Relevant bibliographies by topics / Star wars (Film cinématographique)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Star wars (Film cinématographique)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Star wars (Film cinématographique)"

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Silva, Patrícia Nunes da, Monica Almeida Gama, and André Luiz Cordeiro dos Santos. "Star Wars - an episodes battle." International Journal for Innovation Education and Research 8, no. 6 (June 1, 2020): 367–80. http://dx.doi.org/10.31686/ijier.vol8.iss6.2428.

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Mlodinow (2008) proposed a crazy market experiment: to release the same film under two titles: Star Wars: Episode A and Star Wars: Episode B. Their marketing campaigns and distribution schedule are identical except by their titles on trailers and ads. He looks at the first 20,000 moviegoers and record the film they choose to see. He claims it is most probable the lead never changes, and it is 88 times more likely that one of the two films will be int the lead through all 20,000 customers than it is that the lead continuously seesaw. We present a detailed mathematical explanation for Mlodinow claims.
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Spracklen, Karl. "Performing science-fiction fandom through debating controversy: Communicative leisure, collective memory and Rogue One: A Star Wars Story, below the line at The Guardian." Journal of Fandom Studies 8, no. 1 (March 1, 2020): 103–17. http://dx.doi.org/10.1386/jfs_00012_1.

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Star Wars has become one of a handful of science-fiction franchises that have defined and shaped what Adorno calls the modern culture industry. The original trilogy challenged the way Hollywood financed and marketed its movies and made George Lucas incredibly rich. Star Wars fans bought tickets for re-releases, special editions and the notoriously egregious prequels, as well as a seemingly endless range of merchandise. When Lucas sold the franchise to Disney new movies were promised, including what became the stand-alone prequel Rogue One: A Star Wars Story. In this article, I am interested in exploring how people react in publicly accessible online spaces, as these are key spaces for the performativity of digital communicative leisure. Specifically, I am interested in how fans of the original trilogy and the Star Wars franchise critiqued or defended the film and Star Wars more broadly through a detailed analysis online comments below the line reacting to review by film critic Mark Kermode published in a middle-class, liberal newspaper: the UK-based The Guardian. This review and its comments below the line represent a snapshot of what middle-class liberals might feel able to write about the film and their own Star Wars fandom. This analysis will also be extended to critiques made by people seeking to distance themselves from Star Wars and all that Star Wars fandom may entail, as a performativity of anti-fandom. I will show that for fans collective memory is used to try to construct authenticity and ownership of Star Wars, but that collective memory is only ever temporarily negotiated.
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Kinder, Elizabeth. "Finding balance: Nostalgia in Star Wars transmedia." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 195–213. http://dx.doi.org/10.1386/ajpc_00027_1.

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Nostalgia is a necessary element of Star Wars: The Clone Wars (2008–20) and the ‘new’ Star Wars comics (Marvel, 2015–19), recent serial narratives in the ever-expanding transmedia Star Wars universe. The anticipation (and consequential reception) of these works is, in part, driven by nostalgia: the original Star Wars film, A New Hope, was released in 1977 and as the series has expanded in the decades since, in film and other media, nostalgia has become ingrained within the fandom as audiences are invited to repeatedly return to ‘a long time ago, in a galaxy far, far away’. As a result of decades of content, there is a sense of ‘ownership’ amongst the fandom and, at times, a resistance to new content that attempts to ‘weaponize’ nostalgia as a marketing tool, such as in the ‘Sequel Trilogy’ (2015, 2017, 2019). The Clone Wars, first mentioned in A New Hope, is set between two Star Wars (Prequel) films that feature key events in the overall saga, while the Star Wars comics take place between A New Hope and The Empire Strikes Back (1980). The Clone Wars and the Star Wars comics succeed where the sequels (and prequels) arguably do not because they use nostalgia to serialize and capitalize on transmedia, allowing the audience to revisit characters and narrative events that have already been established for decades. Both works allow for character and narrative development between two fixed (cinematic) points in the story canon, with the spaces in between and around those points that frame their place in the Star Wars universe allowing for rich exploration.
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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.

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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
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Myers, Steve. "Psychological vs. visionary sources of myth in film." International Journal of Jungian Studies 4, no. 2 (September 1, 2012): 150–61. http://dx.doi.org/10.1080/19409052.2012.693456.

