Matthew Bettencourt
Professor Sarah E. S. Sinwell
Film 6350
November 8th, 2020
Star Wars Fan Culture
When Star Wars was released in 1977, it became a cultural phenomenon. It pushed the boundaries of what the medium could achieve and ushered in a new era of blockbuster cinema. It was a perfect piece of escapism that defined the childhoods of so many people. The fandom that has grown since the release of the first film in 1977 can only be described as cosmic. Using Henry Jenkins’ writing on fan cultures, this analysis will explore how fans of the Star Wars franchise blur the boundary between art and reality and take creative ownership over what George Lucas has created.
Star Wars became part of the identity of the children who grew up watching it. It also contributed to their understanding of morality. In the documentary The People vs. George Lucas (Alexandre O. Philippe, 2010), one fan stated how the movie sparked a new religious mythos for him. Through the film, he was better able to understand himself and the world around him. Star Wars became more than what was projected on screen; an entirely new world was born, and fans participated in that world as if it was their own. As one fan said, “He gave us an enormous sandbox to play in.” (Philippe, 2010) This participatory culture allowed fans to take possession of the story they loved and create their own fantasies.
In the late ‘90s, Lucas began to digitally enhance several aspects of the original films. He claimed they were unfinished due to the constraints of 1977, and they should be updated for the 21st century. These “special editions” were not well received. Lucas took something that was a cultural milestone and tinkered with it. Fans felt betrayed. One of the most notorious changes was the scene with Han Solo in the Mos Eisley cantina. In the original version, Han shot the bounty hunter Greedo first. In the special editions, it was altered to where Greedo fired first and missed. This upset fans because it changed something fundamental about Han Solo: having him not shot first indicates he isn’t as dangerous as was originally intended. It raised an important question about art: should artists be able to go back and adjust their original works? Films are a product of their times and conditions. The contextual elements that go into making a film are what makes it an original work of art. Going back to a film after several years disrupts that integrity. When Lucas made the decision to change the version so many people fell in love with, it was a slap in the face to the fans. A film critic in the documentary says how “it’s not just your dream; it’s not just your fantasy; this is a universe we all live in now.” (Philippe, 2010)
In the 1992 book Get a Life, Jenkins writes about how fans are involved in constructing cultural canons. They embrace their favored texts enthusiastically and assert their own right to form interpretations on what the texts mean and where they should go. (Jenkins, p. 18) In 1995, George Lucas began writing the prequels to the original trilogy. The amount of hype surrounding these new projects was enormous. The Phantom Menace was the most eagerly anticipated movie of the 1990s. As the premiere date drew near, fans from all over the world traveled to America to be among the first to watch the new film. It was described by one fan as “a historical event for this generation.” (Philippe, 2010)
The film couldn’t have been more of a buzz kill. Fans tried desperately to maintain their enthusiasm but felt increasingly more deflated as the film progressed. Some attempted to suppress their initial dissatisfaction and went back to the theater for a second viewing. One fan described it as “abuse victims returning to the site of abuse in order to conquer it.” (Philippe, 2010) Fans felt personally attacked by Lucas. With the release of this film, a shift from admiration to downright resentment towards Lucas was cemented. Jenkins says how the relationship between fan and producer is not a happy one — that it is often filled with mutual suspicion and open conflict. (Jenkins p. 32) Creators frequently feel contempt towards fans who infringe upon their creative freedom. Fans likewise feel disappointed when those creators fail to acknowledge them and their preferences. The fans of Star Wars wanted another movie like A
New Hope but instead they got something different — a movie that appealed more to the younger generation of the ‘90s. This is a common conflict in fan cultures. Creators and producers are often more concerned with appealing to larger audiences rather than satisfying the smaller demographic of committed fans. This was the case when fans were unhappy with the casting of Michael Keaton as the new Batman. Tim Burton responded by saying the movie had too big of a budget to worry about what a comic book fan had to say. (Jenkins, p. 30)
The pandering to younger kids seemed to manifest itself most notably in the character of Jar Jar Binks. Fans’ hatred for this character was immeasurable. He’s been described as a cartoon character offering exaggerated, unsuccessful comic relief. Because Star Wars was such an integral part of their identity, anything that suggested a shift from the original mythology was seen as a personal insult. When asked about the new directions the prequels were taking, the older fans claimed “that’s not part of my Star Wars.”
Fandom is born out of a mix of fascination and frustration. You can tell someone is a Star Wars fan by how much they love and hate it at the same time. That’s why fans have taken it to themselves to create their own meaning. Fan edits, short films, online forums, and internet videos have all become a part of being a Star Wars fan, whether that involves celebration or criticism. Jenkins says how fans have “found ways to turn the power of the media to their own advantage and to reclaim media imagery for their own purposes.” (Jenkins, p. 32) When Lucas failed to please them, they took it in their own hands to make something satisfying. This idea of who controls the material is central to Star Wars fan culture. Once an artist creates something and it is released to the world, should they have to relinquish control of their creation? George Lucas seemed to think the creative universe of Star Wars belonged solely to him. But you can’t have your cake and eat it, too. It was the fans who enabled Lucas to make millions of dollars; failure to recognize them has understandably resulted in disdain and bitterness that persists to this day.
Works Cited
Jenkins, H. “Get a Life,” in Textual Poachers (New York and London: Routledge, 1992), 9-49.
The People vs. George Lucas. Directed by Alexandre O. Philippe, Wrekin Hill Entertainment, 2010.
Star Wars. Directed by George Lucas, performances by Mark Hamill, Harrison Ford, Carrie Fisher, 20th Century Fox, 1977.
Star Wars: Episode I – The Phantom Menace. Directed by George Lucas, performances by Liam Neeson, Ewan McGregor, Natalie Portman, 20th Century Fox, 1999.