La comunicología y creación de Star Wars a través del tiempo y espacio en las generaciones post ochentas
Keywords:
communication, culture
Abstract
In the history of cinema, few productions are praised by both critics and the public, and Star Wars is one of those exceptions.
References
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Bruin-Molé, M. (2018). “Does it Come with a Spear?” Commodity Activism, Plastic Representation, and Transmedia Story Strategies in Disney’s Star Wars: Forces of Destiny. Film Criticism, 42(2), 1-18. 10.3998/fc.13761232.0042.205 .
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Fleming, D.H. & Knee. A. (2019). The analogue strikes back: Star Wars, star authenticity, and cinematic anachronism. Celebrity Studies, 11(2), 205-2020. 10.1080/19392397.2018.1563337 .
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Ivanov, S. (2022). What can we learn from Star Wars about the future of tourism? Absolutely everything!. Journal of tourism futures, 1, 1-7. 10.1108/JTF-04-2022-0121 .
Jaffe, A. (2019). Pop Culture Today; or, Plasticman, Where Are You?. Spoiler Alert: A Critical Guide (pp. 47–66). University of Minnesota Press. https://doi.org/10.5749/j.ctvr7fd26.5 .
Jenkins, H. (2006). Quentin Tarantino’s Star Wars?: Grassroots Creativity Meets the Media Industry. In Convergence Culture: Where Old and New Media Collide (pp. 131–168). NYU Press. http://www.jstor.org/stable/j.ctt9qffwr.8 .
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. King and Ridgway Fash Text, 6(1), 1-15. 10.1186/s40691-018-0167-8 .
Lyden, J. C. (2012). Whose Film Is It, Anyway? Canonicity and Authority in “Star Wars” Fandom. Journal of the American Academy of Religion, 80(3), 775–786. http://www.jstor. org/stable/23250724 .
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Musset, A. (2020). Star wars, an anti-capitalist capitalistic saga?. Universum, 35(1), 126- 161.10.4067/S0718-23762020000100126 .
Ryan, M.L. (2016). Transmedia narratology and transmedia storytelling. Narratología transmedial y transmedia storytelling, 1(1), 1-10. 10.7238/a.v0i18.3049 .
Rothenberg, C. (2020). Jewish commentaries on Star Wars: theology, history, and debate. JOURNAL OF MODERN JEWISH STUDIES, 19 (2) 164–180. https://doi.org/10.1080/14725886.2019.1670989 .
Rosenfield, K. (2020). Star Wars’ Identity Crisis. Reason, 52(1), 66-69. https://web-p-ebscohostcom.basesbiblioteca.uexternado.edu.co/ehost/pdfviewer/pdfviewer?vid=10&sid=eb89a744-a0f6-4c95-a8ec-a2e4925412e9%40redis .
Jenkins,H.(2003) Transmedia Storytelling,Technology Review. Vol 1.No1, Pag1-pag2 https://www.technologyreview.com/2003/01/15/234540/transmedia-storytelling/,
Whitney, A. (2018). Formatting Nostalgia: IMAX Expansions of the Star Wars Franchise. En S. Guynes & D. Hassler-Forest (Eds.), Star Wars and the History of Transmedia Storytelling (pp. 265–276). Amsterdam University Press. https://doi.org/10.2307/j.ctt207g5dd.23.
Atkinson, C. (2023). Deception: a critical discourse analysis of undercover policing and intelligence operations in Star Wars: The Clone Wars. Journal of Policing, Intelligence and Counter Terrorism, 18(1), 95-111. 10.1080/18335330.2022.2030489 .
Bruin-Molé, M. (2018). “Does it Come with a Spear?” Commodity Activism, Plastic Representation, and Transmedia Story Strategies in Disney’s Star Wars: Forces of Destiny. Film Criticism, 42(2), 1-18. 10.3998/fc.13761232.0042.205 .
Casey, C. & Kenny. D. (2021). How Liberty Dies in a Galaxy Far, Far Away: Star Wars, Democratic Decay, and Weak Executives. Law & Literature, 1, 1-27. 10.1080/1535685X.2021.1991610 .
Chonka, P. (2019). The Empire Tweets Back? #HumanitarianStarWars and Memetic Self- Critique in the Aid Industry. Social Media + Society, 5(4), 1-13. 10.1177/2056305119888655 .
