Yes / Heritage (and by extension, archaeology) is an important part of the Star Wars universe. Both the Jedi and the Sith share teachings revolving around sites and artifacts important to their heritage and identities, and archaeologists like Chelli Aphra have played important roles in the development and maintenance of heritage. However, the politicization of sites and artifacts by many groups and individuals has also served as motivation behind significant schisms, battles, imperialism, and resistance. As professional archaeologists, we have become familiar with the ways these themes are appearing within our real world discipline as well. This paper will broadly examine the roles that archaeology and heritage play in the Star Wars universe. Using examples from both canon media and expanded universe (now referred to as Legends) lore, this paper will explore the ways in which political factions manipulate and weaponize heritage and archaeology to their benefit. These examples will then be discussed within real world contexts to illustrate how Star Wars is ultimately a perfect encapsulation of the political powers inherent in archaeology and heritage studies, and the resistance to the manipulation of these fields.

Building on the questions of gender and sexuality proposed by the ethnographic analyses of first wave fanfiction criticism, I identify the ways in which fanfiction may function as a feminist response to the mainstream patriarchal culture of two media texts: the Star Wars films and the television series Supernatural. To frame this argument, I question the problematic associations of Henry Jenkins’s massively influential metaphor of fan writers as “poachers,” which implicitly supports Theodore Adorno and Max Horkheimer’s vision of the lack of critical engagement engendered by popular culture. In my discussion of this metaphor and the prevalent resistance/incorporation paradigm of fan/producer interaction, I expand critical and theoretical notions of dialogue and intertextuality in terms of fanfiction works, and propose a shift in terminology for my own and future examinations of fan culture.

When Disney released The Mandalorian, it quickly became the top show on its highly popular streaming platform. As with all media wielding this level of exposure, it is important to closely examine its content for depictions of peoples including females. In accordance with Sandra Bem's gender schema theory, the implicit messaging in this series can influence the formation of people's mental shortcuts about what it means to be female. This study employs content analysis to illuminate the portrayal of physical and non-physical attributes of the women present in the two seasons existing at the time of this study. Results reveal significant diversity in areas such as body type, character role, age, and appearance; especially when compared to the show's predecessors. However, while Disney has publicly pronounced ethnic diversity a priority, one could argue that The Mandalorian possesses only a surface appearance of ethnic diversity. This is because many of the actresses are either fully white or mixed with white--the race that has historically dominated our screens. Disney has taken steps in the right direction with The Mandalorian but would benefit from a closer content assessment if they seek to retain their consumer's trust long-term.

Today’s popular culture often implement’s religious themes or religious symbolism. Popular culture shows a lot of interest in the conflict between good and evil and existential questions. As do most beliefs of today. How to analyze the way religion is presented and regarded in popular culture will always be grounded in the definition of religion itself. The definition is there to pinpoint exactly what one wishes to examine. The definitions do not try to explain what religion really is, but rather, try to pinpoint the very thing you want to analyze about religion. How you define it, defines the analysis. Star Wars is a phenomenon of popular culture which started out as a mere film series but consists today of toys, books and TV-series. Star Wars presents religion in form of a transcendental power of the universe known as The Force. Through the Force, Star Wars handle the conflict between good and evil, as the Force is used by both sides in different ways. You can also find the debate between the believer and the non-believer, in which Star Wars seems as an advocate of the believer, as it is through belief in something higher, rather than trust in technological progress, one can achieve victory. The analysis shows that the characters of Star Wars view belief in something higher as something positive and good. The Force works as something holy and many characters has a personal relationship to it. Star Wars also presents a clear good and evil, however it also proclaims a gray area in the hero of Luke Skywalker. To follow one’s own path seems to be something important to Star Wars.

Uppsatsen studerar porträtt av ondska i poulärkultur, genom att titta på filmerna Star Wars- och Harry Potterfilmerna. Både manus, ljud och bild utgör fokus för uppsatsen.

Religious elements are not uncommon in the field of popular culture, especially regarding movies, and the Star Wars series have implemented all sorts of different religious themes and religious symbolisms, almost as a sort of religious melting pot. This work, however, seeks to isolate and focus on a singular religious tradition. This essay aims to examine if, and what kinds of Christian elements are present in the first Star Wars trilogy. To determine what kind of religious and Christian elements that are present in the source material, which consist of the three original Star Wars films, episode IV through VI. The films were analyzed by using a hermeneutic theory and method, which would allow an interpretation of elements in the films which later could be considered religious and directly Christian, by connecting them to direct and indirect connotations in the Bible and Christian theology like that of Martin Luther. The results of the analysis show a few different kinds of Christian elements to be found in the first three movies. The results consist of: Names and symbols, Christian thematic in scenes and three overarching themes, salvation, Luke Skywalker as a messiah’s character, and different interpretations of the Force. An example of the results is regarding Martin Luther and sola fide and how that connection can be made to Star Wars. In the scene where this connection is made, we see our protagonist Luke Skywalker, using faith, and faith alone do destroy the Death Star, thereby redeeming not only himself but also the rebel alliance, which in turn can be likened as a symbol for the resurrection of Christ.

