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The Impact of Viewing Order on Audience Perception and Comprehension in the ‘Star Wars’ Saga

Research Question: How does the viewing order of the 'Star Wars' trilogies influence audience perception and understanding of the narrative, characters, and thematic development across the series?

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Abstract:

The viewing order of the ‘Star Wars’ trilogies profoundly influences audience perception and understanding of the narrative, characters, and thematic development present across the series. This essay explores how viewers interpret the original, prequel, and sequel trilogies differently, depending on whether they choose to watch in chronological order or by theatrical release. The research question guiding this exploration probes the implications of these viewing choices on audience engagement, emotional response, and character arcs. Through a thorough analysis of the trilogies’ narrative structures and character developments, it is revealed that release order tends to evoke a sense of nostalgia and surprise, allowing for traditional story progression, while chronological viewing emphasizes tragic inevitability and layers of foreshadowing. The essay ultimately concludes that the flexibility of narrative interpretation in ‘Star Wars’ showcases its layers of complexity and depth, significantly impacting how its themes of heroism and redemption resonate with audiences. By considering these dynamics, this study contributes valuable insights to the ongoing discourse in film studies regarding narrative structure and audience engagement.

Keywords: Star Wars, viewing order, audience perception, narrative structure, character arcs

1.1 Context and Importance of Viewing Order: Release Order vs. Chronological Order
The viewing order of the ‘Star Wars’ films has long been a topic of vigorous debate among both casual viewers and ardent fans alike. The core question revolves around the choice between experiencing the saga in the order of its theatrical release or in the chronological order of its narrative events. These choices profoundly influence the audience’s engagement, the unfolding of surprise elements, and the pacing of the narrative.

When viewed in the order of release (Original Trilogy, Prequel Trilogy, Sequel Trilogy), audiences are first introduced to the universe through the heroic journey of Luke Skywalker. This method mirrors the way many original fans experienced the saga, creating a sequence of narrative buildups, climaxes, and resolutions that align with the evolving technical and storytelling prowess of the filmmakers. On the other hand, viewing the series chronologically from Episode I through Episode IX transforms the audience’s journey considerably. This order places Anakin Skywalker’s transformation into Darth Vader at the forefront, altering the initial context and significantly influencing how key characters and plot points are perceived.

The qualitative study by Koch et al. (2020) touches on how contextual framing influences audience engagement and understanding, albeit in the realm of science communication. Much like how different segments of the audience interpret scientific information through varied criteria, ‘Star Wars’ viewers also process the narrative through particular lenses depending on their viewing sequence. By first framing the story through the eyes of Vader as a tragic hero rather than an iconic villain, a chronological viewing can evoke deeply different emotional responses and thematic appreciations compared to the release order. This influences the perceived complexity of characters and the moral landscape that the story paints.

Character development and thematic richness are also closely tied to the order of viewing. For instance, in the release order, Luke Skywalker’s arc represents a classic hero’s journey, with suspense built around the revelation of his father, Vader. Conversely, when starting with Anakin’s story, the tragic elements deeply color the narrative right from the outset, painting later events with shades of predetermined fate and inevitability. It’s akin to changing the audience’s vantage point from the hopeful idealism of youth to the weary skepticism of hindsight.

The portrayal and evolution of characters such as Rey in the sequel trilogy also gain different dimensions based on the viewing order. Meneses and de Alencar Costa (2023) emphasize Rey’s significance as a feminist protagonist, marking a departure from the traditional, often stereotype-laden depiction of female characters in science fiction. When audiences encounter the saga through the lens of Rey’s journey, either chronologically or as a follow-up to the earlier trilogies, their interpretations of themes like agency, resilience, and gender dynamics are notably distinct. The way Rey’s narrative intersects with or diverges from that of previous characters can either maintain the audience’s nostalgic attachment or present a refreshing continuation of the saga’s legacy.