Fleming, D.H. & Knee. A. (2019). The analogue strikes back: Star Wars, star authenticity, and cinematic anachronism. Celebrity Studies, 11(2), 205-2020. 10.1080/19392397.2018.1563337 .
Gill, G.R. (2019). Re-envisioning myth in Star Wars: Episode VII: The force awakens. The Journal of Religion and Popular Culture, 31(1), 1-13. 10.3138/jrpc.2017-0017 .
Golding, D. (2019). BEFORE THE EMPIRE: The Politics of George Lucas and the Critique of the Original Trilogy. In Star Wars after Lucas: A Critical Guide to the Future of the Galaxy (pp. 20–40). University of Minnesota Press. https://doi.org/10.5749/j.ctvfjczpj.4 .
Hanuszkiewicz, M. (2020). The death of language: Listening to the echoes (of Georges Bataille) in Star Wars: Knights of the Old Republic II—The Sith Lords. University of Silesia, Katowice, 10, 1-17. 10.18778/2083-2931.10.16 .
Ivanov, S. (2022). What can we learn from Star Wars about the future of tourism? Absolutely everything!. Journal of tourism futures, 1, 1-7. 10.1108/JTF-04-2022-0121 .
Jaffe, A. (2019). Pop Culture Today; or, Plasticman, Where Are You?. Spoiler Alert: A Critical Guide (pp. 47–66). University of Minnesota Press. https://doi.org/10.5749/j.ctvr7fd26.5 .
Jenkins, H. (2006). Quentin Tarantino’s Star Wars?: Grassroots Creativity Meets the Media Industry. In Convergence Culture: Where Old and New Media Collide (pp. 131–168). NYU Press. http://www.jstor.org/stable/j.ctt9qffwr.8 .
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. King and Ridgway Fash Text, 6(1), 1-15. 10.1186/s40691-018-0167-8 .
Lyden, J. C. (2012). Whose Film Is It, Anyway? Canonicity and Authority in “Star Wars” Fandom. Journal of the American Academy of Religion, 80(3), 775–786. http://www.jstor. org/stable/23250724 .
Martinez, D.P. (2023). Scaling up? Remaking Kurosawa’s the Three Villains of the Hidden Fortress. Japan Forum, 1, 1-23. 10.1080/09555803.2022.2152472 .
Musset, A. (2020). Star wars, an anti-capitalist capitalistic saga?. Universum, 35(1), 126- 161.10.4067/S0718-23762020000100126 .
Ryan, M.L. (2016). Transmedia narratology and transmedia storytelling. Narratología transmedial y transmedia storytelling, 1(1), 1-10. 10.7238/a.v0i18.3049 .
Rothenberg, C. (2020). Jewish commentaries on Star Wars: theology, history, and debate. JOURNAL OF MODERN JEWISH STUDIES, 19 (2) 164–180. https://doi.org/10.1080/14725886.2019.1670989 .
Rosenfield, K. (2020). Star Wars’ Identity Crisis. Reason, 52(1), 66-69. https://web-p-ebscohostcom.basesbiblioteca.uexternado.edu.co/ehost/pdfviewer/pdfviewer?vid=10&sid=eb89a744-a0f6-4c95-a8ec-a2e4925412e9%40redis .
Jenkins,H.(2003) Transmedia Storytelling,Technology Review. Vol 1.No1, Pag1-pag2 https://www.technologyreview.com/2003/01/15/234540/transmedia-storytelling/,
Whitney, A. (2018). Formatting Nostalgia: IMAX Expansions of the Star Wars Franchise. En S. Guynes & D. Hassler-Forest (Eds.), Star Wars and the History of Transmedia Storytelling (pp. 265–276). Amsterdam University Press. https://doi.org/10.2307/j.ctt207g5dd.23.
Published
2024-03-20
How to Cite
Baraque Agamez, M. A., & Campos Venegas, S. (2024). La comunicología y creación de Star Wars a través del tiempo y espacio en las generaciones post ochentas. Cuadernos Del Centro De Estudios De Diseño Y Comunicación, (214). https://doi.org/10.18682/cdc.vi214.10999
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