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Some film analyses that claim to be Jungian tend to take a Campbellian approach - i.e., finding the same archetypes, images and themes in each film. In his analysis of art, Jung warned that such an approach can be misleading, acting as a psychological cloak that hides the real meaning of the work. Jung used the distinctions of psychological and visionary to find the new meaning that emerges from art. This paper illustrates how these distinctions can be applied to film analysis, using the examples of Star Wars IV and Star Trek V.
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Rose, Alexander S. "Star Wars: The Force Awakens [the Western Pleasure Principle]." CINEJ Cinema Journal 7, no. 2 (September 20, 2019): 48–81. http://dx.doi.org/10.5195/cinej.2019.216.

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It is difficult to identify the contradictions that serve as the foundation for value propositions in the cultural branding model. To address this, I propose the use of psychoanalysissto analyze market- and cultural-level collectives. To demonstrate, I analyze a recent installment in the popular film franchise Star Wars in order to demonstrate how extant product preferences can be used as subjects of analysis much like dream images in traditional psychoanalysis. I find that the western market which enjoys the films likely does so due to a defense mechanism known as inversion. On the market level, this offers opportunities for identity-related branding. Implications for the cultural branding model and commercial mythologizing are discussed.
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Jung, Kil. "Study on Orchestration in John Williams's Film Score "Star Wars-Main Title"." Journal of the Korea Academia-Industrial cooperation Society 12, no. 12 (December 31, 2011): 5477–85. http://dx.doi.org/10.5762/kais.2011.12.12.5477.

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Lyden, J. C. "Whose Film Is It, Anyway? Canonicity and Authority in Star Wars Fandom." Journal of the American Academy of Religion 80, no. 3 (July 18, 2012): 775–86. http://dx.doi.org/10.1093/jaarel/lfs037.

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Kelsey, Penelope. "World(build)ing in Mohawk- and Seneca-Language Films." English Language Notes 58, no. 1 (April 1, 2020): 214–25. http://dx.doi.org/10.1215/00138282-8237531.

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Abstract This essay brings Zayin Cabot’s concept of “ecologies of participation” into conversation with contemporary Mohawk- and Seneca-language films and language revitalization movements. For Indigenous peoples, these participatory events are often interactive storying of worlds, whether told in film, social media, or oral tradition. As a particularly salient example, the essay considers Mohawk director Karahkwenhawi Zoe Hopkins’s adaptation of Star Wars: A New Hope in Star Wars Tsyorì:wat IV—Yonhská:neks (2013) in a comparative analysis with both the Navajo-language Star Wars: Episode IV and the Seneca-language films Kohgeh and Tših to highlight critical choices Karahkwenhawi makes in translation, both linguistic and visual, vis-à-vis settler colonial consumer culture. The essay concludes that her adaptation foregrounds supposed “advances” of Western technocratic capitalism; highlights the constructed, fallible, and ephemeral nature of these technologies; and potentiates other technologies and ecologies based in Mohawk ontologies.
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Auda, Marwa. "THE HISTORICAL/ CULTURAL INFLUENCES ON STAR WARS CHARACTER QUEEN PADME COSTUME DESIGN." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 142–55. http://dx.doi.org/10.47436/jaarsfa.v1i1.22.

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The research is about the role of the costume designer and the extent of its effectiveness in achieving the balance between character design that reflects the ideals and goals of movie, and finding the appropriate reference, whether historical or civilized influence, through the design idea on which it is based. For example, the research was taken from the costume design of the star wars movie in a condition that applies to the elements of a suitable design and limited the analysis On Queen Padmé character from the series of star wars movies, the research mentioned three costumes that appeared during the film; throne room gown with its elements inspired in the creative process of design, the lake gown, and the travel gown with its details which Inspired by different civilizations like old historical Russian dress.
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Dissertations / Theses on the topic "Star wars (Film cinématographique)"

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Cloutier, Caroline. "Le discours sur la ville dans les films d'anticipation." Master's thesis, Université Laval, 2003. http://hdl.handle.net/20.500.11794/28613.

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Johansson, Martin. "Bibeln: En Star Wars Saga : En hermeneutisk tolkning av kristna inslag inom Star Wars." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71616.

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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.
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Fjällström, Robin. "Filmklipparens roll i Star Wars : Kraften i actionsekvenser." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-26303.