In summary, the choice between viewing the ‘Star Wars’ saga in the order of its release versus its internal chronology yields markedly different experiences and understandings. While release order emphasizes the evolution of story crafting and technological advancements, chronological order fosters a recontextualization of the overarching narrative, reshaping the audience’s comprehension of character arcs and thematic depth. This dual approach highlights the flexibility and layered storytelling that make ‘Star Wars’ a cultural touchstone, illustrating the profound impact of viewing order on audience perception and engagement.

 1.2 Overview of the ‘Star Wars’ Trilogies: Narrative Arcs and Key Characters

The ‘Star Wars’ saga, spanning nine main films divided into three trilogies—Original, Prequel, and Sequel—presents a rich tapestry of narratives and character arcs that have resonated with audiences for decades. Each trilogy introduces and develops key characters, while at the same time interweaving overarching themes and conflicts that define the franchise’s identity. Understanding these elements is crucial for analyzing how different viewing orders can influence audience perception and narrative comprehension.

The Original Trilogy (1977-1983) focuses on the story of Luke Skywalker, a young farm boy who grows to become a hero in the battle against the evil Galactic Empire. This trilogy, composed of “A New Hope” (1977), “The Empire Strikes Back” (1980), and “Return of the Jedi” (1983), introduces iconic characters such as Princess Leia Organa and Han Solo. Luke’s journey is quintessentially a Hero’s Journey, a concept extensively explored by Joseph Campbell, who identified common patterns in the myths of various cultures (Campbell, 2008). Luke’s transformation from an inexperienced youth to a powerful Jedi Knight embodies the cycle of departure, initiation, and return as described in Campbell’s work.

The Prequel Trilogy (1999-2005) serves as a chronological antecedent to the Original Trilogy, offering a backstory to characters and events. Comprising “The Phantom Menace” (1999), “Attack of the Clones” (2002), and “Revenge of the Sith” (2005), this trilogy primarily follows Anakin Skywalker’s transformation from a hopeful, gifted young Jedi to the tyrannical Darth Vader. Here, the narrative explores themes of ambition, fear, and the fall from grace, deepening the understanding of why the galaxy is in turmoil when the Original Trilogy begins. Anakin’s story also ties into reflective themes around familial and adoptive dynamics (Abell, 2023), shedding light on his complex relationships and eventual succumbing to the dark side.

The Sequel Trilogy (2015-2019) seeks to continue the legacy of the Skywalkers while introducing new heroes and villains. It consists of “The Force Awakens” (2015), “The Last Jedi” (2017), and “The Rise of Skywalker” (2019). This trilogy focuses on Rey, a scavenger with a mysterious past who discovers her strong connection to the Force. Her development parallels that of Luke’s journey, highlighting the cyclical nature of heroism and legacy across the generations. The Sequel Trilogy also addresses themes of identity and belonging (Abell, 2023), representing modern ideological shifts towards non-biological family structures and adoptive relationships.

Key secondary characters across the trilogies undergo significant transformations that parallel and contrast with the main heroes’ journeys. Princess Leia, for instance, transitions from a rebellious leader in the Original Trilogy to a seasoned, influential general in the Sequel Trilogy. Her costume evolution, as examined by King and Ridgway (2019), reflects her shifting roles—from a powerful, authoritative figure to a more vulnerable yet still influential character as her narrative arc progresses.

In analyzing the key characters and their narratives, it becomes apparent that each trilogy not only tells a distinctive segment of the overarching saga but also recontextualizes previous and future narratives. This is especially significant when considering the viewing order of the series. Watching the series chronologically as opposed to by release date provides an intricate layer of foreshadowing and deeper thematic binding among characters, such as the prophetic fall of Anakin juxtaposed against Luke’s redemptive arc and Rey’s quest for her true identity.

Understanding the “Star Wars” trilogies’ narrative arcs and key characters thus provides a foundational framework for analyzing how viewing order impacts audience perception. The complexity and evolution of these narratives, alongside the thematic undercurrents interwoven throughout, underscore the franchise’s depth and influence in contemporary storytelling. By examining these dimensions in detail, we can better appreciate how different viewing sequences may alter the interpretative experience of the audience.

