Trailers for Star Wars

Star Wars is a science fantasy saga and fictional galaxy created by writer / producer / director George Lucas during the 1970s. The saga began with the film Star Wars (later retitled Star Wars Episode IV: A New Hope), which was released on May 25, 1977, by 20th Century Fox. The film became a worldwide pop culture phenomenon - spawning five more feature films, three spin-off films, five television series and an extensive collection of licensed books, comics, video games, action figures, trading cards, card games, and other products - all of which are set within a fictional "galaxy far, far away."

An example of the space opera genre, the Star Wars story employs archetypal motifs common to both science fiction and mythology, as well as the romantic music motifs now often associated with those genres.

Setting
See also: Star Wars opening crawl
Unlike the traditional science fiction films preceding it, the Star Wars world was initially portrayed as dirty and grimy, rather than sleek and futuristic. In interviews, Lucas tells of rubbing the new props with dirt to make them look weather-worn, a concept he has referred to as "a used or ancient future", a concept further popularized in the film Alien of the same era. He may have been inspired by Sergio Leone, whose 1960s films performed a similar function for the Western genre. It is also possible that he may have received the idea from Akira Kurosawa, who believed that it gave his actors a more authentic look.

Each Star Wars film opens with the text, "A long time ago in a galaxy far, far away...." Lucas intended this as an allusion to the classic fairy tale opening of, "Once upon a time, in a faraway land..." This is the only way the Star Wars Galaxy has been defined in relation to the real world. To some, Lucas's allusion suggests that the films are to be interpreted as allegorical and metaphorical narratives of the future, rather than literal events of the past. Lucas intentionally left the details open to interpretation. Events occur in the Star Wars galaxy; although the film series itself spans the events of only two generations, other stories set in the Star Wars universe (those from the so-called "Expanded Universe") cover events that span millennia.

The Star Wars films use an opening text to provide the audience with the background to the story. Lucas emulated the Flash Gordon serials by having his opening text "crawl" up the screen from bottom to top at a high pitched angle, as if the text were disappearing into the distant starscape. Also in all Star Wars films, a starship of some kind whooshes by after the crawl disappears completely. In a May 15, 2005, interview with the Chicago Sun-Times, Lucas described the creation of the distinctive crawl: "The crawl is such a hard thing because you have to be careful that you're not using too many words that people don't understand. It's like a poem. I showed the very first crawl to a bunch of friends of mine in the '70s. It went on for six paragraphs with four sentences each. Brian De Palma was there, and he threw his hands up in the air and said, 'George, you're out of your mind! Let me sit down and write this for you.' He helped me chop it down into the form that exists today."

The saga shows us a very "ancient" galactic civilization thousands of years old. The setting is totally unrelated to Earth or our galaxy, which gives it more liberty, in a sense. The Star Wars Galaxy prominently features aliens who are essentially identical to humans. Their civilization was able to develop space travel, terraform, build ecumenopolises and build space colonies 200,000 years "ago."[citation needed]

Star Wars melds science with supernatural elements that strongly relate to epic stories and fairy tales (for example, magic, knights, witches, princesses and 'whimsical' alien races such as Ewoks and Gungans). The scope of Star Wars history spans over 5,100 years among all the Star Wars fiction produced so far (from Tales of the Jedi to Star Wars: Legacy), even though the films span only two generations. Later novels from a series dubbed New Jedi Order opened up the Star Wars setting with alien beings named Yuuzhan Vong that came from a different galaxy. Most aliens prior to this series came from the one galaxy in which the films are set.

Plot

The iconic sunset of Tatooine features two suns, the result of a binary system. This scene from A New Hope has become a recognized cultural symbol of the Star Wars saga.Spoiler warning: Plot and/or ending details follow.
Episodes I, II, and III (the Clone Wars) chronicle the downfall of the Old Republic and the rise of the Galactic Empire. It is also the story of Anakin Skywalker's rise as a gifted young Jedi (the chosen one) and his eventual transformation to Darth Vader, and the Dark Side of the Force. In the first film, Darth Sidious manipulates the Trade Federation into invading and occupying the planet Naboo. Sidious concurrently maintains his public identity as Palpatine, a senator in the Galactic Republic (ironically, for Naboo itself), and uses the crisis to convince the Senate to elect him as Chancellor of the Galactic Republic. In the second film, he further manipulates the Senate into granting him emergency powers and orchestrates the Clone Wars, a conflict between the Republic (which he controls as Chancellor Palpatine) and a Separatist movement (which he controls as Darth Sidious).

A young boy named Anakin Skywalker, incredibly strong with the Force, is discovered by Jedi Master Qui-Gon Jinn, and his padawan Obi Wan Kenobi. Qui-Gon believes Anakin is the Chosen One, prophesied to bring balance to the Force. After Qui-Gon is killed by Darth Maul, Obi Wan defeats the Sith apprentice and then, over the strong objections of Master Yoda, decides to obey his master's final wish to train the boy. Anakin grows powerful with the Force, and his skill causes him to become arrogant and chafe against Obi-Wan's training, which he feels is restrictive. Against the strictest rules of the Jedi Order, Anakin falls in love with Padmé Amidala, queen, and later senator, of Naboo. The two wed in secret, forbidden for a Jedi as it can create a fear of loss that can lead to the Dark Side of the Force. The Clone Wars begin to rage through every part of the known galaxy, and the Jedi fight tirelessly to bring peace back to the Republic. Anakin and Padmé continue to keep their marriage a secret, but soon Padmé becomes pregnant. Although thrilled by the news, Anakin begins to have visions of Padmé's death. The secretive nature of their relationship forces him to seek help outside of the Jedi order, and he desperately asks Palpatine, now the Chancellor, (secretly Darth Sidious) for help. Sidious seizes this opportunity to tempt Anakin to the Dark Side, promising that Padmé can be saved if Anakin joins the Sith. His guile succeeds, forcing Anakin to abandon the Jedi when he intervened in a lightsaber duel between Jedi Master Mace Windu and Palpatine, severing Windu's hand before Palpatine kills him with Force Lightning. At this point Anakin has become the Sith Lord Darth Vader who goes on to hunt down and destroy all the remaining Jedi in the galaxy (see Order 66 for more on the demise of the Jedi order). Tragically, Anakin is still unable to save Padmé, and becomes directly responsible for causing her death. Padmé dies giving birth to twins, whom she names Luke and Leia. The twins are given to two separate willing parties for safety: Luke to Anakin's step-brother Owen Lars and his wife Beru on Tatooine; Leia to Senator Bail Organa and his wife on the planet Alderaan. Obi Wan-Kenobi and Yoda, the last remaining Jedi, exile themselves, Obi-Wan on Tatooine (presumably to watch over Luke), Yoda on the bog-like world of Dagobah. Sidious (as Palpatine) turns the Galactic Republic into the First Galactic Empire, himself as its Emperor.

Episodes IV, V, and VI (the Galactic Civil War) pick up approximately nineteen years after the events of Episode III, during the Galactic Civil War, a lengthy conflict which leads to the downfall of the Galactic Empire at the hands of the Rebel Alliance. These films follow the story of Luke Skywalker, the son of Anakin Skywalker (now the black-clad Darth Vader), and his rise in the rebellion against the Empire. Leia, princess and a member of the Imperial Senate for Alderaan, sends a message for help to Obi-Wan Kenobi by means of R2-D2. She is intercepted by Darth Vader, and is brought to the sinister Grand Moff Tarkin. Luke inadvertently intercepts the message and meets Kenobi. Leia is forced to witness the destruction of her home-world by the dreaded Death Star. After the murder of his aunt and uncle by Imperial Stormtroopers, Luke joins the ragtag Rebel Alliance — traveling with Kenobi, his sister Leia Organa (who he does not realize is his sister until later, in Episode VI), smuggler Han Solo, Solo's Wookiee companion Chewbacca, and the droids C-3PO and R2-D2. The Rebel Alliance eventually destroys the Death Star and Tarkin.

Luke trains with Kenobi and, after Kenobi's death at the hands of Vader, the exiled Yoda to become a Jedi like his father, who he believes was betrayed and murdered by Darth Vader. When Luke learns the truth — that his father is Darth Vader — he is profoundly shaken. Despite this, Luke successfully resists the efforts of Vader and Palpatine to turn him to the Dark Side, and instead succeeds in turning his father back to the Light Side of the Force. Vader, having turned from the Dark Side, fulfills the Prophecy of the Force when he throws Emperor Palpatine into the Death star's reactor in order to save his son, but is mortally wounded in the process. In killing Palpatine, Anakin comes full-circle to prove that he was the Chosen One who would bring balance to the Force by destroying the Sith. Meanwhile, the Rebel fleet (led in part by Solo's friend Lando Calrissian) scores a decisive victory against the Empire by destroying the second Death Star. The Rebel Alliance's victory eventually leads to the end of the Galactic Civil War and the downfall of the Empire.

Themes
Main articles: Philosophy and religion in Star Wars and Force (Star Wars)
George Lucas embraces a style of epic storytelling that uses motifs, common themes and concepts which he alters slightly each time they occur. The concept is lifted from Romantic (early 19th century) music, but Lucas applies it both visually and as an integral part of his storytelling.

On a larger scale, there are many parallels between the original trilogy and the prequel trilogy; the stories of Anakin Skywalker and Luke Skywalker echo and reflect each other in myriad ways.

