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star wars a new hope essay

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Like "Birth of a Nation" and " Citizen Kane ," “Star Wars'' was a technical watershed that influenced many of the movies that came after. These films have little in common, except for the way they came along at a crucial moment in cinema history, when new methods were ripe for synthesis. “Birth of a Nation'' brought together the developing language of shots and editing. “Citizen Kane'' married special effects, advanced sound, a new photographic style and a freedom from linear storytelling. “Star Wars'' melded a new generation of special effects with the high-energy action picture; it linked space opera and soap opera, fairy tales and legend, and packaged them as a wild visual ride.

“Star Wars'' effectively brought to an end the golden era of early-1970s personal filmmaking and focused the industry on big-budget special-effects blockbusters, blasting off a trend we are still living through. But you can't blame it for what it did, you can only observe how well it did it. In one way or another all the big studios have been trying to make another “Star Wars'' ever since (pictures like " Raiders of the Lost Ark ," " Jurassic Park " and " Independence Day " are its heirs). It located Hollywood's center of gravity at the intellectual and emotional level of a bright teenager.

It's possible, however, that as we grow older we retain within the tastes of our earlier selves. How else to explain how much fun “Star Wars'' is, even for those who think they don't care for science fiction? It's a good-hearted film in every single frame, and shining through is the gift of a man who knew how to link state of the art technology with a deceptively simple, really very powerful, story. It was not by accident that George Lucas worked with Joseph Campbell, an expert on the world's basic myths, in fashioning a screenplay that owes much to man's oldest stories.

By now the ritual of classic film revival is well established: An older classic is brought out from the studio vaults, restored frame by frame, re-released in the best theaters, and then re-launched on home video. With this “special edition'' of the “Star Wars'' trilogy (which includes new versions of " Return of the Jedi " and " The Empire Strikes Back "), Lucas has gone one step beyond. His special effects were so advanced in 1977 that they spun off an industry, including his own Industrial Light & Magic Co., the computer wizards who do many of today's best special effects.

Now Lucas has put ILM to work touching up the effects, including some that his limited 1977 budget left him unsatisfied with. Most of the changes are subtle; you'd need a side-by-side comparison to see that a new shot is a little better. There are about five minutes of new material, including a meeting between Han Solo and Jabba the Hut that was shot for the first version but not used. (We learn that Jabba is not immobile, but sloshes along in a kind of spongy undulation.) There's also an improved look to the city of Mos Eisley (“a wretched hive of scum and villainy,'' says Obi-Wan Kenobi). And the climactic battle scene against the Death Star has been rehabbed.

The improvements are well done, but they point up how well the effects were done to begin with: If the changes are not obvious, that's because “Star Wars'' got the look of the film so right in the first place. The obvious comparison is with Kubrick's "2001: A Space Odyssey" made almost 10 years earlier, in 1968, which also holds up perfectly well today. (One difference is that Kubrick went for realism, trying to imagine how his future world would really look, while Lucas cheerfully plundered the past; Han Solo's Millennium Falcon has a gun turret with a hand-operated weapon that would be at home on a World War II bomber, but too slow to hit anything at space velocities.)

Two Lucas inspirations started the story with a tease: He set the action not in the future but “long ago,'' and jumped into the middle of it with “Chapter 4: A New Hope.'' These seemingly innocent touches were actually rather powerful; they gave the saga the aura of an ancient tale, and an ongoing one.

As if those two shocks were not enough for the movie's first moments, I learn from a review by Mark R. Leeper that this was the first film to pan the camera across a star field: “Space scenes had always been done with a fixed camera, and for a very good reason. It was more economical not to create a background of stars large enough to pan through.'' As the camera tilts up, a vast spaceship appears from the top of the screen and moves overhead, an effect reinforced by the surround sound. It is such a dramatic opening that it's no wonder Lucas paid a fine and resigned from the Directors Guild rather than obey its demand that he begin with conventional opening credits.

