Feminist Values in the Face of Imperialism – Rogue One

The Star Wars films are ingrained into modern culture. These films disseminate important messages about loyalty, fear, and rebellion. In the universe, there are a few significant female characters, mainly: Padme Amidala, Leia Organa, Jyn Erso, and Rey. These female characters live in a postcolonial environment. Postcolonial refers to “resistance to colonial power and its discourses that continue to shape cultures whose revolutions have overthrown formal ties to their colonial rulers” (Tyagi 45). Women living in a postcolonial state face particular oppression tied to powerful, patriarchal colonial legacies. Thus, postcolonial criticism rejects Western feminism’s belief that there is a universal notion of patriarchy and insist upon contextualized patriarchy (Kumar Mishra 129). In a patriarchal legacy, women face struggles in accessing mainstream power, defying expectations, and achieving self-determination. These struggles are often epitomized in popular media, where women conform to inferior examples of femininity.

Through a feminist lens, this paper will analyze Rogue One. First, it is necessary to provide background on the plot of this Star Wars episode. Rogue One takes place before A New Hope, and it is the story about rebels that attempt to steal the plans for the Death Star, a battle station created by the Empire. These are the plans that helped Luke Skywalker destroy the Death Star later on. The main protagonist, Jyn Erso, works with a team to extract the Death Star plans from an Imperial storage facility on the planet Scarif. Jyn’s team consists of the Rebel Alliance officer Cassian Andor, the blind warrior Chirrut who is a blind warrior, and the mercenary Baze. Her father, Galen Erso, was one of the lead scientists who reluctantly helped to develop the Death Star. The plans are then transmitted to the Rebel command ship, but Jyn and Cassian are killed when the Death Star destroys the base they were on at the end of the movie.

Jyn is a prominent, independent female in Star Wars who represents the franchise’s transition to stronger portrayals of women in the later films, thereby shedding ties to traditional stereotypes employed in earlier films. Jyn’s role in Rogue One demonstrates the ability of a female protagonist to achieve self-determination under authoritarian power.

Postcolonial feminism focuses on the role of gender in relation to colonial and imperial aims, as well as the representation and resistance of colonized women (Kerner 854). Chandra Mohanty, a prominent postcolonial feminist theorist, takes issue with a few main representational strategies of ‘Third World women.’ She maintains that “third world” women are not a homogenous group with common interests, and that gender relation solutions are not universally applicable. Added to this is Mohanty’s dismissal of the stereotypical ‘Third World woman’ image, which includes being poor, uneducated, and ignorant. She maintains that a woman’s experience is not solely influenced by her femaleness, but that there are more components, influences, and loyalties that cannot corroborate the notion of universal or global sisterhood (Mohanty 122).

Gayatri Chakravorty Spivak, another prominent postcolonial feminist theorist, is arguably most known for her book, Can the Subaltern Speak? The subaltern are “‘an irretrievably heterogeneous’ social group embracing everyone who does not belong to the dominant groups in society” (Spivak 284). She argues that the subaltern cannot speak, for even if they raise their voices, they are not heard or taken seriously (Spivak 284). Spivak disagrees with the manner in which imperialist forces propagate their image as “the establisher of a good society” while women are espoused as objects “of protection from her own kind” (Spivak 299). This imperialistic practice is harmful in that it spreads the idea that colonized women are victimized and need the Western women’s saving. To ameliorate inequality and foster productive dialogue, Spivak recommends that harmful assumptions about the subaltern or those less privileged must be eliminated; and that people must unlearn their privilege. This stands in more radical contrast to Mohanty’s recommendation that relationships of difference can be transformed into relationships of solidarity through caring dialogue (Kerner 858). However, Mohanty’s appears to be more immediately applicable especially when considering that commitment to coalition building is important to political solidarity and overcoming divisions.

As the main protagonist in Rogue One, Jyn Erso represents the Star Wars franchise’s progress in portraying a strong, feminist heroine that does not yield to traditional stereotypes. Jyn achieves greater levels of self-determination compared to that of Leia or Padme. Against the authoritarian Empire, Jyn demonstrates greater fulfillment of feminist values such as inherent worth and the ability to follow one’s own visions. She does not fit the mold of subservient femininity too often supported by media. From the start, Jyn’s loyalty remains to herself and she is wholly self-reliant since the separation from her parents. Jyn fights for and maintains her free will when operating between the Rebel Alliance, Rogue One, and the Empire. The Empire’s militarized response to insurgency is linked to a system that has historically privileged men. Yet Jyn’s inseparable attachment to following through with her own discretion makes her the most vital person in the Rogue One and Rebel Alliance mission. For example, there is the time when she is not wholly in favor of Cassian’s actions, so she climbs a huge ladder on the planet Eadu, in a storm, and seizes a Stormtrooper’s weapon. She trusts her own intuition and thus is able to say goodbye to her father (Edwards, Rogue One). Jyn is a natural leader who defines the movie and does not become a damsel in distress in need of rescuing.