The Force is one of the most recognizable elements of the Star Wars series. It is described by Obi-Wan Kenobi in the original Star Wars film as, "An energy field created by all living things. It surrounds us, penetrates us, and binds the galaxy together."

Those who can use the Force, such as the Jedi, can perform feats of telepathy, psychokinesis, prescience, clairvoyance, and mental control. Two aspects of the Force are emphasized: the light side and the dark side. The light side of the Force is the facet aligned with good, benevolence, and healing. The dark side of the Force is aligned with fear, hatred, aggression, and malevolence. Jedi, followers of the Light, believe that knowledge serves as a guide and path to power, whereas the Sith rely on the Dark Side in the belief that power brings knowledge and understanding. The dark side seems more powerful, especially to those who use it, because it is driven by rage and hatred — its effects are more direct and easier and faster to achieve. In reality, neither the light nor the dark side of the Force is stronger than the other, each possessing its own advantages and disadvantages. For example, the dark side conveys an inherent disadvantage to its users, which is arrogance and overconfidence in their own abilities. However, this aggression allows its acolytes to become more formidable warriors — illustrated when Luke is able to finally overcome his father in battle because of his anger at the thought of his sister turning to the dark side. On the other hand, Jedi can occasionally become crippled by their compassion and act "soft." This is balanced by an ability to remain calm even in extreme circumstances.

Influences
See also: Star Wars sources and analogues
Many different influences have been suggested for the Star Wars films by fans and critics. George Lucas himself has cited some quite surprising inspirations for his films, for example the novel Watership Down. Lucas acknowledges that the plot and characters in the 1958 Japanese film The Hidden Fortress, directed by Akira Kurosawa, were a major inspiration. Lucas has said in an interview, which is included on the DVD edition of The Hidden Fortress, that the movie influenced him to tell the story of Star Wars from the viewpoint of the humble droids, rather than a major player. It also played a role in the conception of Darth Vader, whose trademark black helmet intentionally resembles the black kabuto of the arch-villain in Kurosawa's Seven Samurai. The Jedi, nearly extinct futuristic knights of the former Republic, also have a high influence from the samurai as spiritual warriors and duelists with a strong sense of honor and devotion to their duty. Their traditional clothing even resembles kimonos.

Prior to writing the script for Star Wars, George Lucas originally wanted to make a film of Flash Gordon. The rights for Flash Gordon, however, were held by Dino De Laurentiis, and Lucas decided to work on his own science fiction project instead.

The throne room of the Massassi Temple in Star Wars Episode IV: A New Hope.
A similar shot from Leni Riefenstahl's Triumph of the WillAnother influence in Lucas's creation of Star Wars was the writings of Joseph Campbell. Campbell's work explored the supposed common meanings, structures, and purposes of the world's mythologies. Lucas has stated that his intention was to create in Star Wars a "modern mythology" based on Campbell's work. The original Star Wars film, episode IV, for example, closely followed the archetypal "hero's journey", as described in Campbell's The Hero with a Thousand Faces. This influence was discussed by Bill Moyers and Campbell in the PBS mini-series, The Power of Myth and by Lucas and Moyers in the 1999 program, Mythology of Star Wars with George Lucas & Bill Moyers.[1] In addition, the National Air and Space Museum of the Smithsonian Institution sponsored an exhibit during the late 1990s called Star Wars: The Magic of Myth which discussed the ways in which Campbell's work shaped the Star Wars films.[2] A companion guide of the same name was published in 1997.

It is thought that the setting for the Star Wars universe came from Isaac Asimov's Foundation Trilogy, published in the early 1950s. This saga also involves a galaxy teeming with inhabited worlds held together by a collapsing galactic empire using hyperdrives (for long-distance transportation). It also features the planet Trantor, which is entirely covered by the galaxy's capital, similar to Coruscant, and the protagonist of Foundation and Empire is Lathan Devers, a character resembling Han Solo. Even lightsabers have precursors in the The Foundation Trilogy as force field penknives. The planet Korrell is thought to be the basis of the planet Corellia.[citation needed]

It is often argued that Star Wars was influenced by Frank Herbert's classic science fiction book Dune. Many elements of Star Wars are also evident in Dune.[3] There are so many similarities, in fact, some Dune devotees consider Star Wars little more than a campy film adaptation of Herbert's work. While this is certainly an exaggeration, many of the similarities are striking. For example, both Dune and Star Wars are set on desert planets. Both stories feature a mystical knighthood of sorts — the Jedi in Star Wars and the Fremen of Dune. In both stories the hero is a messiah-like character, uses mystical powers, exhibits mind control (Jedi mind trick/the Voice), and duels opponents with sword-like weapons. Finally, both stories describe a corrupt empire and the hero's efforts to overcome it.

Some comic book fans have drawn parallels between Star Wars and Jack Kirby’s epic Fourth World series, published by DC Comics. The cosmos-spanning series of titles was never completed because DC canceled it, citing low sales. At the heart of the series was the battle between Orion of the New Gods and his villainous father, Darkseid (pronounced “dark side.”) Orion called upon the mystical force known as "the source" to aid him in this struggle. The Death Star is somewhat reminiscent of Apokolips, Darkseid’s home planet. Likewise, Darkseid's headpiece is similar in structure to Vader's.

Furthermore, Orion, like Luke Skywalker, was separated from his evil father at birth, growing up ignorant of his true parentage. Also like Skywalker, Orion was mentored by an old man who carried a staff and was far more powerful than his appearance suggested; the Highfather. Finally, both Orion and Skywalker are forced to struggle not only against their biological father's dreams of universal conquest but also against their own inner darkeness.

Also, Darth Vader shares some visual similarities with Kirby’s armored über-villain Dr. Doom, co-created with editor/scripter Stan Lee at Marvel Comics.

The Star Wars saga has also been influenced by historical events; Lucas claims to have drawn on ancient Rome, World War II and the Vietnam War for inspiration. The reference to the historical past can be seen with Lucas's use of 'stormtroopers', commonly associated with the stormtroopers of World War I Germany and Nazi Germany, and also associated with the SS under Hitler in World War II. These troopers acted as the Nazi party’s military force, under Hitler’s direct control. Similarly, the stormtroopers of Star Wars acted as the Empire’s military force, under Palpatine’s direct control. Lucas also based the space battles in A New Hope on World War II-era aerial dogfights. The rise of Palpatine mirrors Hitler in that a democracy becomes an empire.

Even Star Trek is said to have had a limited influence on Star Wars. Gene Roddenberry's intergallactic vision among humans has long been a staple for these concepts. A reference to ST is used in Episode V when an Empire commander mentions a cloaking device, a device used by Romulans, to describe the disappearance of the Millennium Falcon. It's been mentioned that Lucas wanted to label the Falcon's light speed capabilities as "warp drive" but was advised against it because at the time Roddenberry was looking into doing the Star Trek Phase II TV show and didn't want to start a conflict.

Scripts

George Lucas shooting the original Star Wars film in 1976The Star Wars saga began with a 14-page treatment for a space adventure movie that Lucas drafted in 1973, inspired by multiple myths and classical narratives. According to one source, Lucas initially wrote summaries for fifteen stories that would make up the Star Wars saga. Out of these fifteen stories, Lucas originally planned to film only one of them as a feature film. Then, in 1978, following the success of the first released Star Wars film, he publicly announced that he would create a total of twelve films to chronicle the adventures of Luke Skywalker (in the original scripts, the character’s name was Luke Starkiller). In 1979, Lucas retracted his former statement, saying that he would instead make nine films.[4] Four years later, having completed Return of the Jedi, Lucas announced that he was putting Star Wars on indefinite hold until special-effects technology had improved to his satisfaction. Finally, in 1995, (after seeing the effects results of ILM's work on Jurassic Park) Lucas decided that he would produce the trilogy of prequels (Episodes I, II, and III), for a total of six films. He also claimed at the time that he had always envisioned "the whole thing as a series of six films".

Other sources, including publicly available draft scripts of Star Wars, show that Lucas had an incomplete and quickly-changing conception of the Star Wars story up until the release of the first film in 1977. Story elements such as the Kaiburr crystal present in early scripts are missing entirely in the films, while names were freely exchanged between different planets and characters — "Organa Major" being the original name for Alderaan, for instance (Organa later became Princess Leia's surname). Even as late as the production of The Empire Strikes Back and Return of the Jedi, there were significant differences from the films which emerged — for example, Lando Calrissian being a clone from the Clone Wars and the climactic battle of Return of the Jedi taking place against two Death Stars orbiting the Imperial capital planet, then known as Had Abbadon.[5] Another version of the Return of the Jedi script had Luke turning to the dark side after killing Darth Vader. Leia would then become the next Jedi to fight the dark side. This did not happen, however, because Lucas felt that the ending would be too dark, especially for children, who were a major target audience. Also, George Lucas had the script of The Empire Strikes Back saying that "Obi-Wan killed your father," all the while having the "I am your father" line in mind. Since Darth Vader's voice was overdubbed by James Earl Jones, the true line was revealed in post-production.[6] In addition, the story released as the novel Splinter of the Mind's Eye was intended as a possible direction for a low-budget Star Wars sequel — however, the success of A New Hope allowed Lucas to pursue the more ambitious The Empire Strikes Back instead.

