Galaxies Apart: Race Depictions in the Two Star Wars trilogies

Science fiction has proved throughout the history of the cinematic genre that it is primarily progressive in nature. While basic human problems like love, betrayal and the search for truth are often present, the genre usually features an inclusive future in which humanity bands together as a species as a result of extraterrestrial contact. There is, perhaps, no better example of this than Star Wars (1977) and its subsequent sequels (1980) and (1983). However, the Star Wars prequels contain various racist stereotypes which are offensive, even when applied to various alien species, such as the depictions of Jamaicans as Gungans, Asians as Nemoidians, and Jewish/Arabic people as Watto. This is opposing to the inclusive depictions of various aliens without utilizing racist stereotypes in the original trilogy.

 

The original trilogy featured an epic science fiction adventure set against the backdrop of a galactic civil war that forced various alien species to band together and rebel against the rule of an oppressive imperial force. However, with the advent of the newer prequel trilogy, has George Lucas installed a racist undertone to the beloved saga or can the stereotypes be attributed to lazy film making or audience interpretation and application of stereotypes from themselves to the screen?

The Star Wars saga remains the subject of intense study in the critical film history field. However, most of this study is largely contained to either the effects on the industry that the 1977 A New Hope had (Belton 121) or a mythological reading of the saga that is largely based on the fact that Lucas borrowed elements of major mythological texts for the sci-fi epic. (Silvio 1) Any reading of the saga outside of these two fields has remained elusive. As a result, the chance to read into the blockbuster hits as something other than technical achievements or myth presents a great opportunity to shed light on a rarely touched on subject. As Ebert states “...it is hard to stand back and see it as a simple motion picture.” (2) The films contain such dense themes, that the opportunities, which is often overlooked or ignored, are vast.

The original Star Wars trilogy tells the story of Luke Skywalker, a young man who finds himself tangled up in a massive galactic war between the rag-tag Rebel Alliance and the oppressive Galactic Empire. Luke discovers that his father played a major part in the rise of the Empire and after the murder of his foster family, he accepts the ways of the Jedi in order to oppose the Empire. Through the span of 3 films, Luke discovers the ways of the force and restores the Old Republic to the ways of old. While the rebels fight to restore the galaxy to the ways of the Old Republic, which featured a group of protectors known as the Jedi Council. The destruction of the Republic and the Jedi Council is chronicled in the newer Star Wars trilogy where the audience witnesses the rise of the Empire.

This Empire is contrasted by the rise of rebellion. The inclusive group features able bodied men and women (notable leader Princess Leia, sister to Luke). The rebellion was not only gender-inclusive, but also racially (Lando Calrissian, an old friend of Han Solo and major participant in the Rebellion) and species inclusive (Admiral Ackbar who plays a pivotal role in the final battle, and Chewbacca, a main character who is animalistic in nature). They fight for equality in the galaxy and represent an anti-military sentiment which was largely personal in nature. This personal aspect of the rebellion works with the inclusiveness to produce a group which has life's best interest in mind.

 

Clearly, the rebellion features characters who the audience can further connect with. The personal closeness that one experiences with both the main characters, as well as the varying supporting cast increases the power that the rebellion holds. While the Empire holds vast military power and armaments, the rebellion holds the sense of community and personal justice.

While the Rebel Alliance features species from numerous planets and star systems who fight against oppression, the Empire prides itself on a strictly militaristic regime which controls numerous aspects of the galaxy. Immediately one can recognize the similarities between the Empire and the Nazi party of early twentieth century Germany. Both rose to power under a charismatic leader (just how charismatic Emperor Palpatine is, is depicted in Episodes I through III), both are comprised of Caucasian men with little to no inclusion of woman or other races (or species). More shockingly, both partake in stark examples of genocide. The Nazi's exterminated thousands largely based on religion and race in concentration camps while the Empire killed millions, through the destruction of Alderaan, Princess Leia's home planet and home to millions. Earlier in the Empire's creation, the Jedi Council was devastated through a mass extermination due to their religious beliefs (the Jedi and it's counterpoint the Sith follow the ways of the Force).

