The Star Wars saga is based on an ancient form of mythology — the ‘hero ’s jour ney’. Un derneath th e flash and dazz dazzle of special special effects effects lies ‘the magic of m yth’, a shapeshape-shifting shifting realm realm w here young heroes, heroes, faithful faithful companions, wise guides and and evil vill ains dwell i n labyrinths of discovery. The exhibition Star Wars: The Magic of Myth examines the mythology behind the Star Wars story, a hero’s journ ey that t akes akes place place ‘a long tim e ago ago i n a galaxy far, far, far, away …’ Star Wars: Wars: The The Magic of M yth show case cases s original orig inal artw artw ork (includi (includi ng concept drawings and paintings as well as storyboards with pro ducti on no tes), tes), props, m odels, costum costum es and and characters used used Wars: A New Hope , The Em Em pire to create create the Star Wars saga — Star Wars: A Strikes Back , Return of t he Jedi , The Phantom Phantom M enace enace and Attack of t he Clones Clones . The exhibition was inspired by Joseph Campbell’s usand story o f the hero’s jou rney pr esented esented in The hero w ith a tho usand faces , and by comments on the Star Wars films in the book and vid eo series series The Pow er of M yth .
Contents Educational Educational links .......................................... 3 Describ Describ es how Star Wars: Wars: The The M agic of M yth may fit in with yo ur class classroom room curriculum.
Pow erhous erhouse programs programs .............. ..................... .............. ........... .... 4 An outline of the variety of programs and resources that are available available to enhance your teaching and to relate Star Wars t o t h e curriculum.
Pow erhous erhouse print print materials ................ ....................... ....... 5 A description of additional print resources that are available fo r teachers. Jabba’s Palace, Eric Long and Mark Avino.
Acc Ac companying the exhibition exhibition ............... .................... ..... 6
Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
A descriptio descriptio n of th e documentary, audio-guide and book that accom accom pany the exhibition.
Exhibition map .............. .................... ............. .............. .............. ........... .... 7 This layout of the exhibit ion also includes the location of the theatrette, interactives and major objects. objects.
Joseph Campbell and the hero’s hero’s journey ............................................... 8 A descript descript ion of t he hero’s jour ney according according to Joseph Campbell Campbell in his book He Hero ro w ith a thousand faces . The exhibition follows the journ ey taken by Luke Skywalker Skywalker..
Exhibition themes .............. .................... ............. .............. ............. ...... 9
All of the objects, interactives and audiovi suals listed listed and im ages used in these teachers notes were correct at the time of publ ication but are subject to change.
This section section tells the stor y of Luke Skywalker Skywalker and the journey he takes in the Star Wars saga. saga. The text is the sam sam e as that of the them e panels in the exhibition. Included is the list of artw ork (including (including concept concept dr awings and paintings as well as storyboards with production notes), props, models, costumes and characters on display. The interactives and audiov isuals are are also included.
Online resourc resources es .............. ..................... .............. .............. ............ ..... 33 A variety of websites for students to explore th e Star Wars universe.
TEACHERS NOTES 2
Educational links ‘Those of us w ho m ak ake e mo tion pictures are also also teachers: teachers: teac teachers hers wit h very loud voices voices.. But we w ill never m atch the power of the teacher teacher wh o is able to whi spe sperr in a student’s ear ear.’ .’ — George Lucas, Edutopia , 2001
Star Wars: Wars: The The M agic of M yth off ers a crosscrosscurriculum focus for prim ary school school students. As part of the Engl Engl ish K–6 K–6 syll syll abus, stu students dents have the opportunity to study film, storyboards and even the audio-guide accompanying the exhibition as a form of text.. Luke text Luke Skyw Skywalker’s alker’s hero jo urn urney ey is an an ideal focus for an English class. The Star Wars universe as presented in the exhibition enables an exploration of the HSIE K–6 syllabus strands of Cultures and Social Systems & Structures. The Designing and M ak aking ing strand of the Science Science & Technology Technology K–6 syllabus links to the exhibition by allowing students to design and make their ow n robo ts, vehicles vehicles and environm ents. The artw ork, props, costum costum es es,, and and m odels in the exhibition link to the Creative Arts K–6 syllabus. Elements Elements of drama and m usic can can also be explored.
The Higher School Certif icate (HSC (HSC) Engl Engl ish Syllabus now includes Star Wars: Episod e IV A New Hope as a prescribed film in the Changing Worlds focus of the Change area of study. Students examine the underlying assumptions of other worlds, considering them in r ela elation tion to t he world t hey know. know. They They reflect on the ways in which understanding of the w orld is transform ed and and express this understanding in a range of compositions. Other HSC syllabus areas that may have a directt link w ith Star Wars : The Magic of M yth direc include: • • • • •
Design Desi gn & Te Tech chnology nology Indus Ind ustria triall Te Tech chnology nology Soc ocie iety ty and and Cultu Culture re Tex extile tiles s and and Des Design Vis isua uall Art Arts s.
Students studying the following lower secondary school subjects will find the exhibition useful: • Englis nglish h — for the stu study dy of film, story story boards boards and the concept concept of the ‘hero’s journey’ • Textile extiles s and and Design Design — costume costume design design • Visua isuall Arts — conc concept ept art, art, props, models, story boards • D es es i g n & Te Te ch ch n o l o g y — co co n c ep ep t a r t , costum cos tum es es,, props, models • Dra rama ma — stu study dy of sc scripts ripts.. C-3PO -3PO carried by Ewo ks, production paintin g b y Ralph McQuarrie. Star Wars: The Magic of Myth , Star Wars ™ and © 1997 by Lucasfilm Ltd. All right s reserved. reserved. Used under author ization.
TEACHERS NOTES 3
Powerhouse programs All booked school groups will receive a comp rehensive set set of teachers notes. Activit y guides have been been developed developed for prim ary and secondary English, Design and Visual Arts students.. A variety of exc students exciting iting programs have been developed to enhance your teaching a n d t o l i n k y o u r s t u d e n t s ’ Star Wars experience experienc e to the curriculum . Teachers preview Friday 20 September, 4.30–7.00 pm RSVP: Friday 13 September Cost: f ree This is an an exclusive opportu nity for t ea eachers chers to preview the exhibition. Special guests include actor Anthony Daniels (C-3PO), Industrial Light & Magic (ILM) master modelmaker Lorne Peterson, ILM visual effects supervisor Ben Snow. Educati Education on staff will be available to answer your questions. Light refreshments provided. Booking Booki ngs s essential. essential . Tel Tel (02) 9217 9217 0222. 0222. Star Wars study Wars study day Thursday 19 September Tim e: 9.30 am am – 2.00 2.00 pm Cost: $15 per student , $10 $10 per stud ent member schools (includes exhibition entry) Star Wars study days introduce students to two of the creative artists whose work is featured in Star Wars: The Magic of Myth . The presenters presenters are Academy Academy Award w inner Lorne Peterson, Industrial Light & Magic’s master modelmaker and Ben Snow, ILM’s visual effects supervisor Be Ben n Snow. Booking Booki ngs s essential. essential . Tel Tel (02) 9217 9217 0222. 0222.