 2.1 Analysis of Narrative Structure in Different Viewing Orders: Textual and Subtextual Elements

The narrative structure of the ‘Star Wars’ trilogies plays a crucial role in shaping the audience’s understanding and engagement with the storyline. Notably, the way in which these narratives are consumed—whether in release order (Original, Prequel, Sequel Trilogies) or in chronological order (I-VI)—introduces significant variances in audience perception. The intricate fabric of the plot and subtexts are impacted by the sequence, affecting the thematic revelations and character arcs.

Viewing the trilogies in release order allows for a more traditional experience, where the Original Trilogy (OT) serves as the foundation. The Prequel Trilogy (PT) then provides a historical context, followed by the Sequel Trilogy (ST) which expands the universe further. This method emphasizes the classical hero’s journey, a lattice structure narrative framework highlighted by Başarıcı and Kılıçaslan (2017). In this viewing order, the audience initially encounters Luke Skywalker, whose arc epitomizes Joseph Campbell’s monomyth or “The Hero with a Thousand Faces” (Başarıcı & Kılıçaslan, 2017). The OT’s linear progression is complemented by revelations about Anakin Skywalker’s fall from grace in the PT, providing a richer understanding of the Skywalker legacy. This enriches the subtext around themes of redemption and the cyclical nature of heroism within the Star Wars universe.

However, the chronological order supports a more linear narrative flow from Anakin’s story to Luke’s and finally to Rey’s, thus framing the saga as a multi-generational epic. This order alters the audience’s engagement with Anakin’s transformation into Darth Vader, making it a gradual revelation rather than a shocking twist. Oktan (2019) argues that such transformations in the narrative structure, when viewed as a transmedia narrative, significantly alter the audience’s experience. In this case, the foreknowledge of Anakin’s destiny affects the audience’s emotional investment in his character, painting his storyline with a sense of tragic inevitability. This method also allows for a more nuanced appreciation of the themes of power and corruption introduced in the PT, setting the stage for the redemptive arcs of successive characters.

Barthes’ (1977) semiotic analysis provides another layer of understanding, emphasizing the importance of textual weaving and the interplay of different narrative components. In the Star Wars saga, his notion of “text” as a multi-dimensional space where various narratives and meanings intersect can be applied to understand how the different viewing orders offer varying layers of subtext. For example, in the release order, the role of the Sith and the nature of the Force are initially introduced through the OT’s lens, creating a certain mystique. As the audience shifts to the PT, the broader socio-political context of the Jedi and Sith is unveiled, which subtextually rewrites the understanding of earlier plot elements.

Isac and Isac (2023) delve into symbolic language and its essential role in ‘Star Wars’, particularly through the lens of the soundtrack, like “Duel of the Fates.” This musical piece, introduced in Episode I, encapsulates the struggle between good and evil, transcending the immediate context of the scene and lending a recurring thematic resonance throughout the trilogies. This kind of symbolic coding is unpacked and appreciated differently depending on the viewing order. In chronological order, the piece’s introduction ground the audience in the PT’s serious tonal shifts, whereas in release order, its retrospective significance is highlighted when revisited in subsequent films.

In conclusion, the viewing order of the ‘Star Wars’ trilogies profoundly influences how the audience perceives the textual and subtextual dimensions of the narrative. Whether approached through the classical lattice model of the hero’s journey or via a multi-layered semiotic framework, each viewing sequence offers unique insights and emotional textures. Both methodologies yield rich, albeit distinctive, interpretations of the saga, reflecting Star Wars’ intricate narrative complexity and thematic depth.

 2.2 Impact of Viewing Order on Plot Comprehension: Predictability and Surprise

The order in which the ‘Star Wars’ trilogies are viewed plays a critical role in shaping audience perception, particularly in terms of predictability and surprise. When viewers watch the series in release order (Original, Prequel, Sequel Trilogies), they experience the story as it was initially revealed to audiences. Conversely, viewing the series in chronological order (I-VI) offers a more linear but potentially less surprising narrative journey. Understanding how different viewing orders impact plot comprehension involves delving into the psychological aspects of predictability and the emotional responses elicited by unexpected events, as well as analyzing the structural elements of storytelling.