Lucas has been criticized for allegedly deviating from his original conception of the universe that was introduced in the original 1977 film. It has been theorized by some that developments in the later films, including (but not limited to) the revelation of Darth Vader as the father of Luke Skywalker, the revelation of Princess Leia as Luke's sister, and the progression of Darth Vader from a powerful lackey serving under Grand Moff Tarkin to a much-feared military leader answerable only to the Emperor (as well as the overall Star Wars Saga's shift in focus from Luke to Vader as the main character) go completely against the history/characters/relationships that were established in the original 1977 film. The Star Wars prequel trilogy has also been accused of similar retroactive changes that were allegedly not part of Lucas' original concept for Star Wars.

For his part, Lucas claimed in a segment filmed for the THX-remastered VHS release of the original trilogy that the original Star Wars story was intended as a single film but was later split into three because the story was too long to be told in a single film. In the DVD commentaries for the original trilogy, Lucas claims that many story elements were changed within the production of the films — for instance, the attack on the Death Star in A New Hope was moved from the end of the trilogy in order to strengthen A New Hope on its own merits, while the character of Chewbacca established the Wookiees as a technologically advanced race, necessitating their replacement with Ewoks in Return of the Jedi. Other changes, including the death of Obi-Wan in A New Hope, were made during the filming. Lucas also stated in the commentaries that the prequel stories existed only as "notes" explaining the backstories of characters such as Obi-Wan. In an interview with Wired prior to the release of The Phantom Menace, Lucas remarked that he had allowed the publication of novels written as sequels to the films (see Expanded Universe) because he would never make the sequels himself.

Lucas's history of different statements regarding his future and past plans for the Star Wars saga have caused a great deal of popular confusion, while drawing criticism from some. For example, some still believe that Lucas's original plan was for a "trilogy of trilogies," based on early statements made by Lucasfilm regarding sequels. For more information on the supposed sequel trilogy, see Sequel trilogy (Star Wars).

It has been reported that Lucas's original script was almost 500 pages long. The title, originally The Adventures of Luke Starkiller, was changed several times before becoming Star Wars Episode IV: A New Hope.[citation needed]

Production and release

A photo that appeared in a 2005 issue of Vanity Fair of the majority of the cast from all six films, along with Star Wars creator, George LucasThe Star Wars film series was shot in an original aspect ratio of 2.35:1. The "original trilogy" was shot with anamorphic lenses (Episodes IV and V were shot in Panavision, while Episode VI was shot in J.D.C. scope), while Episode I was shot in Arriscope film format, and Episodes II and III were shot with Sony's CineAlta high-definition digital camera.

There were countless problems during the production of Episode IV, and few critics expected the film to achieve the measure of success it did. Many problems with effects, editing, funding, and shooting caused the film to be pushed back from its expected release date of December 1976. The production company, not to mention many involved in the actual production, had little faith in the movie. According to reports, it was a daily struggle merely to complete the film on time. Despite these difficulties, the first film was released on May 25, 1977, and became a surprise hit. Though its novelization had hit the shelves six months earlier, the book had not seen nearly the amount of interest that the film would draw.

Many consider the phenomenal popularity of its first release due to the need for escapism after the experiences of Vietnam and Watergate. Throughout the first half of the 70's, baby-boomers (like Lucas himself) were getting more involved in filmaking along with Coppola, Scorcese, Freidken and others only to express dark and gritty realism in their films. Star Wars offered an escape from these confining realities.

Filming locations
Episodes IV, V, and VI were shot at, among other locations, Elstree Studios, in Hertfordshire, England. The outdoor scenes from the ice planet Hoth in Episode V were shot at Finse, Norway. Also, one shot of the Rebel Base on Yavin IV in Episode IV was of Mayan temples in Tikal, Guatemala. The Phantom Menace was filmed at Leavesden Film Studios and the subsequent prequels were filmed in Sydney, Australia. Tunisia, and the sand dunes of Yuma, Arizona, have served as the location for filming scenes set on the desert planet Tatooine in A New Hope, Return of the Jedi, The Phantom Menace, Attack of the Clones, and Revenge of the Sith. Italy's Caserta Palace was used to create the Theed palace on Queen Amidala's home planet, Naboo, and some scenes were also shot at Italy's Lake Como. Also some scenes in A New Hope were shot in Death Valley National Park, California, USA and Cappadocia, Turkey.[7]

Both the "original trilogy" and the "prequel trilogy" were released over a period of six years (1977–1983 and 1999–2005, respectively), each movie taking two years to produce.

Musical score
Main article: Star Wars music

John Williams conducting the London Symphony Orchestra during the recording of the score for The Phantom MenaceThe scores for all six Star Wars films were composed by John Williams. Lucas's intentions for Star Wars involved a grand musical sound, with leitmotifs for different characters and important objects; an approach used to great effect, for instance, in the operas of Richard Wagner. Toward this end, Lucas put together a collection of classical and romantic pieces for composer Williams to review, as an idea of what effects Lucas desired for the films. The music Williams composed was often distinctly reminiscent of the original pieces. Williams' score for Star Wars in 1977 set a new standard for science fiction films by drawing its inspiration primarily from a palette of Romantic symphonies, rather than creating completely new music (in choosing this classical approach, Williams was following the lead of 2001: A Space Odyssey and a mix-tape of Wagnerian opera and other selections compiled by George Lucas.) Although Williams had already established himself as a film composer with scores for blockbusters such as The Poseidon Adventure and Jaws, the Star Wars score gave him international recognition.

Williams' scores for the original trilogy were primarily motif-based: individual characters and settings were each given their own, unique musical theme which would identify their presence in the film, whether physically or figuratively. By combining and varying these motifs, Williams could create a score possessed of a rich, interwoven fabric.

By the time of the prequel trilogy, however, Williams had grown and changed as a composer. His new scores de-emphasized motifs, tending to weave them subtly into a broader and more dynamic musical composition. He had also expanded his use of thematic motifs, using the technique to highlight the emotional or archetypal structure of the film, rather than the more literal associations to character and setting used in the earlier scores.

Re-releases
Main article: List of changes in Star Wars re-releases
In 1997, A New Hope, The Empire Strikes Back, and Return of the Jedi were re-mastered and theatrically re-released as the "Special Editions." It was one of the first films series to be re-mastered in this way, and the trend of re-mastering and re-releasing films has proven to be extremely successful and many other movies and series have followed suit. For the re-release, in addition to extensive clean-up and restoration work, Lucas also made several changes to the films in order to "finish the film the way it was meant to be" (as Lucas said in a September 2004 interview with the Associated Press). Many of Lucas' changes for the Special Editions were cosmetic, generally adding special effects which were not originally possible. Other changes, however, are considered to have affected plot or character development. These changes, such as the change often referred to by fans as "Han shot first," have proven to be controversial, inciting considerable criticism of George Lucas by fans, and was one of the first causes of what came to be known as "Lucas bashing".

In 2004, in addition to an extensive and comprehensive hi-definition digital cleanup and restoration job by Lowry Digital, the original films were changed once again for their release on DVD. In these new versions of the films, in addition to new scenes and major image adjustments designed to make the films visually resemble the prequels, a few changes which had been made for the 1997 Special Editions were removed. With this release, Lucasfilm created a new high-definition master of the films, which will be used in future releases as well.

Although the original films have undergone significant alterations over the years, the prequel films have received only minor changes from their theatrical versions. The DVD releases of The Phantom Menace, Attack of the Clones, and Revenge of the Sith have had such elements altered as small additions of scenes, touch-ups in effects, and small sound changes.

For many years, Lucas has stated that the original, unaltered versions of the trilogy would never be released again, having been released for the last time on VHS and Laserdisc in 1995. However, on May 3, 2006, Lucasfilm announced on the official Star Wars site that due to "overwhelming demand", the original versions would be released on DVD on September 12, 2006. Each film was released as a two-disc set with the 2004 versions of the films on one disc, and the original, unaltered film on the second disc, as a bonus feature. The set is only available until December 31, 2006, then will be withdrawn from the market.

There has been controversy surrounding this release, since it was revealed that the DVDs featured non-anamorphic versions of the original, unaltered films based on laserdisc releases from 1993 (as opposed to newly-remastered, film-based transfers). Since non-anamorphic transfers fail to make full use of the resolution available on widescreen sets, many fans were upset over this choice.

Future releases
At a ShoWest convention in 2005, George Lucas demonstrated new technology and stated that he planned to release all six films in a new 3-D film format, beginning with A New Hope in 2007.[8]

Additionally, Lucas has hinted in the past that he will release his definitive (often called "archival") editions of all six of his Star Wars films on a next-generation home-video format in 2007. This release would coincide with the 30th anniversary of the Star Wars saga. It has been speculated that he will take this opportunity to make any final adjustments, changes, additions, and/or subtractions to his films for this final release. An altered clip from The Phantom Menace included in a featurette on the DVD release of Revenge of the Sith (in which a computer generated Yoda replaces the original puppet) appears to be a sign that the "archival" editions are indeed in the works.

It is said that this edition will be released in a "Grand Saga" box set. Lucasfilm Vice President of Marketing Jim Ward confirmed that in this final release, Lucasfilm is likely to return to John Lowry to do even more work on the films (possibly digital contemporization of the original trilogy). He says, "As the technology evolves and we get into a high-definition platform that is easily consumable by our customers, the situation is much better, but there will always be work to be done."[9]

Producer Rick McCallum has also explained that Lucasfilm has been holding back a large amount of bonus material for this release, including deleted scenes, as well as numerous previous Star Wars "making-ofs," spin-offs, television specials, documentaries, and other special material.