‘The myth behind the hero’ Saturday 5 October, 10.00 am – 3.00 pm Cost: $80 members $100 non-members (exhibition viewing and lunch included) Most cultures have heroes, both real and fictional. To accompany the exhibition Star Wars: The Wars: The Magic of M yth , the Primary English Teaching Association (PETA) and the Powerhouse Museum have developed a prof es essional sional learning learning day to support pri m ary teachers in developing a critical analysis of how heroes are constructed constructed and repres represented ented in both literature and film. The day will be presented by experts in these fields and includes include s a guided guided tour of the exhibition w ith ample practical examples of how it can be incorporated into classroom study. All participants will receive a ready-to-go teaching teac hing and learning uni t. Con ontact tact PET PETA on o n tel t el (02) 9565 9565 1277 fo forr fur f urth ther er inform ation and bookings. bookings. Star Wars symphony Wars symphony M onday 18 to Friday Friday 22 November Cost: free wi th M useum entry Selected school bands from across New South Wales Wales will play the mem orable theme music of Star Wars and other Star Wars inspired music. IMAX joint visit Combine your visit to Star Wars: The Wars: The Magic of Myth wi th a m ovie, such Station on such as Space Stati 3D at the IMAX theatre in Darling Harbour. By combining your visit you can save up to $2 per per student! stud ent! Bookings are ess essential, ential, phone the Powerhou Pow erhouse se Museum Mu seum o n (02) 9217 9217 022 0222 2 and for f or t he IMAX IM AX Theatre Th eatre on (02) 9213 9213 160 1600. 0.
TEACHERS NOTES 4
Powerhouse print materials Powerhouse discovery challenges Powerhouse discovery challenges are printbased base d inqui ry-bas ry-based ed units of w ork that:
• begin begin and and end end in your cla class ssroom room • involve a stru structu ctured red disco discove very ry process process with links to the class classroom room curriculum • include pre- and postpost-visit visit activities activities • provide a dee deepe perr understa understanding nding of the Museum’s collection • promote team team problem-s problem-solving olving sk skills ills,, and and • ar e FU N! N! Suitable for students in Years 4–8 there are tw o challenges challenges to choose choose from that visit Star Wars: The Magic of Myth . Bookings are essential. Tel (02) 9217 0222. ‘Design a podracer’ Inspired by Anakin Skywalker’s win at the Great Boont a Eve Eve Race Race on Tatooi Tatooi ne stud ents design their ow n podr ac acer er.. Student Students s also also visit the Powerhouse Museum’s Transport an and d EcoLogic exhibitions.
‘Design a droid ’ ‘Design ‘Droids’ such as R2-D2 and C-3PO are a dominant feature in the Star Wars universe. Students will also visit Isaac and Stumpy in the Powerhouse Museum’s Cyberworlds exhibition exhibit ion in their th eir challenge challenge to design design a droid. Activity guides Classroom-based activity guides have been developed to accompany the exhibition. These guides are designed to help the classroom teacher stimulate student discussion, investigation, research and discovery. The guides are available upon booking a classroom visit to the exhibition. The activity guides produced cover the follow ing curric curriculum ulum are areas as::
• Prima rimary ry — Gene nera rall • Se Sec conda ondary ry — Englis nglish h • Se Seconda condary ry — Des Design ign and Visua Visuall Arts.
Anakin’s podracer, podracer, photograph by Gary Gary M ortensen for the exhibiti on Star Wars: Wars: The Magic of M yth . Star Wars ™ and © 2000 by Lucasfilm Ltd . All rig hts reserved.
TEACHERS NOTES 5
Accompanying the exhibition Star Wars: The M agic of M yth documentary Accompanyi ng the exhib exhibiti ition on is a fasc fascinating inating , 30-minute documentary that examines the phenomenal cultural impact of Star Wars worldwide. This documentary includes interviews with filmmaker George Lucas; actors Harrison For ord, d, Carri Carrie e Fisher, Fisher, and M ark Hamill; sound design director Ben Burtt; composer John Williams; and others.
Students can view the documentary in the exhibit ion. It is also screene screened d on a contin uous loop in the Kings Cinema on level 3 from 10.00 10. 00 am am – 1.0 1.00 0 pm M ond onday ay to Friday. Frid ay. Star Wars: The M agic of M yth yth audio-guide audio-guide A fascinating audio-guide accompanies the exhibition and gives students a behind-thescenes look at the making of the Star Wars films. James Earl Jones (the voice of Darth Vade ader) r) guides visitors throu gh the exhibit ion providing further insight into how George Lucas created and develo ped th e characters characters and scenes scenes in his f ilm s. Listeners Listeners are are priv y t o exclusive commentary by producer Rick M cC cCull ullum um , arti artist st Ralph Ralph McQua M cQuarri rrie e and and sound design des ign d irector Ben Burtt Burtt . One audio tou r per tw o students (with t w o headsets) headsets) is included in the student admi ss ssion ion pr ice.
Yoda, Eric Eric Long and M ark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Star Wars: The M agic of M yth companion book The exhibition reveals classical mythology themes and motifs that are woven thro ughout the saga. saga. In the com com panion book to Star Wars: The Magic of Myth (Bantam, 1997), author and exhibition curator Mary Henderson carries these com comparison parisons s to even greater levels and provides compelling illustrations that demonstrate the technical and philosophical influences influences of m ythol ogy in t h e Star Wars saga. Swords, sorcery and chivalry combine with space flight, laser w ea eapons, pons, and dro ids. The book is available in the exhibition and the Powerhouse Museum shop.
Photography Students may take take photographs throu ghout t he exhibi exhibi tion (cam (cam eras only; no flash, no trip ods, please please). ). Don’t Don’t m iss this one-of-a-k one-of-a-kind ind o pport unity !
TEACHERS NOTES 6
Exhibition map 1.
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Empir mpire e Stri trik kes Back
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Ret ur ur n o f t he he J ed ed i
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Atta At tac ck of the the Clo lone nes s
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TEACHERS NOTES 7
Joseph Campbell and the hero’s journey Joseph Campbell, one of the world’s foremost students and scholars of m ytholog y, studied thousands thousands of myt hs from around the world and discovered that the majority of them shared many common characteristics. In fact, he saw all the stories as variations of one overall tale, which he named the ‘monomyth’. The subject of the hero is no exception. While the heroes of various cultures m ay be defined as heroic for different reasons, nearly each one fits the stages stage s of t he hero jou rney as developed developed by Campbell. According to Campbell’s book The hero wit h a thousand faces (1949:245–246) we can summ arise the hero’s jour journey ney into thr ee m ain stages. Departure ‘The my thologi ca call hero, setting setting forth from his common day hut or castle, is lured, carried away, or else voluntarily proceeds, to the threshold of adventure. There There he encounters a shadow p resence th that at guards guard s the passage. passage. The hero hero m ay defeat defeat or conciliate this power and go alive into the kingdom of the dark (brother-battle, (brotherbattle, dragon-battle; of fering, charm), or be slain by the opponent and descend in death (dismemberment, crucifixion).’ Initiation ‘Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces, some of which severely se verely thr ea eaten ten him (tes (tests), ts), som som e of w hich give m agica agicall aid (helpe (helpers). rs). When he arrives at the nadir of the mythological round, he undergoes a supreme ordeal and gains his reward. The trium ph m ay be represe represented nted as the hero’s sexual union with the goddess-
mother of the world (sacred marriage), his recognition by the father-creator (father atonement), his own divinisation (apoth (a poth eos eosis), is), or again again — if the pow ers have remained remaine d unfriendly to him — his theft theft of the boon h e came came to gain (brid ee-theft, theft, fir ee-theft); theft); intrinsically it is an expansion of consciousness and therewith of being (illumination, transfiguration, freedom).’ Return ‘The final work is that of the return. If the pow ers have bless blessed ed the hero, he now se sets ts forth under their prot ec ection tion (emissary); (emissary); if not, he flees flees and and is pursued (transform (transform ation fli ght, obstacle flight). At the return threshold the transcendental transce ndental pow ers must remain behind; the hero re-emerges from the kingdom of dread (retur (retur n, resurr resurrection). ection). The The boon that th at he bring s restores restores the wor ld (elixir).’