The film has simple, well-defined characters, beginning with the robots C-3PO (fastidious, a little effete) and R2D2 (childlike, easily hurt). The evil Empire has all but triumphed in the galaxy, but rebel forces are preparing an assault on the Death Star. Princess Leia (pert, sassy Carrie Fisher ) has information pinpointing the Death Star's vulnerable point and feeds it into R2-D2's computer; when her ship is captured, the robots escape from the Death Star and find themselves on Luke Skywalker's planet, where soon Luke ( Mark Hamill as an idealistic youngster) meets the wise, old, mysterious Kenobi ( Alec Guinness ) and they hire the free-lance space jockey Han Solo ( Harrison Ford , already laconic) to carry them to Leia's rescue.

The story is advanced with spectacularly effective art design, set decoration and effects. Although the scene in the intergalactic bar is famous for its menagerie of alien drunks, there is another scene -- when the two robots are thrown into a hold with other used droids -- which equally fills the screen with fascinating throwaway details. And a scene in the Death Star's garbage bin (inhabited by a snake with a head curiously shaped like E.T.'s) also is well done.

Many of the planetscapes are startlingly beautiful, and owe something to fantasy artist Chesley Bonestell's imaginary drawings of other worlds. The final assault on the Death Star, when the fighter rockets speed between parallel walls, is a nod in the direction of “2001,'' with its light trip into another dimension: Kubrick showed, and Lucas learned, how to make the audience feel it is hurtling headlong through space.

Lucas fills his screen with loving touches. There are little alien rats hopping around the desert, and a chess game played with living creatures. Luke's weather-worn “Speeder'' vehicle, which hovers over the sand, reminds me uncannily of a 1965 Mustang. And consider the details creating the presence, look and sound of Darth Vader, whose fanged face mask, black cape and hollow breathing are the setting for James Earl Jones' cold voice of doom.

Seeing the film the first time, I was swept away, and have remained swept ever since. Seeing this restored version, I tried to be more objective and noted that the gun battles on board the spaceships go on a bit too long; it is remarkable that the Empire marksmen never hit anyone important; and the fighter raid on the enemy ship now plays like the computer games it predicted. I wonder, too, if Lucas could have come up with a more challenging philosophy behind the Force. As Kenobi explains it, it's basically just going with the flow. What if Lucas had pushed a little further, to include elements of nonviolence or ideas about intergalactic conservation? (It's a great waste of resources to blow up star systems.)

The film philosophies that will live forever are the simplest-seeming ones. They may have profound depths, but their surfaces are as clear to an audience as a beloved old story. The way I know this is because the stories that seem immortal -- ”The Odyssey,'' “Don Quixote,'' “ David Copperfield ,'' “Huckleberry Finn'' -- are all the same: A brave but flawed hero, a quest, colorful people and places, sidekicks, the discovery of life's underlying truths. If I were asked to say with certainty which movies will still be widely-known a century or two from now, I would list “2001: A Space Odyssey,'' and "The Wizard" of Oz and Keaton and Chaplin, and Astaire and Rogers, and probably "Casablanca". . . and “Star Wars," for sure.

Roger Ebert

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Star Wars movie poster

Star Wars (1977)

121 minutes

Mark Hamill as Luke Skywalker

Carrie Fisher as Princess Leia

Harrison Ford as Han Solo

Alec Guinness as Obi-Wan Kenobi

David Prowse as Darth Vader

James Earl Jones as Vader's Voice

Kenny Baker as R2D2

Anthony Daniels as C3PO

Directed by

  • George Lucas

Produced by

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Studying Skywalkers: Themes in Star Wars: A New Hope

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Studying skywalkers: themes in star wars: a new hope.

Dan Zehr

The first Star Wars film introduced many themes that would anchor the entire saga.

Studying Skywalkers is an exclusive column that investigates the characters, themes, and lessons of Star Wars from an educational, literary perspective. In this installment, StarWars.com looks at themes in  Star Wars: A New Hope .

Star Wars.com continues to look at themes present in the six existing Star Wars films as we get closer to Star Wars:  The Force Awakens . Each of these films helps to perpetuate our understanding of each character, as well as to further our examination of the cultural imperatives present in these beloved movies. The prequels brought us deeper into the world of Anakin Skywalker, the Jedi Order, and the fall of the Republic. However, the legacy of Star Wars began with the original trilogy, and the uprising of the Rebellion. Featuring the heroics of Luke Skywalker, Princess Leia, and Han Solo, the original trilogy left a legacy that continues to enthrall, entertain, and inspire us. A closer look at Star Wars: A New Hope reveals themes that demonstrate how relevant the 1977 masterpiece remains, and helps collective audiences embrace how fresh this story still is today.