There has been much hope for another Star Wars trilogy but George Lucas has said that there are no plans for episodes 7, 8, and 9.

Television rights
Aside from pay-per-view cable showings, the original Star Wars movie (Episode IV) first saw TV release in 1983 on all the major pay-cable networks (HBO, Showtime, etc.). CBS had exclusive network rights when it aired on commercial television one year later, and continued on CBS for several years. The remaining films in the original trilogy also made their cable rounds (pay-per-view, premium cable) before airing on network television (NBC acquired the original network rights to The Empire Strikes Back and Return of the Jedi). In 1992, the Sci-Fi Channel became the first U.S. network to air the three then-existing episodes in the saga. Sci-Fi retained TV rights until 1996, in preparation for the theatrical release of the "Special Editions" of the original trilogy. In 1998, a year after the SE releases, Showtime acquired limited one-month premium cable rights to the "Special Edition" of Star Wars for airing in January. It continued on broadcast stations, including superstations TBS and WGN, for several years after).

In 1999, to promote Episode I: The Phantom Menace, the remaining "Special Edition" films (V and VI) aired on U.S. broadcast network Fox (they bypassed pay-per-view and premium cable for direct broadcast airing). That same year, Fox acquired all television rights to Episode I after the premium cable networks declined due to cost. A similar situation nearly happened with Attack of the Clones, until HBO struck a last-minute deal with Fox and Lucasfilm for the exclusive pay-cable rights. Episode II, like its predecessor, never saw prior pay-per-view cable release, but it did run on HBO and sister network Cinemax during its 18-month term of license. The Fox network acquired the U.S. network television rights. In April/May 2005, to promote the then-upcoming Episode III: Revenge of the Sith, Episodes I, IV, V, and VI were placed in limited syndicated television distribution, while the Fox network was able to air Episode II in mid-May, prior to Episode III's initial theatrical release.

During negotiations for the cable rights to Episode II, HBO/Cinemax also struck a first-look deal for Episode III, which they accepted and is currently on its initial 18-month term of license (it was also the only Star Wars prequel film to see any pay-per-view cable issue). In addition, the Time Warner-owned networks were able to win the right to become the first U.S. television network system (cable or broadcast) to air all six films in the saga, and Cinemax will air them beginning November 2006 in High Definition. The six films will also be repeated on HBO in High Defenition. The versions of Episodes IV, V, and VI that will be aired will be the 2004 DVD Special Editions, as they are the current canonical versions. In the UK, Sky purchased the rights to air all six movies in August 2006, becoming the first English-language television network to air all six films, which will be aired in order of release, beginning with the original Episode IV. Afterwards, the episodes will continue to be shown during the "100 films a month" cycles on Sky Movies. Meanwhile Spike TV, in a separate deal, acquired the commercial broadcast rights to Episode III, including the right to become the first broadcast network to air all six films (the deal takes effect in April 2008). From late December 2006 to early January 2007, Star Movies Asia will show Star Wars the complete saga from "The Phantom Menace" up to "The Return of the Jedi" with the back-to-back premiere on December 31. 2006 is The Making of Star Wars episode 3: "Revenge of the Sith" and the movie "Revenge of the Sith". The movies will be shown every Sunday 9:00pm HK/10:00pm Mal starting Dec. 17, 2006.

Expanded Universe
Main article: Expanded Universe (Star Wars)
The term "Expanded Universe" has come into existence as an umbrella term for all of the officially licensed Star Wars material outside of the six feature films. This includes television productions, books, comics, games, and other forms of media. The material expands and continues the stories told in the films, taking place anywhere from 25,000 years before The Phantom Menace to 140 years after Return of the Jedi. The first Expanded Universe story appeared in Marvel Comics' Star Wars #7 in January 1978 (the first six issues of the series having been an adaptation of the movie), followed quickly by Alan Dean Foster's novel Splinter of the Mind's Eye the following month.

George Lucas retains ultimate creative control over the Star Wars universe. For example, the death of central characters and similar changes in the status quo must first pass his screening before authors are given the go-ahead. In addition, Lucasfilm Licensing devotes considerable effort to ensure continuity between the works of various authors across multiple companies.

Some purists reject the Expanded Universe as "Apocrypha", believing that only the events in the film series are part of the "real" Star Wars universe. However, elements of the Expanded Universe have been adopted by Lucas for use in the films. These included the name of the Republic/Empire capital planet, Coruscant, which first appeared in Timothy Zahn's novel Heir to the Empire before being used in The Phantom Menace, while a character introduced in Dark Horse Comics' Star Wars series, a blue Jedi Knight named Aayla Secura, was liked enough by Lucas to be included as a character in Attack of the Clones (and is seen meeting her demise in Revenge of the Sith in an ambush on the jungle planet Felucia).

Obi-Wan Kenobi and Anakin Skywalker in animated form.
Television
To date, three films and three animated series have been produced for television, with a live-action series in pre-production. For the most part, Lucas has played a large role in the production of the television projects — usually serving as storywriter and/or executive producer.

Production Release date
The Star Wars Holiday Special November 17, 1978
Caravan of Courage: An Ewok Adventure November 25, 1984
Star Wars: Droids September 7, 1985
Star Wars: Ewoks September 7, 1985
Ewoks: The Battle for Endor November 24, 1985
Star Wars: Clone Wars (2-D series) November 7, 2003
Star Wars: Clone Wars (3-D series) 2007
Star Wars live-action TV series 2008

Radio dramas
See also: Star Wars (radio)
A radio adaptation of A New Hope was first broadcast on National Public Radio in 1981. The adaptation was written by science fiction author Brian Daley and directed by John Madden. It was followed by adaptations of The Empire Strikes Back in 1983 and Return of the Jedi in 1996. The adaptations included background material created by Lucas but not used in the films. Mark Hamill, Anthony Daniels, and Billy Dee Williams reprised their roles as Luke Skywalker, C-3PO, and Lando Calrissian, respectively. The series also used John Williams' original score from the films and Ben Burtt's original sound designs.

Audio books
See also: List of Star Wars Audio Books
Numerous Audiobooks have bee produced in the releam of Additional Fiction on the materials from the original movies.

Books
See also: List of Star Wars books
Star Wars-based fiction predates the release of the first movie, with the 1976 novelization of "A New Hope" (ghost-written by Alan Dean Foster and credited to George Lucas). Foster's 1978 novel, Splinter of the Mind's Eye, was very nearly the first Expanded Universe work to be released. In addition to filling in the time between the movies, this additional content greatly expanded the Star Wars timeline before and after the film series.

Star Wars fiction flourished during the time of the original series (1977-1983) but slowed to a trickle afterwards. In 1991, however, Timothy Zahn's celebrated Thrawn Trilogy debuted, sparking a new interest in the Star Wars universe. Since then, several hundred tie-in novels have been published by Bantam and Del Rey. A similar resurgence in the Expanded Universe occurred in 1996 with the Steve Perry novel Shadows of the Empire, Bantam set between Episodes V and VI, and accompanying video game and comic book series.

LucasBooks radically changed the face of the Star Wars universe with the introduction of the New Jedi Order series, which takes place some 20 years after Return of the Jedi and stars a host of new characters alongside series originals. However, several significant events which occur during the course of this series (such as the death of a major film character) have sparked much fan criticism.

Comics
See also: List of Star Wars comic books
Marvel Comics published Star Wars comic book series and adaptations from 1977 to 1986. A wide variety of creators worked on this series, including Roy Thomas, Archie Goodwin, Howard Chaykin, Al Williamson, Carmine Infantino, Gene Day, Walt Simonson, Michael Golden, Chris Claremont, Whilce Portacio, Jo Duffy, and Ron Frenz. In the late 1980s, Marvel announced it would publish a new Star Wars comic by Tom Veitch and Cam Kennedy. However, in December 1991, Dark Horse Comics acquired the Star Wars license and used it to launch a number of ambitious sequels to the original trilogy instead, including the very popular Dark Empire stories. They have since gone on to publish a large number of original adventures set in the Star Wars universe.

Games
See also: Star Wars computer and video games and List of Star Wars video games
Since 1983, over 120 video games have been published bearing the Star Wars name, beginning with Star Wars: The Empire Strikes Back published for the Atari 2600 by Parker Brothers. Since then, Star Wars has opened the way to a myriad of space-flight simulation games, first-person shooter games, roleplaying games, RTS games, and others.

Two different official tabletop role-playing games have been developed for the Star Wars universe– a version by West End Games in the 1980s and 1990s, and one by Wizards of the Coast in the 2000s. In the Lego Star Wars: The Video Game and Lego Star Wars II: The Original Trilogy the movies are played in a different way. And in Empire at War, players can take control of either the empire or the rebellion and fight for control of the galaxy.

Trading cards
Star Wars trading cards[10] have been published since the first 'blue' series, by Topps, in 1977. Dozens of series have been produced, with Topps being the licensed creator in the United States. Some of the card series are of movie stills, while others are original art. Many of the cards have become highly collectible with some very rare 'promos', such as the 1993 Galaxy Series II 'floating Yoda' P3 card often commanding US$1000 or more. While most 'base' or 'common card' sets are plentiful, many 'insert' or 'chase cards' are very rare. Star Wars card game cards are different from the trading cards. A thriving market for both types exists on eBay.

