Frankenstein's castle to terrorize the local populace. But the rampage is played more for comedy than terror, as the monster is charmed by a little girl and played fool by a blind man (Hackman). Eventually, the Creature dons a top hat and tails to perform “Puttin' on the Ritz” (like Fred Astaire) for the townspeople, and hooks up with the mad doctor’s girlfriend Elizabeth (Kahn). A dozen or so orgasms later, Elizabeth has exchanged her brainy boyfriend for the Creature, Frankenstein settles for Inga, and the two couples live happily ever after. The movie succeeds as both a clever parody and a loving tribute of the genre.
    [Show full text]
  • Translating Wordplay in Mel Brooks' Spaceballs
    Available online at www.worldscientificnews.com World Scientific News 8 (2015) 97-175 EISSN 2392-2192 Translating Wordplay in Mel Brooks’ Spaceballs and Robin Hood: Men In Tights Jolanta Mikołajczak Faculty of Humanistic, University of Humanities and Economics in Lodz, 26 Sterlinga Street, 90-212 Lodz, Poland E-mail adres: arteuza@poczta.onet.pl ABSTRACT The present thesis aims at presenting wordplay in selected films by an American director Mel Brooks and comparing the original items with their Polish translations found in the dialogue lists prepared for the needs of Polish television and DVD edition by Elżbieta Gałązka-Salamon (TV version of both films), Janusz Kiezik (the DVD edition of “Robin Hood: Men in Tights”) and Gelula and Co., Inc. (DVD edition of “Spaceballs”). The films chosen for the needs of the analysis are “Spaceballs” released in 1987 and “Robin Hood: Men in Tights” released in 1993. The first one is a science-fiction story of a space pilot and his crew fighting against evil creatures in order to save a peace-loving planet and its beautiful princess. The main plot is enriched by witty observations on the problem of merchandizing and cowardly presidents of the whole nations as well as popular motives of power, friendship and love. The other film exploits an ageless story of a famous English hero of Sherwood who defended the poor, robbed the rich and opposed Prince John the Lackland’s brutal policy. Although the story follows well-known legends and stories along with Maid Marian and a famous fight over the toll, it is somehow twisted to suit contemporary viewers’ tastes by removing dark features of mediaeval times such as cruelty, religious intolerance or overwhelming dirt and introducing characters not commonly associated with Robin Hood like Arab exchange students or a witch called Latrine.
    [Show full text]
  • How-To-Write-Parody-And-Satire)
    How to Write Parody A parody is a “new version” of an old story that pokes fun at or comments on the original work. Parody requires funny, and your sense of humor is the first thing you need to assess before undertaking the task of writing the next big hit. Examples: the 1987 science fiction spoof Spaceballs pokes fun at the original Star Wars. Monty Python and the Holy Grail (1974) pokes fun at the original story of King Arthur. Scary Movie, Not Another Teen Movie, and Date Movie are all current parodies of original horror and date films. In music, Weird Al Yankovich wrote a parody for Michael Jackson’s “Bad.” Steps: 1. Choose a Subject In order to have a successful parody you must determine what it is you will be writing about. That means choosing a subject that is familiar to audiences. In addition, you must know the story well enough to follow it, yet change it appropriately. 2. Build Your Characters Spaceballs by Mel Brooks was a hit when it first arrived in theaters on June 24, 1987, and it has continued in its popularity over 20 years later. The film endures because it so masterfully spoofs the characters from Star Wars, one of the most successful film franchises of all time. Dark Helmet, the Darth Vader knockoff, is an evil nerdy dictator. He wears the imposing garb of Vader, but it looks too big on him, and of course, there is the open face in contrast to Vader’s mask. Why? Because Helmet wears glasses, and he needs to be able to see.
    [Show full text]
  • Page | 1 Casey Robinson Comm 150 Prof. Mark Steensland Film Genres 3/27/8 Assignment 8: Analyzing Film Genre Conventions in Spac
    P a g e | 1 Casey Robinson Comm 150 Prof. Mark Steensland Film Genres 3/27/8 Assignment 8: Analyzing Film Genre Conventions in Spaceballs. Film genres are a set of conventions repeated and developed throughout film history. Science fiction is a popular genre that often takes current technology, particularly space technology, and shows how it might be used in the future. The Star Wars Trilogy as well as The Star Trek movies are some of the most popular science fiction movies ever made. Spaceballs is a science fiction movie that attempts to use every science fiction convention for humor. This fact puts Spaceballs in the revisionist science fiction film genre. The science fiction genre has traditionally used costumes to provide a sense of superiority and power. An example of this is Darth Vader in the Star Wars series. His dark costume is designed to show his evil and the helmet and cape make him appear superior. Spaceballs continues this tradition in a slightly different way. Dark Helmet, the villain in Spaceballs, wears a black costume to signify evil, but his helmet is comically large. This is done to provide humor and make Dark Helmet look stupid, which occurs many times throughout the movie. Another convention in science fiction movies is to use futuristic modes of travel, such as Star Destroyers in Star Wars or teleporters in Star Trek. Spaceballs does this as well, but again puts its own spin on it. Spaceball One is a ship similar to a Star Destroyer, but P a g e | 2 its length has been dramatically increased.
    [Show full text]