In the exhibition Star Wars: The Magic of Myth the hero’s journey of Luke Skywalker is follow ed. Eac Each h film in the origi nal trilogy can be considered as corresponding to each of the stages above: A New Hope w i t h Departure, The Empire Strikes Back with Return. Initiation and Return of the Jedi wit h Return. These teache teachers rs notes detail the jou rney m ore closely. The Phantom Menace and Attack of the Clones begin to follow the journey of other characters such as Anakin Skywalker and Padmé Padmé Am idala.
TEACHERS NOTES 8
A NEW HOPE The call to adventure In my thology, the hero' hero' s journey begins with the ‘call to adventure’. Destiny's herald is usually usually someone som eone or som som ething fairly ordinary — a frog, a deer in the forest, or, in this case, case, a hum ble dro id — that carries carries an im port portant ant m es essa sage ge for the one w ho is prepared to receive it. As the Star Wars story begins, a battle in space rages rages betw betw ee een n th e evil pow ers of darkness (the Galactic Empire) and the fo rces of good g ood (the Rebel Rebel Alli ance) ance).. Princess Leia sends a plea for help to Jedi Knight Obi-Wan (Ben) Kenobi on the th e planet of Tatooi ne. The hand of Fate, in the for m o f Jawa traders, bring s her her message to Luke Skywalker, a young farm boy. When Wh en Luke see sees s the mess m essage age hologram, he is drawn into a quest to rescue the Princess and ultimately to save the galaxy.
Costumes and characters • Impe mperia riall stormtroo stormtroope per; r; white gown worn by Pri rincess ncess Leia; dr oi oids ds C-3PO C-3PO and and R2-D2. Production props and models Production • Imperia Imperiall Star Destroye Destroyer; r; Rebe Rebell blockade blockade runner escape escape pod; Interrogator dr oid. Artworks • Storyboa Storyboards: rds: conc concepts epts for opening sce scenes nes of Star Wars . • Conce oncept pt drawings: Prince Princess ss Leia Leia;; Imperial Stormtrooper; C-3PO and R2-D2. • Costume designs: designs: Luk Luke e Starkiller Starkiller (S (Skywalke kywalker) r) with Aunt Beru and Uncle Owen Lars. • Concept paintings: C-3 C-3P P0 and and R2R2-D2 D2 arrive on Tatooi Tatooi ne; sandcraw sandcraw ler.
C-3PO, concept drawing by Ralph McQuarrie. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Audiovisuals • Imperial Star Destroyer Pursues Rebel Escape Esca pe Pod Allow: 1.30 minutes. Interactives • Star Wars Holocron Description: contains information about the mythological, cultural and filmic connection connec tion s to the Star Wars universe. Allow: 10 minutes. Bestt f or: 10+ years. Bes years.
TEACHERS NOTES 9
A NEW HOPE The wise and helpful guide A hero first must encounter ‘threshold guardians’, beings who block the way to the adventure. Luke faces threshold guardians when he is attacked by the Tusken Raiders. He is rescued by Ben. Often, the inexperienced hero finds that he cannot cannot procee p roceed d witho w ithout ut supernatural aid, in the form of a ‘wise and helpful guide’ who provides advice and amul ets to furt her the quest. Ben Ben serves serves as such a guide guid e and gives gi ves Luke a special token: a lightsaber that once belonged to Luke's father. Ben also interprets the Princess' message and tells Luke about the spiritual power known as the Force. Luke resists the call to adventure, but when he finds his home burned and his family killed, he joins Ben on the journey to Mos Eisley spaceport to obtain transportation to the planet Alderaan, the home of Princess Leia.
Costumes and characters • Obi-Wa Obi-Wan n (Ben) (Ben) Kenobi; Kenobi; Tusk Tusken en Raider; Raider; Jawa & Blaster. Artworks • Conce oncept pt draw ings: Tusk Tusken en Raide Raiders rs near near the shores of the Dune Sea; Obi-Wan Kenobi and Luke. • Airbrushed photos: Luk Luke e rec receive eives s his father’s lightsaber; Ben retrieves the hologr am m es essa sage. ge.
Obi-Wan Obi-Wan (Ben) Kenobi, Kenobi, pho tograph by Eric Long and Mark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
TEACHERS NOTES 10
A NEW HOPE The thres t hreshold hold The hero must leave his familiar life behind to begin a journey from childhood to adulthood and to a lifetransformation. The Mos Eisley spaceport is Luke's threshold to the adventu re. Here Here he encounters encount ers danger, danger, but he also finds a hero-partner in the form of Han Solo, a pirate and smuggler. Han's Han's faithful fi rst m ate is the enormous Wookiee, Chewbacca. Helpful animals often appear in myths and fairytales, symbolising the power of the hero's instinctive nature. As they travel from Tatooine to Alderaan Alderaa n in the M illennium Falc alcon, on, Ben Ben begins to train Luke in the ways of the Force. Chewbacca, hewbacca, photogr aph by Eric Long and M ark Avino.
Costumes and characters • Han Solo; Solo; Che Chewbac wbacca ca..
Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Production props and models Production • Je Jedi di tra trainin ining g re remote mote.. Artworks • Production paintings: paintings: Mos Eisle Eisley; y; Cantina Cantina scene.
TEACHERS NOTES 11
A NEW HOPE Into the t he labyrinth labyrinth A labyrinth has always symbolised a difficult journey into the unknown, and in one way or another it is often incorporated into tales of the hero's journey. When the heroes arrive in the vicinity of Alderaan, they find that the planet has been destroyed by the Death Star, a gigantic Imperial space station. The Death De ath Star is a technological labyrin th: a maze of hallways, passages, dead ends, and and bott om less trenches. trenches. Like traditional knights, Han and Luke don armour to accomplish their first hero deed: the ‘princess rescue’.
Costumes and characters • Imperia Imperiall Office Officer’s r’s uniform ; Imperia Imperiall TIE TIE fighter pilot.
Imperial TIE fight er pilot, phot ograph by Eric Long and Mark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Production props and models Production • Da Darth rth Vader’s Vader’s TI TIE E Fighter; Imperial TIE TIE fighter; mouse droid.
TEACHERS NOTES 12
A NEW HOPE Hero deeds The next step in the hero quest is a challenge to mortal mor tal combat. comb at. The The heroes heroes experienced experienc ed an initi al rite of pass passage age in the Death Star and accomplished the ‘princess rescue’. Now Leia leads Han and Luke to the Rebel base to plan an attack on th e Death Death Star. Luke joi ns the fighter pilots of the Rebellion. As he puts on h is unifo rm , he cas casts ts aside aside his youthful identity and assumes a new role: that of a heroic pilot, ready to sacrifice his life for his cause.
Costumes and characters • Lu Luke ke Sk Skywalk ywalker er X-wing pilot. pilot. Production props and models Production • Re b el el YY- w i n g f i g h t e r ; Re Re b el el X - w i n g starfighter.
In the end, end, good tr ium phs over evil and the heroes are recognised for their deeds of valou r. This mom ent is the end end of o ne adventure, but it als also o represents represents the start of the next stage: further initiation on t he ‘road of trials’.