Målet med denna studie är att undersöka om det finns några principer för hur actionsekvenser är klippta och om utvecklingen av ny klippteknik ändrat på sättet man klipper actionsekvenser i Star Wars eller om man arbetar för att behålla och återskapa samma emotionella klippkänsla som i de äldre filmerna. Studien är genomförd i form av två stycken analysmetoder, den första metoden bygger på Berry Salt's analysmetod för att få ut statistik över hur actionsekvenserna är klippta, genom att se hur många klipp det är i en sekvens och dela antal klipp med tiden som sekvensen utspelar sig under, på så sätt får man ut en så kallad "average shot lenght" (ASL). Den andra metoden är en bildanalys där jag undersöker hur man har arbetat med dramaturgin och informationen man ger publiken. Undersökningens ramverk bygger på Dancygers  (2011) kriterier för en actionssekvens och det innebär i korthet att en actionsekvens ska innehålla identifikation, excitation, en konfilkt och intensifiering för att en actionsekvens ska räknas som en actionsekvens. Undersökningens resultat visar på att de actionsekvenser som ingått i studien skiljer sig åt. Men det finns en del genomgående principer som gäller samtliga sekvenser och de är att varje bild ska ge information om var man befinner sig, vad det är som händer och vad som kommer att hända i nästa bild. Ur min studie kan man se att sekvenserna skiljer sig i tid, antal klipp och hur lång ASL varje sekvens har. Med hjälp av klippningen ska man ge publiken den information som dem behöver för att förstå berättelsen som projiceras framför dom. Utgår man ifrån hur Star Wars filmerna är klippta i en bransch som utvecklats under 40 år, då ser man hur man använt sig av en liknande klippteknik för att fånga publikens uppmärksamhet, föra berättelsen framåt och ge publiken rätt information.

I decided to do the Disney College Program as my honors thesis because Disney is something I am very passionate about. I worked for the Disney Company before and knew that I wanted to continue my experience with them. I went into the program hoping to discover what the college program could do to prepare me (or any prospective programmer) for the profession and for a life in performance. In January of 2023, I made my way to Orlando, Florida, to start my next journey with the Walt Disney World Company. I went through four different orientation processes, as well as a week of training and an assessment period. For five months I worked for the company in a performance-based position, with hopes of discovering if there could be more opportunity to advance in performance. I discovered that by simply doing the job I was assigned well, my name was already beginning to circulate amongst Disney recruitment and leadership. This is the account of my semester in Walt Disney World. This thesis will cover everything from the application process to testimonials from other cast members. My hope is that my thesis can be a starting point for prospective applicants to this program. It is my hope that this will help prepare applicants for what is to come from the program, and the endless amount of performance opportunities and growth that stem from this internship.

Made available in DSpace on 2016-06-02T20:23:14Z (GMT). No. of bitstreams: 1 5087.pdf: 3337839 bytes, checksum: dd1a3d8080f9c50c9ec2f2dbd7f23682 (MD5) Previous issue date: 2012-11-30 / Financiadora de Estudos e Projetos / The major media conglomerates consolidated from the 1980s invest heavily on franchises captained by blockbusters movies and a wide range of products derived from them, in search of larger profits in the worldwide entertainment market. This study aims to analyze the marketing characteristics of franchises produced by major media conglomerates. In intend to do so, notes and appointments are made on the Star Wars film franchise, referred to as a kind of genesis for the franchise business model that the entertainment industry practices today. Star Wars created a paradigm in the production process of the Hollywood studios, combining filmic creativity with product marketing practices for disclosure and especially the development of strategic marketing licensing and merchandising of products that carry its brand. Through the analysis of the narrative structure of the Star Wars movies, creative tools used in the development of the story and its characters are identified showing possible paths for creating extensions and sequences that allow the expansion of several derived products across multiple platforms, building the media franchise. / Os grandes conglomerados de mídia, consolidados a partir da década de 1980, investem pesadamente em franquias capitaneadas por filmes blockbusters e uma vasta gama de produtos deles derivados, na busca de lucros cada vez maiores no mercado do entretenimento mundial. Este trabalho tem por objetivo analisar as características mercadológicas das franquias produzidas pelos grandes conglomerados de mídia, tendo como objeto de estudo e apontamentos a franquia cinematográfica Star Wars, referenciada como uma espécie de gênese para o modelo de negócio de franquias que a indústria do entretenimento pratica hoje. Star Wars criou um paradigma no processo produtivo dos estúdios de Hollywood, unindo a criatividade do produto fílmico com as práticas de marketing para sua divulgação e, principalmente, o desenvolvimento de estratégicas mercadológicas de licenciamento e de merchandising dos produtos que levam sua marca. Por meio da análise da estrutura narrativa dos filmes de Star Wars, são identificadas ferramentas que, utilizadas no desenvolvimento da história e de seus personagens, possibilitam caminhos para a criação de extensões e sequências na expansão dos vários produtos derivados, em diversas plataformas, na construção da franquia de mídia.

In this paper I have studied the two new religious phenomena, Temple of the Jedi Order and Whovianism, based on the cognitive concept of man dominated by schemas that characterize the outcome of adequate response to new situations. This principle is about how man faces new situations through old knowledge and experience of similar events. For this study, I analyzed selected stories in which individuals describe their religious interest and involvement in the Star Wars movies, and the related religious community Temple of the Jedi Order, as well as the television series Doctor Who, with the associated religious community Whovianism. This study was inspired by phenomenographic method by which researchers focus on the perceived and how it is conveyed in the respective story. The results of this study show that new religious phenomena, such as the Temple of the Jedi Order and Whovianism, can be explained using the theory of cognitive schemas.  The study shows that the individuals, whose stories have been examined, use ancient knowledge and experiences on the different aspects conveyed by Star Wars and Doctor Who and through this a new religious community is born.