It was in 1993 that I learned the words “disenchantment with the world” in several senses. In college, I studied the theories of Max Weber, to be precise “The Protestant Ethics and the Spirit of Capitalism”, a work in which Weber shows that contemporary atheism can be seen as the result of “evolution” of Christianity.
It was at this time due to a number of reasons that the process of my disenchantment began. That process continues to this day, knocking down all the bricks of the a day when it still was innocent. Meanwhile, new things have emerged or rather, a reinterpretation of reality.
The search for knowledge often results in these reinterpretations. All the cultures attach different meanings to specific elements that are part of a broader context. Therefore, the interpretation and reinterpretation are in a continuous process of which humans can not get rid of no matter what.
However, how each interprets the human reality is conditioned by dozens of factors (psychological, social, biological, economic, historical, political).
At the end of the 60s, the American cinema lived a period of uncertain aesthetics, which allied to the difficulties of the industrial system of production. It made it necessary to predict the need for renewal and sustainability as a way of maintaining its dominance in the worldwide film distribution; it was beginning a hunt for new talents to connect with the youth.
The answer to this problem came in the 70s when the Western film production met with changes that would completely alter the art of making movies. Names such as Woody Allen, Stanley Kubrick, Martin Scorsese, Francis Ford Coppola, George Lucas and Steven Spielberg announced the renewal of the North American film, which would pass that decade.
It is in this context that “Star Wars” by George Lucas was born. “Star Wars” is a reinterpretation of the classic archetypes of fairy tales and other mythological elements. Just like in a fairy tale or fable, it has an uplifting message.
The symbolism of Star Wars is very rich and extensive, and an extensive analysis of the possible influence of George Lucas in creating his work, was hardly possible. To be very specific, I shall limit myself to the 13th episode of the series derived from the movie spin-off of the main hexalogia, which is, Star Wars: The Clone Wars.
In this episode, which is a continuation of the previous, the Jedi (good guys) come to a primitive planet where strange creatures live and which has been colonized by a group of aliens who live a simple life. These aliens have no intention of participating in the conflict between the Republic and the Confederation of Independent Systems. With the arrival of ‘Droids’ (‘bad guys’ working for the Confederation), changes take place. Hence, the aliens are obliged to fight alongside the Jedi, ending with their policy of tribal non-alignment.
The film could have a deeper and hidden meaning, veiled by the fiction. A meaning, that was close, real and imminent. The Empire in the 70s could be interpreted as the Soviet Union (this was quite obvious), and now the Republic represents the United States. The one that doesn’t accept the “protection” of the Republic should be seen as an enemy, because there is no alternative. A policy of non-alignment has no room for this simplistic vision.
The maintenance, therefore, of the universal order must be preserved to ensure that peace is maintained. Only the Republic (USA?) is capable of maintaining peace.
A peace that is not peace, but a desire to control and dominate other peoples. Pseudo-peace by means of state sponsored fear and continued wars. Star Wars, therefore, is not only a work of fiction. It is a tool of ideology spreading.