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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.
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Pukszta, Claire A. "Star Wars and Franchising: Emotional Ownership and Tensions in the Digital Age." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1257.

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This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally. The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise. Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.
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Söderman, Oscar. "Religion och Populärkultur : En hermeneutisk studie om religiösa inslag i Star Wars." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47791.

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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.
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Stoppe, Sebastian. "John Williams’s Film Music in the Concert Halls." Brepols, 2018. https://ul.qucosa.de/id/qucosa%3A38210.

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Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why?
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Profitt, Blue Aslan Philip. "In Luke More Than Luke: Family Romance and Narcissism in the 'Star Wars' Saga." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555689565560614.

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Juan, Myriam. ""Aurons-nous un jour des stars ?" : une histoire culturelle de vedettariat cinématographique en France (1919-1940)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010705.

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Les vedettes de cinéma sont apparues entre la fin des années 1900 et le début des années 1910,mais c’est au lendemain de la Première Guerre mondiale, avec la création des premières publications spécialisées à destination du public, que le vedettariat cinématographique achève de se constituer en France. Envisageant le phénomène comme un système économique, social et culturel couvrant l’ensemble des domaines constitutifs du cinéma (de la production à la réception), cette thèse étudie la mise en place du vedettariat cinématographique français de 1919 à la défaite de juin 1940. La période débute sur le constat de la domination des films américains portés par le succès de leurs stars, qui contraste avec les difficultés du cinéma français auxquelles les contemporains associent un manque de rayonnement des vedettes. Vingt ans plus tard, la popularité de ces dernières est incontestable et leur rôle dans le fonctionnement de l’industrie cinématographique est devenu capital, suivant un modèle bien différent toutefois de celui en vigueur à Hollywood pour lequel perdure la fascination des Français. Entretemps, le cinéma muet a cédé la place au cinéma parlant, une évolution dont ce travail tente d’évaluer précisément l’impact sur le vedettariat. Dans la perspective d’une histoire culturelle du cinéma en France,confrontant la perception des systèmes étrangers et celle du système français, analysant les pratiques autant que les discours, ce sont ainsi les représentations et les enjeux dont est alors porteur le vedettariat cinématographique que cette recherche entreprend d’appréhender
Movie stars came into being at the end of the 1900s and the beginning of the 1910s, but it is notuntil the end of the First World War that the star system became a reality in France, thanks to the creation of the first fan magazines. Regarding the economic, social and cultural aspects of the phenomenon, which covers every area of the cinema (from production to reception), this thesis studies how the French star system was established between 1919 and the Fall of France in June1940. At the beginning of the period the American movies and their stars dominate in France; instark contrast, the difficulties of French cinema are related to the weakness of its stars – its“vedettes” as the French say. Twenty years later, French movie stars have become unquestionably popular and they play a key part in the film industry, although they are involved in a system very different from the Hollywood one, which still fascinates French people. In the middle of this period, there occurred the transition to sound, an evolution whose impact on thestar system this thesis tries to determine precisely. Thus, this research in cultural history compares the way the French system and its rivals are seen, and it analyses both discourses and practices in order to explain the representations and the issues related to the movie star system in France during the period
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Tedeman, Victor. "The Power of the Dark Side : Ondskans porträtterande i populärkultur." Thesis, Uppsala universitet, Teologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-301082.

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Yeloshyna, Natallia. "The New Collaborative Cinema: Fan Labor in Contemporary Film Franchises." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou161800816475422.

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Books on the topic "Star wars (Film cinématographique)"

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Inc, Aeon, ed. Star Wars chronicles. San Francisco: Chronicle Books, 1997.

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Peter, Vilmur, ed. The Star Wars poster book. San Francisco: Chronicle Books, 2005.

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Pablo, Hidalgo, ed. Star Wars: Chronicles: The Prequels. San Francisco: Chronicle Books, 2006.

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Hanson, Michael J. Star wars: The new myth. [Philadelphia]: XLIBRIS Corp., 2001.

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Williams, John. Star wars, episode I, the phantom menace: Original motion picture soundtrack. New York: Sony Classical, 1999.

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Blackman, W. Haden. The art and making of Star Wars the Force Unleashed. San Rafael, CA: Insight Editions, 2008.

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Kent, Lindsay. Star Wars: The adventures of Han Solo. New York, NY: DK Pub., 2011.