Rebel X-wing starfigh ter, ter, photogr aph by Eric Long Long and M ark Avino. Lucasfilm Ltd. All ri ghts reserved. Star Wars: The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm
TEACHERS NOTES 13
EMPIRE STRIKES BACK The dark road of trials Midway through the hero's journey comes a long and perilous peril ous path of tri als, tests, and ordeals that brin g im port ant moments of illumination and understanding. Again and again along the way, monsters must be slain and barriers must b e passe passed. d. Ultim ately the hero m ust undertake undertake the fearful jour ney of the descent into darkness. Although the Death Star has been destroyed, the pow ers of darkness darkness have not been conquered. The Empire has pursued the Rebels to the ice planet of Hoth, where the heroes face new dangers from predatory creatures and the harsh climate and are forced forced to flee durin g an Imperial attack. attack.
Costumes and characters • Luk Luke e Sk Skyw yw alk alker’ er’s s Hoth Hoth gear gear and lightsaber; lightsaber; Imperial snow tro trooper; oper; wampa wam pa ice ice crea creatur ture. e. Production props and models Production • Taunta auntaun; un; macrobinocula macrobinoculars; rs; rebe rebell sensor sensor pack. Artworks Storyboards: Luke escapes the wampa’s cave;; Luke sees cave sees vision of Ben and is i s rescued rescued by Han. Concept drawings: scale of Hoth characters; scale of Imperial Walker (AT-AT). • Pr o d u c t i o n p ai ai n t i n g s : S n o w s p ee ee d er er passes a cable un der t he nose no se of an AT-AT AT-AT; Wounded rebels retreat retreat to the trench.
•
Luke Skywalker’s Skywalker’s Hoth Hoth gear, gear, phot ograph by Eric Long and Mark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
TEACHERS NOTES 14
EMPIRE STRIKES BACK Into the belly of the beast One particular mythic motif is the ‘swallowing up’ of the hero by a large m onster onster.. This represents represents the entry int o a mystical mystical w orld w here trans transform form ations occur, and the eventual escape represents represe nts a spiritu al rebirth. Han and Leia are pursued by Imperial Star Destro Destro yers and TIE fig hters as they leave Hoth. To escape, Han flies the Millennium Falcon into an asteroid ‘cave’, ‘ca ve’, which turns out to be the m outh of a huge space slug. Here Han and Leia at last open their hearts to lov e. Vader also undergoes a change at this point, when he emerges from an egglike medit ation cha cham m ber ber.. The Em Em peror appears appe ars to him through a holographic message, and Vader is revealed as a slave to the evil forces of the Empire, rather th an as their m as aster. ter. Mi llennium Falcon Falcon , photograph by Eric Long and Mark Avino.
Production props and models Production Millennium Falcon . •
Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Artworks • S t o r y b o ar ar d s : t h e f a l co co n e sc s c ap ap e s t h e Imperial Star Destroyers; TIE fighters. Concept drawings: Vader’s meditation chamber; chamb er; early early concepts fo r Vader’s Vader’s castle; castle; the Emper or appears to Vader. Vader. •
TEACHERS NOTES 15
EMPIRE STRIKES BACK The sacred sacred grove gr ove The ‘sacred grove’ is another mythic m otif ; it represents represents an enclosure enclosure wh ere the hero is changed. Ancient peoples widely believed the tree to be infused with creative energy. Forests came to symbolise mystery and t rans ransform form ation and they were home to sorcerers and enchanters. When Luke leaves Hoth, he travels to the planet Dagobah Dagobah to undergo tr aining with the Jedi Master, Yoda. The hallm ark of Dagobah Dagobah is it s large, oddly shaped tr ees ees.. Forests can also symbolise the unconscious mind, where there are secrets to be discovered and perhaps dark em em otions or m emories to be faced. faced. In thi s forest, Luke battles battles an im age of Vader, prefiguring his combat with the Dark Da rk Lord later i n th e story.
Costumes and characters Yoda. •
Artworks • Storyboards Storyboards:: Luke Luke persuade persuades s Yoda Yoda to take him as a pupil. • Conc oncep eptt drawings: drawings: Yoda Yoda.. Audiovisuals • Luk Luke e and and Yoda Yoda in Dagoba Dagobah h Swamp Allow : 3.2 3.20 0 minu tes.
Yoda, concept artwo rk by Ralph M cQuarrie. cQuarrie. Star Wars: The The Magic of M yth, Star Wars ™ and © 2002 by Lucasfilm Ltd. All righ ts reserved. reserved.
Interactives • Forc orce e Le Levita vitation tion Description: Yoda’s training challenge to ‘control the force’ to lift Luke Skywalker’s X-wing Fighter out of the Dagobah Dagobah swamp. Allow : 5 minutes. Bestt f or: 6+ years. Bes
TEACHERS NOTES 16
EMPIRE STRIKES BACK Sacrifices The opening of the mind and heart to spiritu al knowl edge requires a sac sacrifi rifi ce from the hero. At this difficult and dangerous dangero us place on th e hero path, Han and Luke Luke both reaffirm the meaning and importance of their lives by their w illin gness to sacrifice sacrifice themselves. themselves. The danger danger of ill usion is symbol ise ised d by Cloud City above the planet Bespin. At first, t he city appea appears rs tr ansc anscendent endent as it floats among the clouds, but it has a dark underside that becomes a crucible of p ain and betrayal for th e heroes. heroes. Vade aderr foll ow s the Millenniu m Falcon Falcon to Bespin and then lures Luke there to entrap him. Han is captured, put into hibernation in the carbon freeze chamber, and taken away by bounty hunter Boba Fett to be delivered to Han's Ha n's f orm er employ er er,, Jabba the Hutt. Han's friend, Lando Calrissian, who betrayed Han Han t o Vader Vader,, w ill undergo a life change and begin his own hero journey.
Boba Fett, Fett, photog raph by Eric Long and M ark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Costumes and characters • La Lando ndo Calris Calrissia sian; n; Boba Boba Fett. Fett. Production props and models Production • Sla Slave ve I; I; Bes Bespin pin Tw Tw in Pod Pod Cloud Cloud car. car. Artworks • Conce oncept pt drawing: Bespin Bespin Twin Twin Pod Cloud Cloud cars. • Painting: Bounty Hunters Hunters in Cloud Cloud City. City.
TEACHERS NOTES 17
EMPIRE STRIKES BACK The path path to t o atonement The hero' hero' s journey sometim es includes a ‘father quest’. After many trials and ordeals, the hero finds his father and becomes ‘at-one’ with him. This process proces s is called ‘atonement’ .
Artworks • Production paintings: paintings: Luke Luke and Vade Vaderr duel in carbon-freezing chamber; Luke climbs out onto gantry vane over reactor shaft; Luke hangs from an antenna on the underside of Cloud City.
Luke has tried to follow in his father's footsteps as a heroic pilot and Jedi Knight. The dark, unknown side of his father, and of himself, is now unveiled as Luke confronts Vader in the dark byways of Cloud City. Vader reveals to Luke that he is i s his fath er. Luke realises realises that he must sacrifice himself, rather than become a tool of evil like Vader. Leia rescues Luke as he falls from the underside of Cloud City, and when Vader calls to Luke through the Force, Luke acknowledges him as ‘Father’— they have begun to move toward reconcili ation . Luke Luke has has recogn recognised ised the dark side of himself as part of his destiny, and Darth Vader has begun his own j ourney toward transform transform ation.