A New Hope - Luke, Obi-Wan, R2-D2 on Tatooine

Respect for elders Star Wars established the well known galaxy far, far away, and inspires us for many reasons: chief among them, however, are the memorable characters, particularly the elder statesmen of the film. The film reinforces the cultural paradigm of the wise elder. Obi-Wan Kenobi is the clearest example. His mentorship of Luke Skywalker is the catalyst that leads the burgeoning hero to his destiny with the Rebellion, and eventually, the ways of a Jedi.

Not to be outdone, however, is the curmudgeonly Owen Lars. The uncle of Luke Skywalker appears to repress Luke, and keep his dreams restrained. While his manner can be difficult for his nephew to embrace, the matter is paramount to Luke’s safety. Uncle Owen raises Luke to be a self-reliant young man, and while Luke may not always agree, his respect of an elder authority figure reflects his character, as well as the wisdom of Owen Lars.

Even the Empire features the wisdom of an elder, albeit in an unconventional sense. Grand Moff Tarkin is the oldest member of the Empire seen in Star Wars , and he is clearly respected. In fact, he is the only member of the Empire that Darth Vader not only respects, but listens to, and takes commands from without fail. Undoubtedly, the remaining members of the fleet take note of this; Tarkin’s reputation has come to light more recently in James Luceno’s novel, but his wisdom, as well as the respect the Empire has for him, as seen in Star Wars , is not to be taken lightly.

A New Hope - Luke, Leia, Han at medal ceremony

People of different backgrounds can work together to produce great results Another important theme in Star Wars is the power of coming together to realize a common goal. History provides many examples of individuals and factions from different geographic backgrounds and diverse ideologies embracing differences to unite against a common foe. In A New Hope , this is made manifest in the form of Princess Leia Organa, Han Solo, and Luke Skywalker. The princess, the scoundrel, and the farmboy all have different histories, but the same destiny: to unite against the Empire, and become more as a whole than they were as single entities. This is also evident in the presentation of the Rebellion. In difficult times of war, oppression, and wrongdoing, Star Wars reinforces the power of difference, and the benefits of working together to manifest a better tomorrow.

Luke Skywalker igniting his father's lightsaber for the first time

The positive aspects of not relying too much on technology  In yet another memorable scene, Luke is training with a remote on the Millennium Falcon , while Han Solo watches in bemused self-righteousness. He famously informs Luke and Ben Kenobi that “hokey religions and ancient weapons are no match for a good blaster at your side.” To audiences, a lightsaber seems far from ancient, but it appears that to Han Solo, the weapon is out of date, and his technology (via a blaster) is the way to go. Ben ignores Solo’s snark, and Luke learns that sometimes the old ways are better.

This is much more pertinent during the penultimate chapter of A New Hope ; Luke Skywalker is called to from the beyond by Obi-Wan to “use the Force” and to “let go.” While at first caught off guard, Luke realizes that he must turn off his targeting computer (which, as shown previously by Red Leader, was no guarantee of a direct hit into the Death Star's exhaust port) in order to save the moon of Yavin from seemly imminent destruction. Luke decides not to rely on technology, and to trust his instinct, as well as his increasing Force abilities. He engages in the Force, and shuts off the device. He did not need technology to achieve his goal, and sets about a major shift in the sway of the war against the Empire.

A New Hope - Luke gazing at Tatooine suns

The importance of hope and believing in what you can't see When Luke Skywalker longs for change in his life, and gazes into the twin suns of Tatooine, the audience is presented with a powerful theme: we must have hope. The future Jedi senses there is more to life, and that just beyond what is known is something greater. The scene is a favorite amongst Star Wars fans, and for good reason. Having hope, and trusting that there is something to believe in that can not be seen with the five senses inspires optimism, creativity, and hope. It is no wonder this moment has captivated so many generations of moviegoers.