Fan works
See also: Star Wars fan films
The Star Wars saga has inspired many fans, called "Warsies", to create their own stories set in the Star Wars galaxy. In recent years, this has ranged from writing fan-fiction to creating fan films.

In 2002, Lucasfilm sponsored the first annual Official Star Wars Fan Films Awards, officially recognizing filmmakers and the genre. Because of concerns over potential copyright and trademark issues, however, the contest remains open only to parodies, mockumentaries, and documentaries. Fan-fiction films set in the Star Wars universe are ineligible. Initially this limitation caused an outcry for those interested in creating serious fan-fiction for a competition.

While many of the serious fan films have used elements from the licensed Expanded Universe to tell their story, they are obviously not considered an official part of the Star Wars canon. Lucasfilm, for the most part, has allowed but not endorsed the creation of these derivative fan-fiction works, so long as no such work attempts to make a profit from or tarnish the Star Wars franchise in any way.

Lucasfilm's open support and sanction of fan creations is a marked contrast to the attitudes of many other copyright holders. Some owners, such as Paramount Pictures with the Star Trek properties, have been known to actively discourage the creation of such works by fans.

Star Wars can mean:

The Star Wars saga, a series of science fiction/fantasy films and related media
Star Wars Episode I: The Phantom Menace
Star Wars Episode II: Attack of the Clones
Star Wars Episode III: Revenge of the Sith
Star Wars Episode IV: A New Hope (originally simply Star Wars)
Star Wars Episode V: The Empire Strikes Back
Star Wars Episode VI: Return of the Jedi
Star Wars is also a name of two Star Wars computer games
Star Wars arcade game (1983) - Atari's famous arcade game that was ported for many home computers
Star Wars console game (1988) - Action game released for several consoles
Strategic Defense Initiative, a United States missile defense program

Cultural impact
Main articles: Cultural impact of Star Wars and List of cultural references to Star Wars
The Star Wars saga has had a significant impact on modern global pop culture. Science fiction since Star Wars, particularly in film, has often been influenced by and compared to Star Wars. References to the main characters and themes of Star Wars are casually made in Western society with the well-qualified assumption that others will understand the reference. George Lucas is also famous for using the best possible cameras and technology (see also Industrial Light and Magic) in his movies. Many say that the visual and virtual effects that take over today's movies would have never been created if not for Lucas's revolutionizing of the movie industry with Star Wars.

Parodies
Both the movie and characters have been parodied or spoofed in popular movies and television. Notable movie parodies of Star Wars include: Hardware Wars, a 13 minute spoof which George Lucas has called his favorite Star Wars parody[citation needed]; Spaceballs, a feature film by Mel Brooks, and Troops, a COPS-style documentary. There have been numerous parodic references to Star Wars in films such as Back to the Future, Ferris Bueller's Day Off, Hot Shots! Part Deux, and most of the films of Kevin Smith. In 1997, the first film's twentieth anniversary, Saturday Night Live featured a pair of skits that parodied the film's screen tests, which included Kevin Spacey playing Christopher Walken auditioning for Han Solo. Walken was originally considered for the role before Harrison Ford was chosen. Star Wars Kid swung a golf ball retriever pretending to be Darth Maul.

Songs
There have been many songs based around the Star Wars universe, the most notable of which are "Weird Al" Yankovic's Yoda, (a parody of The Kinks' "Lola"), which describes Luke's training with the "wrinkled and green" Jedi master, and The Saga Begins, (a parody of Don McLean's "American Pie"), which chronicles the events of Episode I. The latter of these is particularly reveled, as it was released one week before the film. On Blink-182's album "Dude Ranch", the track "A New Hope" discusses the bassist Mark Hoppus' obsession with Princess Leia.

In late 1977, at the height of the original Star Wars craze, comedian Bill Murray portrayed Lounge Lizard Nick Winters on Saturday Night Live and sang a swanky version of the Star Wars theme, complete with inane improvised lyrics.[11]

Other songs based on the Star Wars saga include The Star Wars Gangsta Rap and Star Wars Cantina.

Star Wars Episode IV: A New Hope, originally released as Star Wars, is a 1977 science fantasy film written and directed by George Lucas. It is the first of six films released in the Star Wars saga; three later films precede the story in the series' internal chronology. Among fans, the title is commonly abbreviated as "ANH".[1]

The film is set nineteen years after the formation of the Galactic Empire; construction has finished on the Death Star, a weapon capable of destroying a planet. After Princess Leia, a leader of the Rebel Alliance, steals the weapon's plans in the hope of finding a weakness, she is captured and taken to the Death Star. Meanwhile, a young farmer named Luke Skywalker meets Obi-Wan Kenobi, who has lived in seclusion for years on the desert planet of Tatooine. When Luke's home is destroyed, Obi-Wan begins Luke’s Jedi training as they attempt to rescue the Princess from the Empire.

Inspired by films like Flash Gordon and such literary works as The Hero with a Thousand Faces, Lucas began work on Star Wars in 1974. Produced with a budget of US$11 million and released on May 25, 1977, the film became one of the most successful of all time, earning $798 million worldwide during its original theatrical release. It was re-released several times, sometimes with significant changes; the most notable versions were the 1997 Special Edition and the 2004 DVD, which were modified with CGI effects and recreated scenes.

Production
Spoiler warning: Plot and/or ending details follow.
During post-production on his previous film American Graffiti, George Lucas discussed the concept of a "space opera" with producer Gary Kurtz.[2] In May 1973, Lucas had prepared a fourteen-page story outline for distribution among film studios. Because of its outer-space setting, the story was viewed as science fiction, an unpopular genre at the box office. Lucas later proposed that terms like "space fantasy" or "science fantasy" better fit the story.[2] He brought the outline to Universal Studios and United Artists; both rejected the project. Lucas disliked the studio system because his previous two films, American Graffiti and THX 1138, had been re-edited without his consent.[3] Still, aware that studios were unavoidable, he pursued Alan Ladd, Jr., the then-new head of 20th Century Fox. Although Ladd failed to grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd "invested in me, [but] he did not invest in the movie."[2]

Lucas finished a draft of the screenplay in May 1974. As the draft developed, the characters evolved significantly. Early in development, Luke Skywalker's character changed from a 60-year-old general to a member of a family of midgets;[2][4] the Corellian smuggler, Han Solo, was envisioned as a large, green-skinned monster with gills.[4] Chewbacca was inspired by Lucas' Alaskan malamute dog, Indiana, who often acted as the director's "co-pilot" by sitting in the passenger seat of his car.[4] The Force, a mysterious energy field, was initially conceived as the Kyber crystal, a "galactic holy grail".[5][2] The completed script was too long for one movie; however, Lucas refused to condense it. Instead, he expanded the first third of it into one movie and left the rest for two future films, effectively creating the original Star Wars trilogy.[6][2]

Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes during screenwriting. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings.[7] 20th Century Fox approved a budget of $8,250,000; American Graffiti's positive reviews allowed Lucas to renegotiate his deal with Alan Ladd, Jr. and request the sequel rights to the film. For Lucas, this deal protected Star Wars' unwritten segments and most of the merchandising profits.[2][8]

In 1975, Lucas founded the visual effects company Industrial Light & Magic (ILM) after discovering that 20th Century Fox's visual effects department had been disbanded. ILM began its work on Star Wars in a warehouse in Van Nuys, California. Most of the visual effects used motion control photography, which creates the illusion of size by employing small models and slowly moving cameras. Model spaceships were constructed on the basis of drawings by Joe Johnston, input from Lucas, and paintings by Ralph McQuarrie. Lucas opted to abandon the traditional sleekness of science fiction by creating a "used universe" in which all devices, ships, and buildings looked aged and dirty.[2][9][10]

A storyboard panel depicting Imperial stormtroopers searching for R2-D2 and C-3PO.When filming began on March 22, 1976 in the North African Tunisian desert for the scenes on the planet Tatooine,[11] the project faced several problems.[12] Lucas fell behind schedule in the first week of shooting due to a rare Tunisian rainstorm, malfunctioning props, and electronic breakdowns.[13] When actor Anthony Daniels wore the C-3PO outfit for the first time, the left leg piece shattered down through the plastic covering his left foot, stabbing him. After completing filming in Tunisia, production moved into the more controlled environment of Elstree Studios, near London.[13] However, significant problems, such as an uncaring crew who had little interest in the film, still arose.[2][13] Most of the crew considered the project a "children's film", rarely took their work seriously, and often found it unintentionally humorous. Actor Kenny Baker later confessed that he thought the film would be a failure. Harrison Ford found the film "weird", in that there was a Princess with buns for hair and what he called a "giant in a monkey suit" named Chewbacca. Ford also found the dialogue difficult, saying "You can type this shit, George, but you sure can't say it."[14]

Lucas clashed with Director of Photography Gilbert Taylor, whom producer Gary Kurtz called "old-school" and "crotchety".[2] Moreover, with a background in independent filmmaking, Lucas was accustomed to creating most of the elements of the film himself. His camera suggestions were rejected by an offended Taylor, who felt that Lucas was over-stepping his boundaries by giving specific instructions. Lucas eventually became frustrated that the costumes, sets and other elements were not living up to his original vision of Star Wars. He rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words "faster" and "more intense".[2]