An analysis of narrative structure must consider how the release order maintains a sense of mystery and surprise. By starting with Episode IV, audiences are immediately thrust into a galaxy far, far away at the height of the Galactic Civil War, engendering a sense of enigma about the origins of characters like Darth Vader and the relationship between the Jedi and the Sith. According to Aristotle in ‘Poetics’, the effective deployment of surprise and recognition is central to eliciting emotional responses from the audience (Aristotle, 2000). Thus, the original trilogy, viewed first, heightens curiosity and suspense as viewers encounter incomplete information and gradual revelations.

On the other hand, viewing the series in chronological order eliminates some of these narrative surprises. The audience is introduced to Anakin Skywalker from childhood, witnessing his journey towards becoming Darth Vader in a pre-established sequence. This continuity can alter viewers’ interpretative frameworks, leading to a more deterministic understanding of events but potentially reducing the impact of pivotal plot twists. The study by Ganguli et al. (2022) on generative models highlights a similar concept in which predictable outcomes based on prior inputs can lead to a diminished sense of surprise despite high levels of engagement. In the context of ‘Star Wars’, seeing Anakin’s fall and eventual redemption across the prequel and original trilogies introduces a form of narrative predictability that can shape overall plot comprehension.

The dichotomy between predictability and surprise also extends to emotional responses. Research by Theobald, Galeano-Keiner, and Brod (2022) demonstrates that confidence in predictions affects curiosity and surprise. When viewers watch ‘Star Wars’ in release order, they might experience heightened curiosity as they attempt to piece together the backstory and motivations of characters. The unexpected revelation of Vader’s identity as Luke’s father in ‘The Empire Strikes Back’ mirrors the findings of high-confidence prediction errors that evoke strong surprise (Theobald et al., 2022). This emotional reaction underscores how essential sequence and surprise are in maintaining viewer engagement.

Similarly, the prequel trilogy watched after the original trilogy can transform audiences’ understanding more profoundly. Knowing the eventual fate of characters like Obi-Wan Kenobi and Padmé Amidala when watching Episodes I-III can lend a layer of tragic foreknowledge. This aligns with Aristotle’s notion of tragic drama, where the audience’s prior knowledge enhances the emotional experience as they foresee inevitable outcomes (Aristotle, 2000). This pathos can be lost in a purely chronological viewing but adds depth when done in release order.

In these ways, the viewing order of the ‘Star Wars’ trilogies influences not only the plot comprehension but also the emotional trajectory experienced by the audience. The initial viewing sequence profoundly impacts narrative predictability and the experience of surprise, which in turn shapes engagement and interpretation. By comparing the effects of viewing in release versus chronological order, we can better understand how structured plot elements and viewer psychology interact to create distinctive story experiences in film sagas.

 3.1 Examination of Character Arcs in Varied Viewing Sequences: Anakin, Luke, and Rey

The character arcs of Anakin Skywalker, Luke Skywalker, and Rey are central to the ‘Star Wars’ saga, each representing different facets of the Hero’s Journey and themes of redemption and transformation. The sequence in which audiences view these arcs can fundamentally alter their perception and emotional engagement with the characters. This analysis will leverage Andrew Mullins’ “Arc Analysis” (2023), de Francisco Carvalho’s psychological examination of Anakin/Darth Vader (2017), and Jung’s archetypal theories from “The Archetypes and The Collective Unconscious” (1968) to explore how different viewing orders impact the understanding of these characters.