The example above involving Luke Skywalker’s epic trench run in the Death Star also reinforces believing in what one cannot be seen. Luke chooses to believe in the Force; it may give the Jedi his power, but at this particular moment, Luke can see nothing more than the trenches racing by, and the real threat of Darth Vader’s TIE speeding towards him. He puts his faith in something greater that is not in his line of vision, and vanquishes the Death Star. He has hope, as well as faith, and comes out more powerful than he could possibly imagine.

What other themes in A New Hope have you noticed in your many viewings? Let us know in the comments below, and be on the lookout for the next installment, themes in Star Wars: The Empire Strikes Back .

Dan Zehr is a high school English teacher with an MS in Teaching and Learning, and runs Coffee With Kenobi (with co-host Cory Clubb), a Star Wars podcast that analyzes the saga through critical thinking, analysis, interviews, and discussion. He is also a member of the Rogues (as Blue Leader), a network of teachers that incorporate Star Wars in the Classroom .

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The hero’s journey breakdown: ‘star wars’.

By Ken Miyamoto · October 11, 2019

star wars a new hope essay

How does Star Wars: A New Hope follow Joseph Campbell’s Hero’s Journey breakdown?

Welcome to the inaugural installment of our new series A Hero’s Journey Breakdown where we explore Joseph Campbell’s mythological storytelling structure and how iconic films fit into that mold.

First up is Star Wars Episode IV: A New Hope . Let’s break down the plot and structure of George Lucas’ 1977 space-opera, the first in what would become an epic franchise spanning nearly 40 years, and see how it fits within The Hero’s Journey. You can download the script below to follow along.

But before we do that, let’s make sure we have the basics down, including what the Hero’s Journey is, where it originated, and who created it.

The Hero’s Journey 101

The “hero’s journey” is a common narrative archetype that features the different stages of a protagonist’s journey in a story. It has been studied and analyzed by many scholars from a multitude of disciplines, but one interpretation has found its way into the minds of almost every writer studying the craft.

The Monomyth

In 1949, writer and professor of literature Joseph Campbell wrote one of the most influential works in storytelling, The Hero with a Thousand Faces, in which he theorizes that stories often share a basic structure. Dubbed the “monomyth” or “the hero’s adventure,” Campbell lays out 17 stages of this narrative archetype, from  but some have crafted their own interpretations and renditions that the writing community has used as guides in their own work.

Joseph Campbell's Monomyth

Joseph Campbell’s Monomyth

Vogler: The Writer’s Journey

Christopher Vogler’s approach to Campbell’s structure broke the mythical story structure into 12 stages. For this series, we define the stages in simplified interpretations:

  • The Ordinary World : We see the hero’s normal life at the start of the story before the adventure begins.
  • Call to Adventure : The hero is faced with an event, conflict, problem, or challenge that makes them begin their adventure.
  • Refusal of the Call : The hero initially refuses the adventure because of hesitation, fears, insecurity, or any other number of issues.
  • Meeting the Mentor : The hero encounters a mentor that can give them advice, wisdom, information, or items that ready them for the journey ahead.
  • Crossing the Threshold : The hero leaves their ordinary world for the first time and crosses the threshold into adventure.
  • Tests, Allies, and Enemies : The hero learns the rules of the new world and endures tests, meets friends, and comes face-to-face with enemies.
  • The Approach : The initial plan to take on the central conflict begins, but setbacks occur that cause the hero to try a new approach or adopt new ideas.
  • The Ordeal: Things go wrong and added conflict is introduced. The hero experiences more difficult hurdles and obstacles, some of which may lead to a life crisis.
  • The Reward : After surviving The Ordeal, the hero seizes the sword — a reward that they’ve earned that allows them to take on the biggest conflict. It may be a physical item or piece of knowledge or wisdom that will help them persevere.
  • The Road Back : The hero sees the light at the end of the tunnel, but they are about to face even more tests and challenges.
  • The Resurrection : The climax. The hero faces a final test, using everything they have learned to take on the conflict once and for all.
  • The Return : The hero brings their knowledge or the “elixir” back to the ordinary world.