Alan Ladd, Jr. offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts. After the film became two weeks over schedule, Ladd, Jr. told Lucas that he had to finish production within a week or he would be forced to shut down production. The crew split into three units, led by Lucas, Kurtz, and production supervisor Robert Watts, respectively. Under the new system, the project met the studio's deadline.[2][13]

Star Wars was originally slated for release in Christmas 1976; however, massive delays pushed the film's release to summer 1977. Already anxious about meeting his deadline, Lucas was shocked when his editor's first cut of the film was a "complete disaster". After attempting to persuade the original editor to cut the film his way, Lucas replaced the editor with Paul Hirsch and Richard Chew. He also allowed his then-wife Marcia Lucas to aid the editing process while she was cutting the film New York, New York with Lucas' friend Martin Scorsese. Richard Chew found the film had an unenergetic pace; it had been cut in a by-the-book manner: scenes were played out in master shots that flowed into close-up coverage. He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously; whoever finished first moved on to the next.[2]

During production, the cast attempted to make Lucas laugh or smile as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level.[2][13] Post-production was equally stressful due to increasing pressure from 20th Century Fox. Moreover, Mark Hamill's face was injured in a car accident, which made reshoots impossible.[13]

Meanwhile, ILM was struggling to achieve unprecedented special effects. The company had spent half of its budget on four shots that Lucas deemed unacceptable.[13] Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to frequently intervene to ensure that they were on schedule.[2] With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months. Lucas inspired ILM by editing together aerial dogfights from old war films, which enhanced the pacing of the scenes.[2]

During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack". For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Lucas and Burtt created the robotic voice of R2-D2 by filtering their voices through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba tank implanted with a microphone.[15] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse's English West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' voice would be too recognizable, so he cast the lesser-known James Earl Jones.[16] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the voice of the droid. According to Daniels, one of the major voice actors recommended Daniels' voice for the role.[2][4]

When Lucas screened an early cut of the film for his friends, among them directors Brian De Palma and Steven Spielberg, their reactions were disappointing. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film,[2] believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film. In contrast, Alan Ladd, Jr. and the rest of 20th Century Fox loved the film; one of the executives cried during screening. Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before.[2] Although the delays ballooned the budget from $8 million to $11 million, the film was still the least expensive of the Star Wars saga.

Synopsis
Spoiler warning: Plot and/or ending details follow.

Darth Vader and his stormtroopers board the Rebel Corellian Corvette Tantive IV.The opening crawl reveals that the galaxy is in a state of civil war. The Rebel Alliance has stolen plans to the Galactic Empire's Death Star, a space station capable of annihilating a planet. The plans were transmitted to the rebel blockade runner Tantive IV, a ship in the service of Princess Leia Organa of Alderaan. Imperial stormtroopers take control of the ship, and Darth Vader arrives to assess the damage. Before she is captured, Leia entrusts the plans and a holographic recording unto a small droid named R2-D2. R2-D2 and his partner, C-3PO, board an escape pod and crash on the planet Tatooine.

On Tatooine, the droids navigate the desert until they are captured by Jawas. The next day, the Jawas sell the droids to Owen Lars and his nephew, Luke Skywalker. Luke accidentally triggers part of the holographic message, making him suspect that R2-D2 is stolen property belonging to "Obi-Wan Kenobi." Returning to his garage at sunset, Luke discovers that R2-D2 has escaped. After finding him, Luke and C-3PO are attacked by Sandpeople and rescued by Obi-Wan Kenobi. Luke and the droids are brought to Obi-Wan's hut, where Obi-Wan tells of his days as a Jedi Knight and reveals to Luke that his father was also a Jedi skilled in a mysterious energy field called the Force. When Luke asks how his father died, Obi-Wan replies that he was "betrayed and murdered" by Darth Vader. Finally, they view the holographic message from Princess Leia, who asks Obi-Wan to take the droid and the plans to the planet Alderaan. Obi-Wan invites Luke to accompony him to Alderaan; Luke refuses, citing his household responsibilities. After returning home, Luke discovers that his family has been murdered and his home has been destroyed by the Stormtroopers looking for the droids. He returns to Obi-Wan and decides to go to Alderaan and become a Jedi. At Mos Eisley Spaceport, the group encounters a smuggler named Han Solo, who agrees to transport them on his ship, the Millennium Falcon. When Obi-Wan and his companions reach the ship, they are attacked by Stormtroopers. They hastily board the Millennium Falcon, make a speedy launch, and dodge attacks in space before escaping to lightspeed.

Meanwhile, Leia has resisted interrogation on the Death Star. When threatened with the destruction of her home planet of Alderaan, however, she bluffs and states that the Rebel Base is on Dantooine. Grand Moff Tarkin destroys Alderaan anyway, as a display of the Death Star's power. En route to Alderaan, Obi-Wan instructs Luke in the Force. When they arrive at Alderaan's location, the crew discovers only a hail of debris and a moon-sized space station - the Death Star. A tractor beam pulls the Falcon into the Death Star; inside, Obi-Wan attempts to disable it so that the group can escape. Upon learning that Leia is awaiting execution in a nearby prison cell, the rest of the group navigates through the station and rescues the princess. After deactivating the tractor beam, Kenobi engages in a lightsaber duel with Vader. The duel distracts the guards, allowing Luke and his companions to board the Falcon. Once he sees that they are safely near the ship, Obi-Wan allows Vader to strike him down. Luke screams in horror, gaining the attention of the Stormtroopers, who attack Luke and his companions.

Darth Vader prepares to gun down a Rebel starfighter during the perilous Trench Run.The group escapes; unknown to them (but suspected by Leia), the Empire allowed the escape to track their ship to the Rebel Base. They finally reach the Rebel hideout on Yavin IV, where they deliver the plans to the Rebel leadership. After reviewing the battle plans, which involve flying along a canyon-sized trench in the station's surface and firing a torpedo down a narrow ventilation shaft, Luke and a group of Rebel fighters begin their assault on the approaching Death Star. Several squadrons of Rebel ships are destroyed by Imperial fighters as Luke's "Red" group begins its run down the trench towards the ventilation port. As Luke makes his run down the canyon, the voice of Kenobi instructs him to use the Force. When Vader locks his weapons onto Luke's X-Wing, Han Solo and Chewbacca fly in and destroy one of Vader's wingmen. Panicked, the second wingman hits Vader's ship and sends it spiraling into space. Luke, hearing Obi-Wan's voice, deactivates his targeting computer and launches torpedoes down the shaft, destroying the Death Star. In a civil ceremony at the Massassi Temple rebel base on Yavin IV, Luke and Han are awarded medals by Leia for their valor in the battle.

Spoilers end here.

Releases
Ratings
Argentina: Atp
Australia: PG
Canada (Manitoba): PG
Canada (Ontario): PG
Canada (Maritime): A (original)
PG (special edition)
Canada (Quebec): G
Chile: TE
Denmark: 11
Finland: K-8
France: U
Germany: 6
Hong Kong: I
Iceland: L
Ireland: G
Malaysia: U
Mexico: AA
Netherlands: AL
New Zealand: PG
Norway: 11
Peru: PT
Portugal: M/12
Singapore: PG
South Korea: 12
Spain: T
Sweden: 11
United Kingdom: U
United States: PG
Charles Lippincott was hired by Lucas' production company, Lucasfilm Ltd., as marketing director for Star Wars. Because 20th Century Fox gave little support for marketing beyond licensing T-shirts and posters, Lippincott was forced to look elsewhere. He secured deals with Stan Lee and Marvel Comics for a comic book adaptation and with Del Rey Books for a novelization. Wary that Star Wars would be beaten out by other summer films, such as Smokey and the Bandit, 20th Century Fox moved the release date to Wednesday before Memorial Day: May 25, 1977. However, few theaters ordered the film to be shown. In response, 20th Century Fox demanded that theaters order Star Wars if they wanted an eagerly anticipated film based on a best-selling novel titled The Other Side of Midnight.[2]

The film became an instant success; within three weeks of the film's release, 20th Century Fox's stock price doubled to a record high. Before 1977, 20th Century Fox's greatest annual profits were $37,000,000; in 1977, the company earned $79,000,000. Although the film's cultural neutrality helped it to gain international success, Alan Ladd, Jr. became anxious during the premiere in Japan. After the screening, the audience was silent, leading Ladd, Jr. to fear that the film would be unsuccessful. He was later told that, in Japan, silence was the greatest honor to a film. Meanwhile, thousands attended a ceremony at Grauman's Chinese Theatre, where C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[2] Although Star Wars merchandise was available to enthusiastic children upon release, only Kenner Toys — who believed that the film would be unsuccessful — had accepted Lippincott's licensing offers. A stunned Kenner responded to the sudden demand for toys by selling boxed vouchers in its "empty box" Christmas campaign; these vouchers could be redeemed for the toys in March 1978.[2]

In 1978, at the height of the film's popularity, Smith-Hemion Productions approached Lucas with the idea of The Star Wars Holiday Special. The end result is often considered a failure.[17]

The film was originally released as — and consequently often called — Star Wars, without Episode IV or the subtitle A New Hope. The 1980 sequel, Star Wars Episode V: The Empire Strikes Back, featured the episode number and subtitle in the opening crawl. When the original film was re-released in 1981, Episode IV: A New Hope was added above the original opening crawl. Although Lucas claims that only six films were ever planned, representatives of Lucasfilm discussed plans for nine or twelve possible films in early interviews.[18] The film was re-released theatrically in 1978, 1979, 1981, 1982 and 1997.