When viewers watch the ‘Star Wars’ series in release order, starting with the Original Trilogy (Episodes IV-VI), Luke Skywalker’s heroism and quest for identity take center stage. Luke’s journey embodies the classic Hero’s Journey structure, fulfilling the archetypal roles outlined by Jung (1968), such as the “Hero” and the “Shadow.” Luke’s story is compelling as it reveals his progression from a naive farm boy to a seasoned Jedi Knight. Mullins (2023) emphasizes that hero characters often undergo significant emotional transformations, a concept that perfectly aligns with Luke’s character arc. His arc is accentuated through moments of doubt, resilience, and ultimate triumph, making his journey one of emotional depth and complexity that resonates with the audience.

Conversely, when the series is viewed chronologically, starting with the Prequel Trilogy (Episodes I-III), Anakin Skywalker’s transformation from a hopeful, talented young Jedi to the villainous Darth Vader becomes the primary narrative focus. As de Francisco Carvalho (2017) highlights, Anakin’s character allows for a psychological analysis consistent with Theodore Millon’s theory of personality pathology. This theoretical framework helps explain the gradual evolution of Anakin’s character, from his childhood suffering and fears to his ultimate descent into darkness. Viewing the Prequel Trilogy first provides audiences with a complex backdrop that informs Anakin’s actions and motivations in subsequent films, thus deepening the tragic dimensions of his character. Understanding Anakin’s psychological profile added layers of empathy and tragedy, making his eventual redemption in Episode VI more poignant.

Rey’s character arc in the Sequel Trilogy (Episodes VII-IX) offers another intriguing perspective when analyzed through different viewing orders. Rey’s storyline is one of discovery and self-actualization, embodying Jungian archetypes such as the “Orphan” seeking belonging and the “Hero” on a journey of self-discovery and inner transformation. When the series is viewed in release order, Rey’s narrative is juxtaposed against the established legacy of the Skywalkers, providing a fresh yet connected continuation of the saga. However, when viewed chronologically, Rey’s arc might appear as a culmination of the saga’s thematic elements, drawing parallels and contrasts with both Anakin and Luke’s stories. This sequence highlights Rey’s struggle with identity and her eventual embrace of her lineage and power, offering a modern iteration of the classic Hero’s Journey that reflects contemporary values and challenges.

The ‘Star Wars’ series is fundamentally about transformation, identity, and the struggle between light and dark. Mullins’ (2023) concept of “Arc Analysis” is particularly useful in dissecting these narratives, as it acknowledges both internal and external elements of character arcs. Luke’s emotional journey is a transformation marked by significant external conflicts and internal growth. In contrast, Anakin’s journey is deeply internal, driven by psychological factors and a fall from grace, while Rey’s arc is an amalgamation of both, representing a modern hero navigating complex legacies and self-discovery.

Different viewing orders also affect the thematic resonance of these arcs. Viewing Anakin’s fall and subsequent redemption first provides a tragic, cyclical understanding of the narrative, while starting with Luke’s story centers on classic heroism and eventual legacy. Rey’s arc, when viewed last, can be seen as the resolution and renewal of the saga’s overarching themes. Each viewing order offers a unique lens through which to understand these complex characters and their development, highlighting different facets of their identities and journeys.

In conclusion, the order in which audiences experience the ‘Star Wars’ trilogies significantly influences their perception of character arcs. Whether viewed in release or chronological order, each sequence offers a distinctive narrative experience that impacts the emotional and psychological understanding of Anakin, Luke, and Rey. Utilizing frameworks from Mullins (2023), de Francisco Carvalho (2017), and Jung (1968) allows for a deeper exploration of these characters, showcasing the rich, multifaceted nature of the ‘Star Wars’ saga.

3.2 Influence of Viewing Order on Thematic Interpretation: The Hero’s Journey and Redemption

The ‘Star Wars’ saga is often celebrated for its masterful deployment of mythic storytelling structures, particularly Joseph Campbell’s Hero’s Journey. However, the sequence in which these films are watched—chronological versus release order—can materially influence an audience’s thematic interpretation, particularly concerning the Hero’s Journey and the notion of redemption. Viewing order has the power to reframe these themes, altering audience perceptions and understanding.