Breaking Down the Journey: A New Hope

Here we turn to George Lucas’s Star Wars Episode IV: A New Hope .

Note: As with any application of story structure or formula, this is just a hindsight interpretation and implementation of The Hero’s Journey to this cinematic tale. There can and will be variances. 

The Ordinary World

Luke Skywalker is living a normal and humble life as a farm boy on his home planet of Tatooine.

Call to Adventure

Luke is called to his adventure by two individuals — R2-D2 and Ben Kenobi. Luke triggers R2-D2’s message from Princess Leia and is intrigued by her and the message.

When R2-D2 escapes to find Ben Kenobi, Luke follows and is later saved by Kenobi, who goes on to tell Luke about his Jedi heritage. Kenobi suggests that he should come with him to Alderaan.

Refusal of the Call

Luke refuses Kenobi, telling him that he can take Kenobi and the droids as far as Mos Eisley Spaceport — but he can’t possibly leave his Aunt and Uncle behind for some space adventure.

Crossing the Threshold

When Luke discovers that the stormtroopers searching for the droids would track them to his farm, he rushes to warn his Aunt and Uncle, only to discover them dead by the hands of the Empire.

When Luke returns to Kenobi, he pledges to go with him to Alderaan and learn the ways of the Force like his father before him.

Tests, Allies, and Enemies

After Luke, Kenobi, and the droids hire Han Solo and Chewbacca to transport them off of Tatooine and onto Alderaan, Kenobi begins Luke’s training in the ways of the Force.

Wielding his father’s lightsaber, Kenobi challenges him to block the shots of a small training remote. At first, he can’t do it. But then Kenobi gives him a helmet to wear that has a blast shield that blocks his view of the remote. Kenobi teaches him to reach out and trust his feelings.

Luke blocks three shots from the remote — blind.

The Approach

The plan to defeat the Galactic Empire is to bring the Death Star plans to Alderaan so that Princess Leia’s father can take them to the Rebellion. However, when they arrive within the system, the planet is destroyed. They come across the Death Star and are pulled in by a tractor beam, now trapped within the metaphorical belly of the beast — The Galactic Empire.

As Kenobi goes off to deactivate the tractor beam so they can escape, Luke, Han, and Chewbacca discover that Princess Leia is being held on the Death Star with them. They rescue her and escape to the Millennium Falcon, hoping that Kenobi has successfully deactivated the tractor beam.

Kenobi later sacrifices himself as Luke watches Darth Vader strike him down. Luke must now avenge his fallen mentor and carry on his teachings.

Luke has saved the princess and retrieved the Death Star plans. They now have the knowledge to destroy the Galactic Empire’s greatest weapon once and for all.

The Road Back

Luke, Leia, Han, Chewbacca, and the droids are headed to the hidden Rebellion base with the Death Star plans. They are suddenly pursued by incoming TIE-Fighters, forcing Han and Luke to take action to defend the ship and escape with their lives — and the plans.

When they are triumphant, they realize that the Galactic Empire must be tracking them. But they have no choice but to race against time to take the plans to the Rebellion and prepare for battle.

The Resurrection

The Rebels — along with Luke as an X-Wing pilot — prepare to take on the Death Star.

The Rebellion and the Galactic Empire wage war in an epic space battle. Luke is the only X-Wing pilot that was able to get within the trenches of the Death Star. But Darth Vader and his wingmen are in hot pursuit. Just as Darth Vader is about to destroy Luke, Han returns and clears the way for Luke.

Luke uses the Force to guide his aiming as he fires upon the sole weak point of the deadly Death Star, destroying it for good.

Luke and Han return to the Rebellion base, triumphant, as they receive medals for the heroic journey. There is peace throughout the galaxy — at least for now.

Hopefully now you have a better idea of what the Hero’s Journey looks like in the wild. Be sure to check out our other Hero’s Journey Breakdowns for more examples from cinema’s greatest films.

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star wars a new hope essay

Home / Essay Samples / Entertainment / Star Wars / The Influence Of Star Wars: A New Hope On The Film Industry And Society

The Influence Of Star Wars: A New Hope On The Film Industry And Society

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