Luke hangs from an antenna on the underside of Cloud City, City, production paintin g by Ralph Ralph M cQuarrie. cQuarrie. Lucasfilm Ltd. All ri ghts reserved. Star Wars: The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm
TEACHERS NOTES 18
RETURN OF THE JEDI The hero's return The ‘hero' ‘hero' s return’ m arks the end of the ‘road of trials’. The hero must return from his adventures with the means to benefit his society. Luke comes home to Tatooine to rescue Han from Jabba the Hutt. This is not an easy easy tr ansition for Luke; his new-found abilities as a Jedi Knight are doubted by friend and foe alike. As the story cont inu inues, es, all the characters characters undergo changes: Han is resurrected from his carboni carboni te tom b, Lando Lando makes makes up for his betrayal of Han Han by helping to rescue him, and Leia assures the end of Jabba's reign of tyranny by destroying him herself.
Costumes and characters • La Lando ndo disguised disguised as skiff skiff guard; Prince Princess ss Leia Leia as Boushh the Bounty Hunter with thermal detonator; Lyn Me; Rystall; Princess Leia slave girl; Jabba the Hutt; Salacious B Crum b; Rappert Rappertuni unie; e; Wor Worrt, rt, Road Road Creatur Creature; e; Weequay (Quee Quay); Quay); Klaatu (Wooof). (Woo of). Production props and models Production • Han Solo Solo in ca carbon rbonite ite..
Princess Leia Leia slave girl costum e, photogr aph by Eric Long and Mark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Artworks • Conce oncept pt drawings: Ishi Ishi Tib; Tib; Gamorrea Gamorrean n Guard; Luke confronts Jabba; B’omarr Monk w ith spider spider droid. • Storyboard: Le Leia ia relea release ses s Han Han from the carbonite. • Produc roduction tion painting: painting: Luk Luke e confronts confronts the rancor; Luke walks the plank over t he Great Great Pit o f Carkoon Carkoon . • Costume design: design: Prince Princess ss Leia Leia..
TEACHERS NOTES 19
RETURN OF THE JEDI The shadow ris rises es The heroes heroes are are not t he only ones who can undergo change and rebirth. The forces of evil can also recoup their power and grow with new strength. While the Rebels continue to struggle against aga inst Im perial tyranny, the Em Em pir e is constructing a new De Death ath Star. Star. A f inal confrontation m ust now tak take e place. place. The The forces of good, represented by Mon Mothma, leader of the Rebel Alliance, and those of evil, led by the Emperor, regroup to plan their strategies. Luke discovers that Leia, Leia, who wh o has guided guid ed and supported supporte d him throughout hi s journey, journey, is his twin sister. In many ways she represents his positive ‘anima’, the personification of the femin ine aspec aspects ts of his h is psyche. He also also finds fin ds that he m ust confront Vader again. Yet when they make mind-to-mind contact contact th rough the Force, Vader appears uncertain rather than aggressive — a sign that he is beginning a t rans ransform form ation.
Costumes and characters • Impe Imperia riall royal royal guard; Admiral Ackb Ackbar ar.. Production props and models Production • Impe Imperia riall Shuttle Tydirium; Mon Cala Calamari mari Transport. Artworks • Storyboa Storyboards: rds: Vade Vaderr and Luke Luke meet meet again again as the shuttle travels to Endor. • Conc once ept drawings drawings:: Mon Mothma. Mothma. • Co n c ep ep t p a i n t i n g s : D ea ea t h St S t a r u n d er er construction; early concept for an Imperial City ; early early concept con cept for a Rebel Rebel headquarters in the Grasslands. • Costume des designs: igns: imperial dignitary; royal guard.
Early concept for an Imperial City, concept concept paintin g by Ralph M cQuarrie. cQuarrie. Lucasfilm Ltd. All ri ghts reserved. Star Wars: The The Magic of Myt h, Star Wars ™ and © 1997 by Lucasfilm
TEACHERS NOTES 20
RETURN OF THE JEDI The enchanted forest The inhabitants of an ‘enchanted forest’ can be bot both h dangerous and helpful . The The hero must know the right magic to evoke their protective powers. Luke wins the help of the Ewoks, the small furry in habita habitants nts of the forest forest m oon of Endor. The Ew Ew oks prove prov e that heroes can can com e in any size or shape. They battle the high technology of the Empire with logs, log s, sto stones, nes, and vines. vin es. Their lush lu sh green environment and harm harm ony wi th nature make a warm contrast to the cold, austere auste re technology of t he Em Em pire. The Ewoks help the Rebels deactivate the Death Dea th Star' s energ energy y shield generator, g enerator, so so Lando can fly into the Death Star and bom b the reactor reactor core. M ea eanw nw hile, Luke realise realises s that h e m ust set out on a different path from his friends to attempt to reach that part of Vade aderr th at is still his father and t o tur n him back from the dark side. side.
Costumes and characters • Rebe ebell foot soldier; soldier; biker biker scout; scout; Wicke Wickett the Ewok. Production props and models Production • Ewok with hang hang glider glider prototype; prototype; Imperia Imperiall speeder bike.
Ewok concept drawing by Joe Johnston. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
• Conce oncept pt drawings: Ewoks battle battle Imperial Imperial tro ops; Chicken Walker (AT-ST) (AT-ST);; Ewok hang h ang glider; Ewoks and Wokling; Ewok village; Ew ok vill age (C (Chief’s hut interior ); Imperial speeder bike; Luke and Leia on speeder bike. • Production paintings: paintings: Thre Threep epio io carried carried by Ewoks; Ewoks attack a chicken walker (AT-ST). • Costume designs: designs: Rebe ebell foot soldiers, soldiers, Imperial bi ke kerr scout.
Artworks • Storyboards Storyboards:: the rebels rebels atta attack ck the Dea Death th Star Shield Generator on Endor.
TEACHERS NOTES 21
RETURN OF THE JEDI The heart of darkness darkness The heroes must at last enter th e ‘heart of darkness’, the fortress of evil itself, to destroy its stronghold. When Han and and Leia finally destroy t he energy shield generator, Lando and Wedge fly into the Death Death Star to fir e on the reactor core at the centre of the space station. While conflict rages around the Death Star, Luke struggles with the dark forces within the Death Star,, wh ere he is undergoing a spiritual Star conflict in his battle of wills with the Emperor.
Production props and models Production • Re b el el B -w -w i n g f i g h t e r ; I m p e r i al al T IE IE interceptor; Imp erial TIE bom ber ber.. Artworks • Storyboa Storyboards: rds: La Lando ndo and and Wedge Wedge des destroy troy the Death Star. • Production paintings: paintings: Rebe ebell cruisers cruisers in battle at Death Death Star; B-wing fight ers blow up Star Destroy Destroyer; er; Falc Falcon on and X-win X-wing g shoot the Death Star main reactor. • Costume des designs: igns: Rebe ebell pilot.