Special Edition
After ILM used computer generated effects for Steven Spielberg's Jurassic Park, Lucas concluded that digital technology had caught up to his original vision for Star Wars.[2] As part of Star Wars' 20th anniversary celebration in 1997, A New Hope was digitally remastered and re-released with The Empire Strikes Back and Return of the Jedi under the campaign title The Star Wars Trilogy: Special Edition, or SE. The Special Edition versions contained visual shots and scenes that were unachievable in the original release due to financial, technological, and time restraints; one such scene involved a meeting between Han Solo and Jabba the Hutt.[2] Although most changes were minor or cosmetic in nature, some fans believe that Lucas degraded the movie with the additions.[19] For instance, a controversial change in which Greedo shoots first when confronting Han Solo has inspired T-shirts brandishing the phrase "Han Shot First".[20]

DVD release
A New Hope was released on DVD in September 2004 in a box set with The Empire Strikes Back, Return of the Jedi, and a bonus disc of supplemental material. The movies were digitally restored and remastered, and more changes were made by George Lucas.

The DVD features a commentary track from George Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc contains the documentary Empire of Dreams: The Story of the Star Wars Trilogy, three featurettes, teaser and theatrical trailers, TV spots, still galleries, an exclusive preview of Star Wars Episode III: Revenge of the Sith, a playable Xbox demo of the LucasArts game Star Wars Battlefront, and a "Making Of" documentary on the Episode III video game. The set was reissued in December 2005 as part of a three-disc "limited edition" boxed set without the bonus disc.

The trilogy was re-released on separate two-disc Limited Edition DVD sets from September 12, 2006 to December 31, 2006; the original versions of the films were added as bonus material. Controversy surrounded the release because the unaltered versions were from the 1993 non-anamorphic Laserdisc masters, and were not retransferred with modern video standards.[21]

Reaction
Star Wars debuted in 37 theaters and broke 36 house records, effectively becoming one of the first blockbuster films. It remains one of the most financially successful films of all time. Some of the cast and crew noted lines of people stretching around theaters as they drove by. Even minor technical crew members, such as model makers, were asked for autographs, and cast members became instant household names.[2] The film's original total U.S. gross came to $307,263,857, and it earned $6,806,951 during its first weekend in wide release. Lucas claimed that he had spent most of the release day in a sound studio in Los Angeles. When he went out for lunch with his then-wife Marcia, they encountered a long queue of people along the sidewalks leading to Mann's Chinese Theatre, waiting to see Star Wars.[13] The film became the highest-grossing film of 1977 and the highest-grossing film of all time until E.T. The Extraterrestrial broke that record in 1982. The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[22]

In a 1977 review, Roger Ebert called the film "an out-of-body experience" and compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its "pure narrative".[23] Vincent Canby called the film "the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure."[24] Pauline Kael of The New Yorker criticized the film, stating that "there's no breather in the picture, no lyricism", and that it had no "emotional grip".[25] Jonathon Rosenbaum of the Chicago Reader stated, "None of these characters has any depth, and they're all treated like the fanciful props and settings!"[26] Peter Keough of the Boston Phoenix said "Star Wars is a junkyard of cinematic gimcracks not unlike the Jawas' heap of purloined, discarded, barely functioning droids."[27] Stanley Kauffmann of The New Republic also responded negatively, noting, "His work here seems less inventive than in THX 1138."[28] According to rottentomatoes.com, of the 54 critical reviews of the film provided on that site, the consensus is, "The action and special effects are first rate."[28]

In 1989, the U.S. National Film Registry of the Library of Congress selected the film as a "culturally, historically, or esthetically important" film.[29] In 2006, George Lucas' original screenplay was selected by the Writers Guild of America as the 68th greatest of all time.[30] The American Film Institute (or AFI) listed it 15th on a list of the top 100 films of the 20th century;[31] in the UK, a poll created by Channel Four named A New Hope (together with its successor, The Empire Strikes Back) the greatest film of all time.[32] The AFI has named Star Wars and specific elements of it to several of its "top 100 lists" of American cinema, compiled as a part of the Institute's 100th anniversary celebration. These include the twenty-seventh most thrilling American film of all-time,[33] and the thirty-ninth most inspirational American film of all-time.[34] Darth Vader was ranked as the third greatest film villain of all time, and Han Solo as the fourteenth greatest American film hero of all time, with Obi-Wan Kenobi thirty-seventh on the same list.[35] The oft repeated line "May the Force be with you" was ranked as the 8th greatest quote in American film history.[36] John Williams' score was ranked as the greatest American film score of all time.[37]

Star Wars won several awards at the 1978 Academy Awards, including Best Art Direction-Set Decoration, which went to John Barry, Norman Reynolds, Leslie Dilley and Roger Christian. Best Costume Design was awarded to John Mollo; Best Film Editing went to Paul Hirsch, Marcia Lucas and Richard Chew; John Stears, John Dykstra, Richard Edlund, Grant McCune and Robert Blalack all received awards for Best Effects, Visual Effects. John Williams was awarded his third Oscar for Best Music, Original Score; the Best Sound went to Don MacDougall, Ray West, Bob Minkler and Derek Ball; and a Special Achievement for sound effects went to Ben Burtt. Additional nominations included Alec Guinness for Best Actor in a Supporting Role, George Lucas for Best Screenplay and Best Director, and Gary Kurtz was nominated for his producing duties in Best Picture.[38] At the Golden Globe awards, the film was nominated for Best Motion Picture - Drama, Best Director, Best Supporting Actor (Alec Guinness), and Best Score. It only won the award for Best Score.[38] It received six BAFTA nominations: Best Film, Best Editing, Best Costume, Best Production/Art Design, Best Sound, and Best Score; the film won in the latter two categories.[38] John Williams' soundtrack album won the Grammy award for Best Album of an original score for a motion picture or television program,[38] and the film was awarded the Hugo Award for Best Dramatic Presentation.[38] In 1997, the MTV Movie Awards awarded Chewbacca (played by Peter Mayhew) the lifetime achievement award for his work in the Star Wars trilogy.[38]

Cinematic influence
Star Wars has influenced many films and filmmakers since its release.[39] It began a new generation of special effects and high-energy motion pictures. The film was one of the first films to link genres — such as space opera and soap opera — together to invent a new, high-concept genre for filmmakers to build upon.[39][9] Finally, it shifted the film industry's focus away from personal filmmaking of the 1970s and towards big-budget blockbusters for younger audiences.[39][2]

Actor Michael Shanks cited Star Wars as an influence on many battle scenes from the television series Stargate SG-1 namely "Fallen".[40] Joss Whedon's Serenity features several references: the spaceship Serenity, influenced by the Millennium Falcon; a "used future" where vehicles and culture are obviously dated; and clothing for its own evil empire.[41] After seeing Star Wars, director James Cameron quit his job as a truck driver to enter the film industry. Other filmmakers who have said to have been influenced by Star Wars include Peter Jackson, Ridley Scott, Dean Devlin, Roland Emmerich, and John Singleton. Many believe that the cinema-going experience had been changed drastically by the film.[9] Scott, like Whedon, was influenced by the "used future" and extended the concept for his science fiction horror film Alien. Jackson used the concept for his production of the Lord of the Rings trilogy to add a sense of realism and believability.[9]

Critics of Lucas have blamed Star Wars for "ruining" Hollywood by shifting its focus from "sophisticated" and "relevant" films such as The Godfather, Taxi Driver, and Annie Hall to films about "spectacle" and "juvenile fantasy".[42] Peter Biskind complained for the same reason: "When all was said and done, Lucas and Spielberg returned the 1970s audience, grown sophisticated on a diet of European and New Hollywood films, to the simplicities of the pre-1960s Golden Age of movies… They marched backward through the looking-glass."[43][42]

Cast

From left to right: C-3PO (Anthony Daniels), R2-D2 (Kenny Baker), Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew)Mark Hamill as Luke Skywalker. Skywalker is a young man who lives with his aunt and uncle on a remote planet and who dreams of something greater than his current position in life.
Harrison Ford as Han Solo. Solo is a self-centered smuggler whom Obi-Wan and Luke meet in a cantina and later travel with. Solo, who owns the ship Millennium Falcon, is good friends with Chewbacca, the ship's co-pilot.
Carrie Fisher as Princess Leia Organa. Organa is a member of the Imperial Senate and a leader of the Rebel Alliance. She plans to use the stolen Death Star plans to find the station's weakness.
Alec Guinness as Obi-Wan "Ben" Kenobi. Kenobi is an aging man who served as a Jedi Knight during the Clone Wars. Early in the film, Kenobi introduces Luke to the Force.
David Prowse as Darth Vader. Vader is a prominent figure in the Galactic Empire who hopes to destroy the Rebel Alliance. He was Obi-Wan's apprentice before turning to the Dark Side of the Force. James Earl Jones provided the voice.
Anthony Daniels as C-3PO. C-3PO is an interpreter droid who falls into the hands of Luke Skywalker. He is friends with his partner, R2-D2.
Kenny Baker as R2-D2. R2-D2 is a mechanic droid who also falls into the hands of Luke. He is carrying a secret message for Obi-Wan Kenobi.
Peter Mayhew as Chewbacca. Chewbacca is the Wookiee co-pilot of the Millennium Falcon and a close friend of Han Solo.
Peter Cushing as Grand Moff Tarkin. Tarkin is the commander of the Death Star. He leads the search for the Rebel Base, hoping to destroy it.
Denis Lawson as Wedge Antilles. Wedge is a starfighter pilot who fights with Luke in the Battle of Yavin. In the ending credits, Lawson's first name is misspelled "Dennis".
Lucas shared a joint casting session with long-time friend Brian De Palma, who was casting his own film Carrie. As a result, Carrie Fisher and Sissy Spacek auditioned for both films in each other's respective roles.[44] Lucas favored casting young actors without long-time experience. While reading for Luke Skywalker (then known as "Luke Starkiller"), Mark Hamill found the dialogue to be extremely odd because of its universe-embedded concepts. He chose to simply read it sincerely and was selected instead of William Katt, who was subsequently cast in Carrie.[2][45][46] Lucas initially rejected the idea of using Harrison Ford, as he had previously worked with him on American Graffiti, and instead asked Ford to assist in the auditions by reading lines with the other actors and explaining the concepts and history behind the scenes that they were reading. Lucas was eventually won over by Ford's portrayal and cast him instead of Kurt Russell, Burt Reynolds, Nick Nolte,[46] Christopher Walken, Billy Dee Williams and Perry King.[44][47][2] Virtually every young actress in Hollywood auditioned for the role of Princess Leia, including Terri Nunn,[48] Jodie Foster[44] and Cindy Williams.[2] Carrie Fisher was cast under the condition that she lose 10 pounds of weight for the role. Aware that the studio disagreed with his refusal to cast big-name stars, Lucas signed veteran stage and screen actor Alec Guinness as Obi-Wan Kenobi.[2]