Much like the Rebellion, the Old Republic was also inclusive in nature. It featured a galactic senate where delegates debated the fate of the galaxy equally. Thousands of planets were represented and featured a multitude of species. But not only was the senate inclusive, but the Jedi council was also largely comprised of various species, with the most powerful being Yoda, an alien creature with vast knowledge. This Jedi council also featured an African American Jedi known as Mace Windu, another extremely powerful and knowledgeable representative which preceded the largely white male comprised Empire.

The Jedi council works to promote peace rather than blatant abuse of their power. The inclusiveness of the council matched with the peace keeping efforts of the Jedi allows the audience to feel closely connected. However, this feeling is ultimately ignored due to the stupid actions of the council as a result of being “clouded by the dark side.”

The Empire is eventually dismantled through the efforts of the Rebellion and the Old Republic is reestablished. Thus, the audience can discern that a main theme in Star Wars is inclusiveness of a galaxy, rather than the strict impersonal ways of the Empire. While this rings true in the original trilogy, with the last chapter depicting the Empire's last breath against a strengthened Rebellion, the prequel trilogy has received extreme criticism due to racist undertones.

The prequels feature the destruction of an inclusive society which is replaced by a racist Empire. The senate is lead into this fate by a charismatic white leader who eventually dismantles the senate. The senate appears as a gullible bunch of fools incapable of knowing when they are being tricked. The inclusive Jedi Council is also tricked into a war by the same man, who ultimately exterminates all but a few of them. Arguably, the only right minded person in the prequels is Chancellor (read future Emperor) Palpatine.

However, this is not the main point of criticism in the prequel trilogy. The underlying message of pro-white society pales in comparison to the blatant depiction of racist stereotypes applied to various alien races. Almost all of the aliens in the prequels feature Earth-like accents, as well as numerous stereotypical character traits. This is a large departure from the aliens depicted in the original trilogy. Almost all of them (including a main character: Chewbacca) have unique languages and characters which increased the “In a galaxy far, far away” feel of the originals.

The clearest example of the racist representations was also the “first 100% digitally generated lead in a live action movie” (Kleinman 46). Jar-Jar Binks is one of the most universally hated characters in the history of film and for good reason. The character depicts a lame Jamaican accent and a goofy stride. He is silly, annoying and clearly comic relief. However, the comic relief is lost with the clearly racist depiction of his entire race. The entire Gungan race seemingly acknowledge their low intellectual levels and clumsy movements. All feature the Earth-like accents and barely survive a battle with thousands of battle droids. George Lucas provides audiences with an entire race of offensive stereotypes. The leader is a large character who has a strangely unique (read different from Jamaican) Americanized accent. He also wears tribal robes and a foreign head dress.

The Gungan are clearly reminiscent of the “Sambo” character in the early 1900s. The Gungans are lazy, carefree and depicted as largely unintelligent, much like African Americans in early 1900s media. This depiction falls nothing short of offensive. This depiction, which has existed for quite some time, is noticeable even when applied to an alien.

However, the Gungans are not the only offensive denizens of the prequel trilogy. The leaders of the Trade Federation (the opposing side in the clone wars) are clearly reminiscent of Asian stereotypes. Their accents, actions and even ceremonial robes mirror racist Asian tropes. These Nemoidian are depicted as the semi-intelligent leaders (also tricked into war by the Chancellor) of a robot army. At this point the stereotypes become painful.

Asians are often depicted as being highly intelligent and technological in nature. Paired with the Asian clothing and clearly Asian accents provide a clearly offensive depiction of an entire race. The Nemoidians also appear rather xenophobic towards the foreign Jedi when they entered their ship. This is stereotypical of various Asian cultures. The Chinese depiction of the aliens “[Portrays] a business landscape filled with nepotism... and, more recently, illegal campaign contributions. (Brooker 19)

The audience is also introduced to a bug-like alien named Watto, who is selfish and materialistic in nature. He has a hook nose and overall appearance of “...a caricature of a Jewish journalist published in a Viennese magazine called Kikeriki at the turn of the last century” (Williams 9) However, not only is he Anti-Semitic, but also Anti-Arab. He features a middle eastern accent, resides on a desert planet, has chin stubble and cheats at games.