Falcon and X-wing shoo t the Death Death Star main reactor, production painti ng by Ralph McQuarrie. Lucasfilm Ltd. All ri ghts reserved. Star Wars: The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm
TEACHERS NOTES 22
RETURN OF THE JEDI The final victory The destruction of evil is not always accomplished by sheer physical force or cunning. There is always hope that those who have given themselves to the th e for ces of d arkness can be redeemed. In his confrontation with Vader and the Emperor, Luke wins not through his w arrior skills, but th rough an appeal appeal to his father' s heart. heart. It is Vade Vaderr w ho slays the Em Em peror t o save his son. Masks are frequently part of mythic ritu al and Darth Darth Vader's m as ask k is part of his demonic persona. When he asks Luke to unmask him it represents Vade ader' r' s releas release e from the im prisonm ent of his role, a release release that comes for h im only at the moment of death. Yet this gesture ges ture is also also an affirm ation of l ife, the final opening up of father to son. As the th e Rebels Rebels and Ew Ew oks celebrate their thei r victory over the Em Em pire, Luke Luke burns his father's armour on a funeral pyre. The spirit spir it of Luke's father, Anakin Skyw alker alker,, joins the spirits of Ben and Yoda. Luke has achieved the final triumph of the m ythi c hero' hero' s journey — he has broug ht back bac k from his adventures the means means for the regeneration regeneration of h is society. society. Humanity has triumphed over a repressive, monolithic system, and Luke, through his hero's journey, has opened his heart to compassion and succee succ eeded ded in fol low ing a spiritu al path between light and dark, dark, good and evil.
The Emp Emp eror Palpatine, Palpatine, phot ograph by Eric Long and Mark Avino. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
Costumes and characters • L u ke ke Sk S k y w a l ke ke r an a n d l i g h t s ab a b e r ; Th Th e Emperor Palpatine; Darth Vader and lightsaber. Production props and models Production • Vad ader er’s ’s he helmet lmet (interior) (interior).. Artworks • Storyboards: Luk Luke e wo unds Vade Vader; r; Vade Vaderr destroys the Emperor; Luke pulls Vader back from the precipice. precipice. • Conce oncept pt drawings: Da Darth rth Vade Vader. r. • Conce oncept pt paintings: paintings: early early conce concepts pts for the Em peror’s throne room in a lava lake. lake. • Production paintings: paintings: Luke Luke and Vade Vaderr duel in t he Emperor’s Emperor’s throne room ; the Emperor Emperor zaps Luke. Audiovisuals • Darth, Luke and the Emperor Battle Allow: 2.40 minutes.
TEACHERS NOTES 23
RETURN OF THE JEDI Journey's end As th e Rebels Rebels and Ewoks celebrate the destruction of the Death Death Star and their victory over the Em Em pire, Luke Luke burns his father's armour on a funeral pyre. The spirit spir it of Luke's father, Anakin Skyw alker alker,, joins the spirits of Ben and Yoda. Luke has achieved the final triumph of the m ythi c hero' hero' s journey — he has broug ht back bac k from his adventures the means means for the regeneration regeneration of h is society. society. In the end, end, humanity hum anity has triumphed over a repressive, monolithic system, and Luke, through his hero's journey, has opened his heart to compassion and succeeded in following a spiritual path betwee betw een n light ligh t and dark, good and evil.
Luke and Vader duel in the Emperor’s throne room; The Em Em peror zaps Luke, prod uctio n paint ing s by Ralph Ralph McQuarrie. Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
* Please note : this panel is not in the exhibition.
TEACHERS NOTES 24
PHANTOM M ENA NAC CE An epic saga Star Wars follows the heroic journeys of several characters: Luke, Han, Leia and even Darth Vader. At the end of Return o f the th e Jedi, Vader Vader shows th at he too is a hero, when he saves Luke and destroys the Em Em peror. The The beginnin g of Vade ader' r' s own ‘hero's ‘h ero's journey’ jou rney’ is revealed in The Phantom Menace, when Queen Am idala arrives on the pl ane anett Tatooine, Tatooine, and a young Anakin Skywalker, the future Darth Vader, receives his own ‘call to adventur e’. During th e Podrace Podrace and his first effort s to save save Am idala and and her people, Anakin proves himself thro ugh hi s deeds. deeds. The The early early part of his journey begins full of hope and promise, but he has the potential to foll ow the dark side of the Force. Force. Star Wars is ultimately a story of a father, mother, son and daughter and thus foll ow s the pattern of an epic saga, saga, a mythic tale that spans the generations. The choices, actions and misfortunes of the parents create a destiny that their children must later fulf il. Events Events in the lives of the parents are often echoed in those of the children, and so Anakin's and Luke's stories begin in the same way, with a damsel in distress and and a call to ac action tion .
Anakin Skywalker, podrace costume, photograph by Gary Mortensen for the exhibition Star Wars: The Magic of Myth . Star Wars ™ and © 2000 by Lucasfilm Ltd . All rig hts reserved.
Costumes and characters • Anak Anakin in Skywalk Skywalker er podrac podrace e cos costum tum e. Production props and models Production • Ana Anaki kin’ n’s s podra podrace cerr. Artworks • Co n c ep ep t d r a w i n g s : p o d r a ce ce st st a r t l i n e; e; podrace arena; Watto’s Shop (interior) Watto the Dealer; Sebulba’s podracer; Anakin’s An akin’s pod racer; Aldar Beedo’s pod racer. • Pai ainting: nting: podra podrace ce cr cras ash. h.
TEACHERS NOTES 25
PHANTOM M ENA NAC CE Servant of darkness darkness The treacherous Sith lord sends his apprentice, Darth Maul, to find Queen Amidala when she escapes the Trade Federation blockade surrounding Naboo. Darth Maul unsuccessfully attacks Jedi knight Qui-Gon as the Queen’s ship ship leaves Tatooi Tatooi ne, and later the two meet in combat during the battle for Naboo. Qui-Gon is killed by Darth Maul, who in turn is destroyed by Obi-Wan. While the conflict appears to centre around Queen Amid ala, it is really part of th e ongoing battle betw betw ee een n tw o rival forces in the cosmos, cosmos, the spirit of l ight and the spiri t of darknes darkness. s. The The ritualised rit ualised combat between these powers is a traditi on t hat dates back back to the earliest earliest mythic stories. In the best-known variant, vari ant, reflected in t he Star Wars Wars saga, saga, the powers of darkness rebel against the established order, and humanity m ust take sides sides in the t he struggl e. Qui-Gon Qui-Gon is the representative of goodness and compassion, while Darth Maul is symbolic of violent destruction destruction and the dark forces of evil. Death and evil are closely associated in mythology, and M aul is the death-dem death-dem on, in t he service service of a dark tyrant who will conquer the galaxy and drain its life energy. energy. With th e mutual destruction of Qui-Gon and Darth Da rth M aul, the battl battle e is non-conclusive and will w ill be b e engaged engaged again. again. The Sith Sith l ord w ill f ind another apprentice; the heroes will find their greatest triumph in turning death from a defeat into a victory and reasserting the forces of light.
Darth Darth M aul, concept concept draw ing by Iain McCaig. McCaig. Star Wars: The The Magic of M yth, Star Wars ™ and © 2002 by Lucasfilm Ltd. All righ ts reserved. reserved.
Costumes and characters • Da Darth rth Maul Maul and and lightsa lightsabe berr. Artworks • Co n c ep ep t d r a w i n g s : D ar ar t h M a u l , e ar ar l y concept; conce pt; Darth M aul.