Additional casting took place in London, England, where Peter Mayhew was cast as Chewbacca after Mayhew stood up to greet Lucas. Lucas immediately turned to Gary Kurtz, and requested that Mayhew be cast.[49] Anthony Daniels auditioned for and was cast as C-3PO after he saw a Ralph McQuarrie drawing of the character; struck by the vulnerabliity in the robot's face, he instantly wanted to help to bring the character to life.[2][50]

Cinematic and literary allusions
See also: Star Wars sources and analogues
According to Lucas, the film was inspired by numerous sources, such as Beowulf and King Arthur for the origins of myth and world religions.[2] Lucas' originally wanted to rely heavily on 1930s Flash Gordon film serials; however, Lucas resorted to Akira Kurosawa's film The Hidden Fortress and Joseph Campbell's The Hero With a Thousand Faces because of copyright issues with Flash Gordon.[51][52] The scene in which Princess Leia awards Han and Luke is similar to a scene in Leni Riefenstahl's 1934 film Triumph of the Will; both scenes have large, enthusiastic crowds seated in a shallow amphitheatre bounded by columns, with a low dais where the leader stands.[53]

The throne room of the Massassi Temple in Star Wars Episode IV: A New Hope.
A similar shot from Leni Riefenstahl's Triumph of the WillStar Wars features several parallels to Flash Gordon, such as the conflict between Rebels and Imperial Forces, the "soft wipes" between scenes, and the famous "opening crawl" that begins each film. A concept borrowed from Flash Gordon — a fusion of futuristic technology and traditional magic — was originally developed by one of the founders of science fiction, H.G. Wells. Wells believed the Industrial Revolution had quietly destroyed the idea that fairy-tale magic might be real. Thus, he found that plausibility was required to allow myth to work properly, and substituted elements of the Industrial Era: time machines instead of magic carpets, Martians instead of dragons, and scientists instead of wizards. Wells called his new genre "scientific fantasia".[54][55][56]

Star Wars was influenced by the 1958 Kurosawa film The Hidden Fortress; for instance, the two bickering peasants evolved into C-3PO and R2-D2, and a Japanese family crest seen in the film is similar to the Imperial Crest. Star Wars borrows heavily from another Kurosawa film, Yojimbo. In both films, several men threaten the hero, bragging how wanted they are by authorities. The situation ends with an arm being cut off by a blade. Mifune is offered "twenty-five ryo now, twenty-five when you complete the mission." whereas Han Solo is offered "Two thousand now, plus fifteen when we reach Alderaan." Lucas' affection for Kurosawa may have influenced his decision to visit Japan in the early 1970s, where he borrowed the name "Jedi" from jidaigeki (translated to English it reads "period dramas", or films typically featuring samurai).[57][56][58]

Lucas drew inspiration from J. R. R. Tolkien's fantasy book The Lord of the Rings, in that Obi-Wan Kenobi and the Wizard Gandalf reincarnate, albeit in differing fashions, and Darth Vader and the Witch-king of Angmar are the chief servants of a higher evil power and dress in black. Luke watches the duel of Obi-Wan and Vader from across a chasm as Frodo witnessed the duel between Gandalf and the Balrog; both feature their respective blue and red melee weapons.[59]

Tatooine is similar to Arrakis from Frank Herbert's book Dune. Arrakis is the only known source of a hallucinatory drug called the Spice Melange; Han Solo is a spice smuggler who has been through the spice mines of Kessel. Lucas' original concept of the film dealt heavily with the transport of spice, although the nature of the material remained unexplored. In the conversation at Obi-Wan Kenobi's home between Obi-Wan and Luke, Luke expresses a belief that his father was a navigator on a spice freighter. Other similarities include those between Princess Leia and Princess Alia (pronounced [ə.ˈliː.ə]), and between Jedi mind tricks and "The Voice", a controlling ability used by Bene Gesserit. In passing, Uncle Owen and Aunt Beru are "Moisture Farmers"; in Dune, Dew Collectors are used by Freman to "provide a small but reliable source of water".[60][61]

The Death Star assault scene was modeled after the 1950s movie The Dam Busters, in which Royal Air Force Lancaster bombers fly along heavily defended reservoirs and aim "bouncing bombs" at their manmade dams to cripple the heavy industry of the Ruhr. Some of the dialogue in The Dam Busters is repeated in the A New Hope climax; Gilbert Taylor also filmed the special effects sequences in The Dam Busters.[62][58] In addition, the sequence was partially inspired by the climax of the film 633 Squadron directed by Walter Grauman.[63]

The opening shot of A New Hope, in which a detailed spaceship fills the screen overhead, is a nod to the scene introducing the interplanetary spacecraft Discovery One in Stanley Kubrick's seminal 1968 film 2001: A Space Odyssey. The earlier big-budget science fiction film influenced the look of A New Hope in many other ways, including the use of EVA pods, hexagonal corridors, and primitive computer graphics. The orbiting space station in 2001 has a docking bay reminiscent of the one on the Death Star.[64] The film also draws on The Wizard of Oz: similarities exist between Jawas and Munchkins, the main characters disguise themselves as enemy soldiers, and Obi-Wan dies, leaving only his empty robe in the same fashion as the Wicked Witch of the West.[65][66] Although golden and male, C-3PO is inspired by the robot Maria from Fritz Lang's 1927 film Metropolis. His whirring sounds were speculated to be inspired by the clanking noises of the Tin Woodsman in The Wizard of Oz.[67][68]

Soundtrack
Main article: Star Wars Episode IV: A New Hope (soundtrack)
On the recommendation of his friend Steven Spielberg, Lucas hired composer John Williams, who had worked with Spielberg on the film Jaws, for which he won an Academy Award. Lucas felt that the film would portray visually foreign worlds, but that the musical score would give the audience an emotional familiarity. In March 1977, Williams conducted the London Symphony Orchestra to record the Star Wars soundtrack in twelve days.[2]

Lucas wanted a grand musical sound for Star Wars, with leitmotifs to provide distinction. Therefore, he assembled his favorite orchestral pieces for the soundtrack, until John Williams convinced him that an original score would be unique and more unified. However, a few of Williams pieces were influenced by the tracks given to him by Lucas. The "Main Title Theme" was inspired by the theme from the 1942 film King's Row, scored by Erich Wolfgang Korngold, and the track "Dune Sea of Tatooine" drew from the soundtrack from Bicycle Thieves, scored by Alessandro Cicognini.[51]

Novelization
Main article: Star Wars: From the Adventures of Luke Skywalker
The novelization of the film was published in December 1976, six months before the film was released. The credited author was George Lucas, but the book was revealed to have been ghostwritten by Alan Dean Foster, who later wrote the first Expanded Universe novel, Splinter of the Mind's Eye. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled simply Star Wars and, later, Star Wars Episode IV: A New Hope, to reflect the retitling of the film. Certain scenes deleted from the film (and later restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the movie, such as a close-up of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the book.

Smaller details were also changed; for example, in the Death Star assault, Luke's callsign is Blue Five instead of Red Five as in the film. Charles Lippincott secured the deal with Del Rey Books to publish the novelization in November 1976. By February 1977, a half million copies had been sold.[2]

Radio drama
Main article: Star Wars (radio)
A radio drama adaptation of the film was written by Brian Daley, directed by John Madden, and produced for and broadcast on the National Public Radio in 1981. The adaptation received cooperation from George Lucas, who donated the rights to NPR. John Williams' music and Ben Burtt's sound design were retained for the show; Mark Hamill (Luke Skywalker) and Anthony Daniels (C-3PO) reprised their roles, as well. The radio drama featured deleted scenes of Luke Skywalker's observation of the space battle above Tatooine through binoculars, a skyhopper race, and Darth Vader's interrogation of Princess Leia. In terms of Star Wars canon, the radio drama is given the highest designation, G-canon.[69]

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