Instead, it is more appropriate to understand the prequel trilogy of Star Wars as manifesting the subconscious fears of the zeitgeist of the late 1990s and early 2000s as we entered a new era of decadence, hubris, corporate domination, and widespread political corruption and cynicism. ![]() Yet the prequel trilogy does not tell that story. ![]() The films find their place in a generation of science fiction films which all tell a story-a myth-of tyrannical machines causing dislocation and death to the world (reaching, perhaps, its acme in Terminator). The original trilogy depicts an enchanting tale of man’s search for meaning and discovery of love in the face of technological tyranny. But how should we approach the prequels, especially in relation to the originals? If there ever were a cinematic drama that encapsulates Richard Wagner’s notion of Gesamtkunstwerk, the Star Wars saga would be it-especially the prequels where John Williams’ theatrical musical scores and the aesthetic environments truly set the tone for the story. More than 40 years since it appeared on the screen, it continues to dazzle generations. Star Wars is one of most successful film franchises in cinematic history. The prequel trilogy, by contrast, is primarily concerned with themes of decadence, corporate domination, political corruption, and the insidious influence that these forces have on love. The original “Star Wars” trilogy explored the crises of identity, love, and redemption in the midst of a technologically tyrannical world.
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