TEACHERS NOTES 26
PHANTOM M ENA NAC CE Ruler Ru ler of w is isdom dom Queen Amidala is the young, elected ruler of Naboo. When her people are thr ea eatened tened by the Trade Trade Federation, Federation, she leaves her home world to seek the assistance of the Galactic Senate. Her request is rejected, and and Queen Am idala returns home to convince the native Gungan, who sha share re the planet, to help her save save her kingdom . ‘Nabu’ w as the ancient ancient Babylo Babylo nian god of wisdom, so as Queen of Naboo, Amidala is the ‘ruler’ of wisdom. Enthroned amidst her Councillors and handmaidens, she is a politician and statesperson, using her clear perceptio n to govern wisely. However, Amidala’s elaborate gowns, mask-like makeup and serene dignity also give her a remote quality and conceal the other aspects of her character. When she pleads with the Gungan leaders, Amidala reveals that she sometimes disguises herself as Padmé, while one of her handmaidens pretends to be the Queen. As Padmé, Amidala is touchingly young and sometimes sometim es naïve naïve,, while wh ile at the sam sam e time tim e she can be a young woman of decisive action, as shown when she creates and executes exec utes the plan p lan to retak retake e Naboo.
Queen Queen Am idala, Smi Smi thsonian phot o by Eric Long. Long. Star Wars: The Magic of Myth, Star Wars ™ and © 2002 by Lucasfilm Ltd. All righ ts reserved. reserved.
Costumes and characters • Que Queen en Amidala Se Senate nate Gown; Quee Queen n Am idala’ idala’s s handm aidens aidens.. Artworks • Co n c ep ep t d r a w i n g s : Q u ee ee n A m i d a l a ; Amidala’s End Parade costume; Queen Amidala’s headdress and hair designs.
In these abiliti es — to hide in pl ain sight, project an illusion of herself, and yet reveal her true nature as well — Am idala em em bodies the mystical force of m aya aya.. This is the power b oth t o conceal conceal and reveal truth at the same time and is particularly associated with mythic goddesses.
TEACHERS NOTES 27
ATTACK OF THE CLONES Att ac ack k of the t he Clones: Clones: made in Australia ‘We have long been interested in wor king in Australia wit h its incredible incredible pool of talent. We now have that opportunity at the wonderful facilities of Fox Studios Australia … They have been instrumental in our decision to shoot here.’ *
The announ announ ce cem m ent that Sydney wou ld host the production of Star Wars: Episode II Attack A ttack of the Clones, and also Episode III, gave the Australian film industry an important opportunity to participate in the development of the Star Wars saga. saga. The original origi nal Star Wars trilogy, together with Episode I, was film ed largely largely in the United Kingdom Kingdom . Principal photography took place in Sydney betw ee een n June Ju ne and August Augu st 2000, 2000, with Australian film crews and production staff helping to turn Ge George orge Lucas’ Luca s’ vision for Episode II into reality. Australasian acting talent was also highlighted in the film, with many Australian and New Zealand actors, such as Jack Thompson and Temuera Mor rison, in supporting roles. * Rick McCallum , Star Wars Wars prod ucer, 1998
Airspeeder driven by Anakin Skywalker. Skywalker. Powerhouse Museum, Sydney, photograph by Jean-François Lanzarone. Star Wars: The Magic of M yth, Star Wars™ and © 2002 by Lucasfilm Lucasfilm Ltd. All right s reserved. reserved.
Costumes and characters • Zam Wes Wesell ll.. Production props and models Production • Airspe Airspeede ederr driven by Anakin; Anakin; Zam Zam We Wese sell’s ll’s airspeeder; Assassin droid. Artworks • Co n c ep ep t d r a w i n g s : A n ak ak i n ’s ’s s p ee ee d er er ; Coruscant speeder (Zam Wesell); ObiWan’s Starfighter. Audiovisuals chase of the bount y hun ter • Aerial chase Allow : 4 minutes.
TEACHERS NOTES 28
ATTACK OF THE CLONES The gathering gat hering darkness darkness The once-bright Republic has become stained with wit h a grow ing darkness. darkness. Crim Crim e and corruption corrupt ion thriv th rive e and assa assass ssinatio inations ns are an easy easy solution soluti on to t o controversy. contr oversy. Even Even w ith ithin in the th e ranks ranks of the Jedi, the Dark Dark side is at work. wor k. Obi-Wa Obi-Wan n discovers tampering tamp ering in the t he Archives Library, Library, in the very heart of the Jedi Temp emple. le. Little Littl e does he realise, realise, looking at t he bust of Count Dooku, that the power of the Force has been corrupted. In this environ m ent, Anakin Anakin Skywalker struggles with the rigorous selfdiscipline discipli ne required by t he Jedi. He He often uses his phenomenal powers in an emotional way, whether he is piloting an Airspeeder, revenging the death of his mot her her,, or falling in love wit h Padmé Padmé Amidala. The most important task of the hero is to m ak ake e the righ t choice. Heroes Heroes must put aside their pride, feelings and personal life, lif e, using th eir pow ers to seek seek justice rather than dom inance inance,, fighti ng because they must, not because they are consumed by revenge. As Anakin discovers, th is is no easy task and he is repeatedly repea tedly t empted t o use the Force Force for his personal ends. Like Yoda’s young, innocent Jedi trainees, Anakin possesses the creative and redemptive force that is hidden w ithin us u s all. all. His struggle wi ll be to bring these life-potentialiti es succe success ssfull fully y into i nto adult realisation.
Young Jedi in training use remotes to hone their ligh tsaber skills. skills. Star Wars Episode II Attack of the Clones © 2002 Lucasfilm Ltd and reserved. Used under authorisation . Star Wars ™. All rights reserved.
Costumes and characters • Young Jedi Jedi initiate initiates s with training training helmets. helmets. Production props and models Production • Jedi Temple Temple Library Library sc sculptures ulptures:: Yoda; Yoda; KiKiAdi-Mundi; Saesee Tiin; Count Dooku. Artworks • Di Digita gitall concep conceptt painting: painting: Jedi Jedi temple. temple. • Digita Digitall conce concept pt drawing: Palpa alpatine tine costume costume concept. • Conce oncept pt drawing: Palpatine Palpatine’s ’s desk desk.. Interactives Light Saber Saber Archiv e The light sa sabers bers displayed here are repli ca cas s of t hose lost lost in battle between famous Jedi heroes and Sith villains. As students approach each light saber the glowing beams strike and they will witness the battles between the ‘Light’ and ‘Dark’ in w hich they w ere used used last. last. Bestt f or: 8+ years. Bes •
TEACHERS NOTES 29
ATTACK OF THE CLONES A forbidden bond When Padmé Amidala and Anakin Skyw Sk yw alke alkerr tr avel to Naboo, the journ ey becomes a spiritual transition as they begin to open their hearts to one another. This spiritual, romantic love between two individuals was celebrated in medieval European myth as ‘Amour’. In the 12th century, Amour was considered considere d a revol ution ary concept, as marriages were arranged for social or political reasons and spirituality was associated exclusively with religion. Individuality was subject to strict lim itations with in the conce concepts pts of mor al oblig ation and adhere adherence nce to an ethical code. Anakin and Padmé have likewise dedicated themselves to duty and honou r at th e expense expense of their personal lives. Part of Anakin’s Jedi training requires him to distance himself from relationships; Padmé is a leader of her people and resolutely focused on serving them. Yet his passion and her com pass passion ion break br eak dow n these barri barriers, ers, and allow lo ve to attain their hearts. However, Amour also opens the heart to suffering, as illustrated in medieval myths such as those of Lancelot and Guinevere, Tristan and Isolde, and Romeo and Juliet. Like those lovers, Anakin and Padmé must pay a heavy price for choosing to value lov e instead instead of duty and social obligation.