 

Watto is caught cheating at a game, making bets and owning slaves. His entire existence is largely contained within his own self. He only cares about himself, and is willing to disregard women and children in the process. Oppression of women and children is stereotypical in the media's representation of various middle eastern cultures.

A character like Jar-Jar Binks may have never existed in the mind of late 1960s George Lucas. That was someone who was far more interested in exploring the possibilities of film as an experimental artistic medium. Instead, we receive this character in the 2000s era prequel trilogy, the goal of which is marketability. The original trilogy contained a tale which felt unique, but also familiar in it's characters and themes. The prequels trade this for Lucas' search for an Empire of his own. He trades in storytelling for a loose story arc accented by a major marketing scheme. Thus, the lazy film making that Lucas presents creates characters whose main goals were marketability and action figure deals, but only achieve offensive stereotypes cheaply painted on CGI pallets.

Lucas was, at one point, far more interested in telling a vast epic, rather than making money. “A handwritten note on Lucas's yellow pad, dating from early 1975, stresses... a complete world. Customs, friends, enemies, goals, family, responsibilities, rules, religions. His aim was familiarity tinged with strangeness.” (Brooker 30) This proves that Lucas did have an artistic vision when creating the Star Wars universe. Yet through the success of the original trilogy and subsequent extended universe, he allowed material gain to seep into the creative process.

Thus, at some point, Lucas gained power similar to that of the Emperor and allowed the allure of monetary gain to overcome his sense of storytelling. The split is quite clear. The masterpieces that are the original films remain significant in today's world. However, the prequels only remain as clear examples of betraying a fan-base in order to sell merchandise.

While Lucas may not be inherently (or consciously) racist, he devolved into a lazy film maker. Thus, the stereotypes that are offensive are appealing in the fact that people can realize that they are stereotypes. In his mind, it allows more people to relate. Instead, it provides a sour tone to the entire saga and destroys his legacy.

But how can Lucas get away with these stereotypes? At some point in the production of the prequels, someone must have stood up against such portrayal. Lucas fought largely to control every aspect of his films, thus canceling out whatever judgments anyone may have on set. Thus the actor putting on “alien-face” (rather than black-face) reserves his judgment in honor of the film makers artistic vision. Thus, at some point, these stereotypes must be eradicated through the judgment of both the people on set and those viewing the films. The prequels were harshly judged by critics and audiences alike. However, many bought into the marketing and the Star Wars brand. Sadly, these actions enable film makers to take liberties. If the stereotypes are both harshly judged by audiences and those on set, the film maker is forced to think creatively, thus eliminating the stereotypes.

While the Star Wars saga is focused on a vast epic which contains a varying cast of races and species, the depictions of some aliens (exclusively in the prequels) are racist. While the originals focus on love, power, the search for self and honor as main themes, among others, the prequels simply give in to cheap marketing schemes which ultimately betray both fans of the saga and fans of film in general. The lazy film making results in downright offensive portrayals, yet the original films should be celebrated for the magnificent films that they are. The prequels fall miles short of the originals, and unfortunately, that degrades the entire saga. One can only hope that the prequels fade from existence so that the original trilogy survives for the great masterpieces that deserve to be.

Bibliography 

Belton, John. American Cinema, American Culture. Mcgraw Hill. New York, New York; 2009. Book

Brooker, Will, and British Film Institute. Star Wars. Basingstoke [England]; New York: Palgrave Macmillan, 2009. /z-wcorg/.

Brooker, Will. "Readings of Racism: Interpretation, Stereotyping and the Phantom Menace." Continuum: Journal of Media & Cultural Studies 15.1 (2001): 1. Web.

Kleinman, Dennis. "Star Wars: Hands Across the Galaxy?" Cinefantastique 34.3 (2002): 46-7. Web.

Nama, Adilifu. "R is for Race, Not Rocket: Black Representation in American Science Fiction Cinema." Quarterly Review of Film & Video 26.2 (2009): 155-66. Web.

Silvio, Carl, and Tony M. Vinci. Culture, Identities, and Technology in the Star Wars Films : Essays on the Two Trilogies. Jefferson, N.C.: McFarland & Co., 2007. /z-wcorg/.

Williams, Patricia. “Racial Ventriloquism” The Nation. July 5, 1999. Web.