Leadership Styles paper

Reporting | The New Yorker

Date of publication: 2017-09-01 10:27

Look, I applaud the efforts here and it 8767 s a good read and maybe, just maybe there is something to this and some of it is by design, purposefully by Lucas. He is, after all, a brilliant man that has given us the sandbox that is Star Wars. It is a wonderful and great gift bestowed upon our generation and for that, I am forever grateful to him. I know there was some intent for these movies to be set up this way and the 8775 a-ha 8776 moment of this design is legit. I appreciate you taking the time to help sell the idea and flesh it out for us.

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The first few films in particular were self-evidently seat-of-the-pants writing. Evidence:
* The way Obi-Wan 8767 s dialogue in the first movie uses 8775 Darth 8776 as if it were Vader 8767 s first name (written before he 8767 d decided that Darth was a title common to all Sith Lords).
* The infamous budding romance between Luke and Leia (written before he 8767 d decided they were siblings).

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Which leads to the second point, that Menace should be considered a prologue in what appears to be a pseudo-argument against the Machete Order 8767 s proclamation that Episode I is irrelevant. How could Episode I be argued as a prologue if it meant to rhyme with Episode VI (Jedi). Does that then make Jedi an epilogue? That makes no sense.

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Because contrary to Stoklasa’s claims that the prequels show a “lack of vision or originality” on the part of Lucas, the ring composition reveals quite the opposite. Lucas’s vision is almost startlingly ambitious and, to my knowledge, unlike anything that’s ever been attempted before in the history of cinema (proving once again that the six Star Wars films deserve far more serious critical attention than they’ve received). The word “brilliant” is often overused when discussing movies, but this is one occasion when it’s truly warranted.

8775 I loved the last bit about yin and yang 8776
The 8775 an image begins to form 8776 bit? seriously? Is shoehorning a movie into a rather cheap westernized understanding of a philosophical idea really that interesting?

As a critic, this is certainly tantalizing: Imagine, fans who quote reviews more readily than the movies they’re covering! As someone who loves movies, though, it’s terribly depressing to think of Star Wars fans who derive more joy from repeating “it’s so dense” and smug Screenwriting 656 bromides about Phantom Menace lacking a main character than actually, you know, watching Star Wars movies. Even some thoughtful pro-prequel criticism with basis in visuals rather than screenwriting, notably the “ Rings theory ,” has the air of a math proof, rightly calling out their visual sophistication with a tone that implies these movies ought to be appreciated, rather than going so far as to call them actually, actively loveable. (Not loving Star Wars at all, of course, is always an option.)

What’s more, the single continuous shot (it lasts about 85 seconds) illustrates both the film’s basic storyline, a small band of Rebels fight an evil galactic empire against overwhelming odds, and one of its central themes, the indomitable nature of the human spirit—all without uttering a single line of dialogue. It’s a masterful example of visual storytelling.

Go read Gilgamesh, and all tell me about the snappy dialogue. Find me the witty repartee in the four Gospels or Acts. Quote me Buddha 8767 s one liners as he machine gun-blasts the villain into his next life.

Because here’s the thing: The “intertextual patternings,” while critical to reading the films the way Lucas intended, are actually small pieces of a much larger, more complex puzzle. And while many have unknowingly stumbled upon some of the pieces over the years, no one has discovered the underlying pattern and discussed how all of the pieces fit together and what the completed picture looks like (and possibly represents)—until now.

Do the changes that George Lucas made in the Special Editions of the original trilogy actually reinforce the chiastic structure? and what about the changes to the prequels?

6. Start with an anecdote, surprising fact, or quotes. More ↓
7. Give some context or background for your argument.
8. Briefly summarize the structure of your paper. ↓
9. Write a unique, arguable, specific thesis statement. ↓
5. Wrap up with a transition into your first paragraph. ↓

Abrams 8767 repetitions are frankly devoid of meaning, or commentary. They don 8767 t exist to contrast or juxtapose story, situational, or character elements for thematic purpose. Lucas on the other hand always crafted repetitions and inversions for the sake of deepening story, character, and plot, and to illuminate theme.

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