Geonosis Geonosis Execution Execution Ar ena, digital concept painting by Erik Tiemems. Star Wars: The The Magic of Myt h, Star Wars ™ and © 2002 by Lucasfilm Ltd. All righ ts reserved. reserved.
Costumes and characters • Pad admé mé Am ida idala la battle battle costu costume; me; Anakin Anakin Skywalker; Jedi Padawan costume. Production props and models Production • Ge Geonos onosis isia ian n exec execution cart. cart. Artworks • Conce oncept pt paintings: Kamino; Kamino; Tipoca Tipoca City; Slave 1 landing platform; Republic attack gunships; solar sailcraft hangar. • Co n c ep ep t drawings: Jango Fe t t ; Stormtrooper concept. • D i g i t al al c o n ce ce p t p ai ai n t i n g s : G eo eo n o s i s Execution Arena; Clone War end battle. Audiovisuals • The ar aren ena a on Geo Geonos nosis is Allow : 4 minutes.
TEACHERS NOTES 30
Knowledge Portal When Obi-Wan Obi-Wan Kenobi wanted to find out about the mysterious planet Kami Ka mi no, he turned to t he Jedi Archives for information. This contained possibly the single largest source of information in the galaxy, with vast amounts of data stored electronically and hol ographically ographically.. To search the vast li brar brary y database, ObiWan used a resea research rch desk, whi ch allow s access to the archives’ holdings. Despite the assurance of the Archivist, M ada adam m e Jocasta Jocasta Nu, th at the archives were complete and secure, Obi-Wan could find no information about the planet.
Production props and models Production • Jedi Archives Archives Libra Library ry analysis analysis des desk k and and chair.
This section of the exhibition contains a variety of int erac eractives tives for students to explore the various aspects aspects of th e Star Wars saga. Star Wars dress Wars dress ups • De Desc scription: ription: try on a varie variety ty of masks masks and costumes of various Star Wars characters. • All Allow: ow: 10 minu minute tes s. • Be Best st for: 4+ ye year ars. s. • Note Note:: not ava availa ilable ble at at all times. times.
This desk and chair were used during the filming of Star Wars : Episode II in Sydney.
Obi-Wan Obi-Wan Kenobi sittin g at the libr ary analysis desk desk in the Jedi Archiv es. Lucasfilm Ltd and Star Wars ™ . All rights reserved. Used Used under author isation. Star Wars Episode II Attack of the Clones © 2002 Lucasfilm
TEACHERS NOTES 31
Interactives in the ‘Knowledge Portal’ • Dar arth th Vad Vade er’ r’s s Mask Mask Turn to the Dark side. Put your face up to the m ask and and see yourself you rself as Darth Vader ader.. If you dare d are,, speak speak the words of the Sith Lord through the mouth piece. A voice synthesiser inside the mask creates the effect of Darth Vader’s voice. Sound sam sa m ples and ‘Darth Vade aderr b reathing’ help to turn you into a Sith Sith Lord! Allow : 5 minutes. Bestt f or: 6+ years. Bes
• Making Magic A behind-the-scenes look at the making of th e Star Wars Trilogy Special Edition. It features never before seen images and intervi ews w ith Ge George orge Lucas and the team at Industrial Light & Magic. Use the left mou se button to select select and the right but ton to exit a mov ie sequence sequence.. Allow: 10 minutes. Bestt f or: 10+ years. Bes years. • The Pha hantom ntom Menac Menace Use the push button control s to explore the m a k i n g o f The Phantom Menace , i t s design, costumes, and visual effects. Discover documentaries, deleted scenes, storyboards and multi-angle animatics. Allow: 10 minutes. Bestt f or: 10+ years. Bes years. • Sta tarr Wars Wars:: pit pit droids droids Watto’s pit droids m ust get to the podr ac aces es,, they need your help. Use the control console and the tiles within the game to guide them thro through ugh challenging m az azes es and puzzles as you race through treacherous environments. Allow: 10 minutes. Bestt f or: 8+ years. Bes
Darth Darth Vader, Vader, photograph by Eric Long and Mark Avino . Star Wars: The The Magic of M yth, Star Wars ™ and © 1997 by Lucasfilm Ltd. All righ ts reserved. reserved.
adaw w an training mo dules. • Pada The following activities from the Arena section se ction of t he Star Wars Kids website have been bee n adapted adapted for u se w ith th is exhibition : – Carbon connectio n – Garbage masher – Force flight. Allow: 10 minutes. Bestt f or: 8+ years. Bes • Jedi Starfighter Do you have the skills skills of a Jedi pilo t? Use Use the controls to pilot the craft and help the Republic’s cause. Training missions are a good pl ac ace e to begin for the novi ce pilot . Allow: 10 minutes. Bestt f or: 10+ years. Bes years.
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Online resources The internet is a wonderful resource for students to explore the Star Wars universe. The following websites are good starting points for students to begin their online journey. Star Wars: The Wars: The Official Site http://www.starwars.com Lucasfilm Luca sfilm ’s offi official cial home on t he web, featur features es 5000 pages of information and media, including daily new s, related related fiction such as comics and books, movie trailers and more than a dozen exclusive web documentary videos about the making of the films. Star Wars kids Wars kids http://www.starwarskids.com The purpose of th is site is to pr ovide children with a fun, interactive opportunity to learn more about the Star Wars saga. The site leverages the many themes of the saga — leadership, leade rship, courage, family — to enrich kids’ enjoym ent of the mov ies ies,, to help them better understand the movie-making process, and to help them see that a story set in outer space spac e can can actually apply t o their ow n liv es es..
Star Wars: The M agic of M yth yth exhibition exhibition http://www.nasm.si.edu/StarWars/ Explore the exhibition as it appeared at the National Air and Space Museum in Washington DC. Students can hear audio clips from the interactive audio audio t our narrated by James Earl Jones and take a closer look at artefacts artefacts and artw orks. M ake a hero hero http://www.lucaslearning.com/jsv/teachers/ index.html Lucas Learning, Ltd, celebrates heroes and heroines in Star Wars: The Magic of Myth , with this exciting online activity. Try ‘Makea-He aHero’ ro’ , a m ulti disciplinary too l designed to support a variety of classroom activities across the curriculum. Students can create their ow n heroes and heroines using m ythi ythica call characters from across cultures, times and places, place s, and and pr int t hem ou t to use in a variety variety of curricular formats. Please note These These websites were available and suitable at th e tim e of p ublication . We advise that teachers teachers should check check sites before recommending them to students.
Podrace crash, crash, concept artw ork by Doug Chiang. Lucasfilm Ltd. All ri ghts reserved. Star Wars: The The Magic of Myt h, Star Wars ™ and © 1999 by Lucasfilm
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Star War ars: s: The The Magi Magic of Myth
For more information on the exhibition Star Wars: The M agic of M yth , visit the Powerhouse Museum’s website http:// / w w w.phm. http: w.phm.gov gov.au .au
For more information or to make a booking, contact: Education Educa tion and Visitor Visitor Services, Pow Pow erhouse M useum Telephone: (02) 9217 0222 Fax: (02) 9217 0441 Email: edserv@ edser v@phm phm.gov.au .gov.au Post: PO Box K346, Haymarket NSW 1238 Get regular updates about Museum programs delivered directly to your computer by joining our list serv. Email: Email: edserv@phm
[email protected] .gov.au
Unless otherwise stated, all photographs © Powerhouse Museum. For non-commercial educational use only. Unauthorised uses (eg duplication, sale or resale) strictly prohibited. © 2002 Lucasfilm Ltd. All rights reserved.
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