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Von Star Wars, Ultima und Doom: Mythologische verschleierte Gewaltmechanismen im kommerziellen Film und in Computerrollenspielen. Frankfurt am Main: P. Lang, 1997.

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1963-, Jenssen Hans, and Chasemore Richard, eds. Star wars, attack of the clones: Incredible cross-sections. New York: DK Pub., 2002.

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Vaz, Mark Cotta. From Star wars to Indiana Jones: The best of the Lucasfilm archives. San Francisco: Chronicle Books, 1994.

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Book chapters on the topic "Star wars (Film cinématographique)"

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Bignell, Jonathan. "Star Wars (1977): Back and Forth in Time and Space." In Film Moments, 111–15. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92455-4_26.

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Scott, Jason. "From Behind the Masks to Inside: Acting, Authenticity and the Star Wars Co-Stars." In Cult Film Stardom, 90–106. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291776_6.

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"Star Wars Eastern Saga." In Eastern Approaches to Western Film. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350116917.0007.

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"Example 1 Star Wars: Closing ceremonial march." In Hearing Film, 58–65. Routledge, 2002. http://dx.doi.org/10.4324/9780203900802-5.

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"8. The Star Wars Trilogy." In The Hero and the Perennial Journey Home in American Film, 202–27. University of Pennsylvania Press, 2001. http://dx.doi.org/10.9783/9780812200133.202.

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Johnson, Derek. "Resistance and Empire: Star Wars and the Social Justice Reboot." In Film Reboots, 127–42. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.003.0009.

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This chapter attends to recent instalments in the Star Wars series as ‘social justice’ reboots. It employs this term to describe those properties – not only Star Wars, but also series such as Ghostbusters, Ocean’s and Creed/Rocky – in which industrial and commercial priorities of reproduction (sameness) mediate imperatives to address the inequities of access and representation (difference). Attending to The Force Awakens and Rogue One, this chapter demonstrates how parent companies Disney and Lucasfilm judiciously balance repetition and innovation so as to maintain a franchise in which social justice itself is rebooted as a marketable output of serialisation.
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Diego Bubbio, Paolo. "A Sacrificial Crisis Not Far Away: Star Wars as a Genuinely Modern Mythology." In Mimetic Theory and Film. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781501334863.0012.

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Palmer, Landon. "Who’s That Girl?" In Rock Star/Movie Star, 176–214. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0006.

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Chapter 5 examines Madonna’s film career from the mid-1980s to the mid-1990s. Inspired by the star images of Marlene Dietrich, Marilyn Monroe, and Mae West, Madonna performed an interpretation of “Classical Hollywood” female glamour, attitude, and sexuality throughout the rise and peak of her music career. She sought to extend this image into distinct commercial film cycles of the 1980s and 1990s, including the downtown indie, the synergistic blockbuster, the sex thriller, and the prestige Oscar film. Madonna offers an illustrative case for the history of cinematic rock stardom at the end of the twentieth century. She pursued a screen career within arguably the final period in which stardom served as a central driving force in Hollywood’s economic logic, and this pursuit was manifested via her cinephilic interpretation of Hollywood’s legacy of platinum blonde sex symbols. At the same time, Madonna aspired to a cinematic star image during the apex of the music video’s economic and cultural power, seeking to translate her anti-censorship and pro-sex efforts established within the media realm into Hollywood filmmaking in the midst of the 1980s–1990s culture wars. Madonna’s film career epitomizes the issues driving this book, as it speaks to the discordance between older (studio-era Hollywood) and newer (the era of MTV and beyond) models of stardom.
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"„May the Force be with you!“ STAR WARS – alte Mythen neu arrangiert." In Handbuch Theologie und Populärer Film, 197–208. Verlag Ferdinand Schöningh, 2012. http://dx.doi.org/10.30965/9783657775354_016.

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Rauscher, Andreas. "From Cineludic form to Mise-En-Game: The Ludification of Cinematic Storyworlds in the Star Wars Video Games." In The Franchise Era, 119–38. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0006.

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Andreas Rauscher analyzes the complex convergence of film, video games, and other media within the Star Wars franchise. He argues that stylistic influence within the franchise extends in multiple directions, as while the games bear cinematic elements, the recent film entries remediate ludic concepts. Overall, he notes that the remediation of ludic structures and situations provides a key aesthetic element to Lucasfilm and Disney’s recent Star Wars films.
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