In traditional Campbellian terms, the Hero’s Journey involves a protagonist embarking on an adventure, facing and overcoming trials, and achieving some form of transformation or enlightenment. Luke Skywalker’s arc in Episodes IV through VI epitomizes this structure. When audiences first watched the original trilogy in its release order, Luke’s journey presented a clear progression from farm boy to Jedi Knight. This sequence underscored the individualistic striving for self-fulfillment, aligning closely with Campbell’s theories, which have been critiqued for projecting Anglo-Western storytelling norms onto diverse mythic traditions (Hambly, 2021).

Conversely, beginning the saga with the prequel trilogy radically shifts this interpretation. Anakin Skywalker’s descent into Darth Vader—as portrayed through Episodes I through III—introduces a prelude of tragedy and foreshadowing that colors subsequent perceptions of Luke and Leia’s stories. Anakin’s fall from grace disrupts the clean narrative line of the Hero’s Journey, introducing a darker, more complex thematic layer of redemption and fallibility that permeates the series.

The idea of the Hero’s Journey as a universal construct has been challenged by more recent scholarship that emphasizes diverse storytelling traditions and collective tales (Webster, 2020). This is evident in the final sequel trilogy where Rey’s journey further complicates Campbell’s paradigm. If viewed chronologically, Rey’s storyline appears as both a continuation and evolution of the Skywalker legacy. Her character bears the weight of accumulated narrative history, confronting both the original trilogy’s legacy and the prequels’ undercurrents of redemption and failure. This complicates the thematic interpretation when she is revealed as a Palpatine, only to assert her identity as a Skywalker, emphasizing collective responsibility and legacy over individualistic heroism—a notion more aligned with the collective journey model (Webster, 2020).

In this light, the theme of redemption manifests differently across viewing orders. Watching the saga in release order offers a raw perspective on Anakin’s fall and ultimate redemption through Luke’s steadfast belief in him, culminating in the poignant finale of ‘Return of the Jedi’. The prequels, viewed prematurely, cast a shadow of inevitability, presenting Anakin’s transformation into Vader as a tragic destiny rather than a redemptive hope. This foreknowledge affects the audience’s reading of Luke’s optimism and eventual success, rendering it more poignant against the backdrop of Anakin’s foreordained fall.

To further elucidate these thematic variances, one can consider J.R.R. Tolkien’s ‘The Return of the King’ (2004), which similarly deals with complex themes of heroism, destiny, and redemption. The nuanced portrayal of Aragorn’s reluctant acceptance of his kingship and the fall of Sauron echoes ‘Star Wars’ themes, but changes drastically based on the narrative framing—whether we initially see Smeagol’s downfall as Gollum or start with Frodo’s journey to Mount Doom.

Ultimately, the viewing order of ‘Star Wars’ profoundly impacts the thematic resonance for audiences. While the mythological backbone of the saga—the Hero’s Journey—remains central, its interpretation is intricately woven with the redemption arc that gains different shades depending on the narrative journey taken by the viewers. This variability underscores the series’ richness and the evolving understanding of mythic storytelling in modern contexts, opening avenues for a more inclusive and multiperspective analysis, aligning with the trajectory towards collective narratives (Webster, 2020).

Summary:

The essay examines how different viewing orders of the ‘Star Wars’ trilogies influence audience perception and the understanding of narrative, character development, and thematic depth. By dissecting the Original, Prequel, and Sequel trilogies, it focuses on the impact of whether viewers choose to watch the series in chronological order or by release date. The foundational premise is that these distinct experiences lead to varying interpretations of key characters, including Anakin Skywalker, Luke Skywalker, and Rey, as well as themes such as heroism and redemption, which are central to the saga’s appeal. 

In discussing release versus chronological viewing orders, the essay illustrates that the traditional release order creates suspense and emotional engagement, allowing audiences to experience significant revelations, such as Darth Vader’s identity, in a dramatic fashion. This sequence enhances the impact of character arcs and established themes, allowing viewers to appreciate the hero’s journey imbued within Luke’s character development. Conversely, experiencing the trilogies chronologically shifts the focus onto Anakin from the outset, providing a tragic framework that influences perceptions of subsequent storylines and characters. This viewing approach establishes the tragedy of Anakin’s fall, which transforms how viewers see Luke and Rey’s stories as reflections of legacy and redemption amidst established expectations of fate. 

The essay’s main conclusion underscores that the order in which the series is consumed significantly colors audience reactions, altering emotional engagement and thematic understanding. Through detailed analysis, it finds that both viewing orders serve distinct purposes in shaping the richness of the narrative; yet, they also highlight the multifaceted nature of storytelling in the cinematic landscape. The exploration of character arcs demonstrates how understanding hinges on the perspective offered through each viewing sequence, emphasizing the depth and significance of choice in the viewing experience. 

Ultimately, the ‘Star Wars’ saga demonstrates the power of narrative structure, illustrating that the journey taken by the audience profoundly affects their comprehension and emotional investment. This analysis invites a broader consideration of how viewing sequences can alter interpretations of other film series and narratives, paving the way for future studies in film and audience interaction.

References:

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Aristotle. (2000). Poetics (J. Sachs, Trans.). Focus Publishing/R. Pullins Company.

Barthes, R. (1977). Image, Music, Text (S. Heath, Trans.). Hill and Wang.

Başarıcı, S. M., & Kılıçaslan, Y.. (2017). Hero’s journey as a lattice structure: A case study of star wars. Journal of Balkan Libraries Union, 5, 17–23. https://doi.org/10.16918/BLUJ.73659

Campbell, J. (2008). The Hero with a Thousand Faces (3rd ed.). New World Library.

Ganguli, D., Hernandez, D., Lovitt, L., Dassarma, N., Henighan, T., Jones, A., … Clark, J.. (2022). Predictability and Surprise in Large Generative Models. Proceedings of the 2022 ACM Conference on Fairness, Accountability, and Transparency. https://doi.org/10.1145/3531146.3533229

Hambly, G.. (2021). The not so universal hero’s journey. Journal of Screenwriting, 12(2), 135–150. https://doi.org/10.1386/josc_00056_1

Isac, I., & Isac, V.. (2023). The Heroic Myth in Modern Times. The “Star Wars” Franchise. Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts. https://doi.org/10.31926/but.pa.2022.15.64.3.10

Jung, C. G. (1968). The Archetypes and The Collective Unconscious (R. F. C. Hull, Trans.). Princeton University Press.

King, M. C., & Ridgway, J. L.. (2019). Costume evolution during the development of romantic relationships and its impact on the positions of power in the Star Wars prequel and original trilogies. Fashion and Textiles, 6(1). https://doi.org/10.1186/s40691-018-0167-8

Koch, C., Saner, M., Schäfer, M. S., Herrmann-Giovanelli, I., & Metag, J.. (2020). “Space means Science, unless it’s about Star Wars”: A qualitative assessment of science communication audience segments. Public Understanding of Science, 29, 157–175. https://doi.org/10.1177/0963662519881938

Meneses, A. C. S., & de Alencar Costa, M. T.. (2023). The protagonism of Rey in Star Wars: the force awakens, a feminist reading. Acta Scientiarum. Language and Culture. https://doi.org/10.4025/actascilangcult.v45i1.64735

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Oktan, A.. (2019). Transmedia and the Vagueness of Narrative Structure. Advances in Media, Entertainment, and the Arts. https://doi.org/10.4018/978-1-5225-5357-1.CH009

Theobald, M., Galeano-Keiner, E. M., & Brod, G.. (2022). Predicting vs. guessing: the role of confidence for pupillometric markers of curiosity and surprise. Cognition and Emotion, 36, 731–740. https://doi.org/10.1080/02699931.2022.2029733

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Webster, L.. (2020). Marvel, Star Wars and the Risk of Being a Hero: Social Responsibilities for Transmedia Storytellers in the Age of Collective Journey. Cultural Science Journal, 12, 59–67. https://doi.org/10.5334/CSCI.138

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