Another indication of Star War’s transition to more feminist depictions of women in Rogue One is Jyn’s clothes. They stand in complete contrast to the previous Star Wars women, mainly Padme and Leia, who donned fanciful outfits, heavy robes, tight spandex, midriff-baring shirts, and a metal bikini. Their male counterparts always wore practical outfits. Leia does wear an outfit similar to her male counterparts during the Battle of Endor, in Return of the Jedi, yet this is not enough to justify the other fanciful outfits that Leia was made to wear, and her male counterparts were not. Jyn wears a practical outfit as well- pants, jacket, combat boots, in dull shades of grey and brown. Her clothes are an indication of her status as a survivor and fighter and stands starkly against the previous Star Wars eras where even if the woman did don a “practical outfit,” her character was still made to wear other decorative and beautifying outfits.

 

When analyzing Rogue One through a feminist lens, the film’s the lack of a romantic subplot becomes quite evident. Jyn’s mission and story are not exploited by revolving around male and female pairs, such as Leia and Luke or Padme and Anakin. Her counterparts, Cassian Andor, Saw Gerrera, Bodhi Rook – while important characters, they do not define the film in ways that Luke, Han, or Anakin did previously. Some may point to Cassian and Jyn holding each other before they die as proof that they did fall in love. However, this is not strong enough evidence to support the presence of a romantic subplot. This scene could equally be interpreted in a platonic way- two friends and comrades living their last moments together.

In the prequel trilogy, contrastingly, romance dominates Padme’s narrative. Padme was a queen and a senator, but whose story largely revolved around her relationship with Anakin. In the original trilogy, Leia also forms a relationship with Han Solo. In Rogue One, however, Jyn has no romantic interest. This is significant and suggestive to the fact that not only are there more pressing issues to deal with in a time of war but that a woman does not need a romantic partner to be worthy of inclusion in a story.

Not only is there a lack of a romantic subplot for Jyn in Rogue One, but there is a transition in the relative significance of male and female companions, romantic or platonic. As the prequel trilogy progressed, Padme became less of a politically powerful figure, and gradually spiraled into the worried, pregnant wife of Anakin. Her story ends by her dying of a broken heart immediately after giving birth to Luke and Leia. Such a progression of Padme’s narrative reduced her role to child bearer of arguably the most important person in the franchise – the male lead and last hope, Luke Skywalker. Her political prowess and individuality are eclipsed by her final demeanor.

Of course, Leia has been a feminist icon since episodes IV-VI were released. In these episodes, Leia was accompanied by two male protagonists, Luke and Han. While Leia is portrayed as a strong leader, her story is almost always accompanied by the inclusion of her male counterparts. When she attempts to rescue Han in Episode VI, she is objectified as a sex slave in the infamous metal bikini, and even when she strangles her captor Jabba the Hutt, Luke still turns up just in time to help. Or take the time when in Episode IV Han says about Leia, “If we just avoid any more female advice, we ought to be able to get out of here” (Lucas, A New Hope). Despite repeatedly demonstrating her abilities as a strong diplomat, Leia is superficially doubted because of her gender. Initially, Luke is inexperienced and apolitical, and Han is skeptical and detached. At the same time, Leia is passionate, commanding, and confident. Her first appearance in A New Hope shows her as she shoots at Stormtroopers, stands up to Darth Vader, and is not helpless when her planet Alderaan is destroyed. Alongside Leia, the two men grow into more selfless and focused members of a shared mission, conceivably due to the influence of Leia’s established example as a leader and her spirit. Yet it is evident that underneath her fearlessness and capabilities is her role in motivating Luke and transforming Han.

Contrastingly, Jyn has no male counterpart that proves to be more significant than her own role. She has the Rogue One team, but they are secondary to her initiative and self-reliance. She is not wholly reliant on the men on her team. Her story does not revolve around bolstering a male lead.She uses batons and blasters to taken down stormtroopers, while Cassian essentially stands by her side.

This trope of damsel in distress is not present in Rogue One. In the beginning of the film, K-2SO tells Jyn she is being rescued. But it turns out that it is Jyn is who rescues herself and others, such as when she throws herself into danger to save a young girl caught in a crossfire on Jedha. This is contrasted with Leia’s plea to Obi-Wan in Episode IV, “Help me, Obi-Wan Kenobi. You’re my only hope” (Lucas, A New Hope). In the moment, this plea characterizes Leia with a sense of helplessness and critical reliance on a male character. Jyn works alongside other male characters – she does not utter any pleas to make herself dependent on another man to save her or accomplish her missions.

From the start of the film, Jyn’s goal is to survive. Her mother was killed, her father was taken, and her father figure Saw Gerrera abandoned her. Relying on herself alone became ingrained in her mindset, and she stated “I’m not used to people sticking around when things go bad” (Edwards, Rogue One). Jyn’s past has caused her to be extremely self-sufficient. She is a resourceful, smart survivor and a brave fighter. Over and over again she is seen engaging in physical combat herself, whether it is running, climbing, or shooting a blaster. While combat skills alone do not make a feminist character, it is important to placing her on equal footing in a traditionally male-dominated terrain. Holding on to her loyalty, she follows her own will and direction. Jyn does what needs to be done to complete the mission she has committed herself to. Take the beginning of the film, when she is sent by the Alliance to Gerrera on Jedha, to extract information from him about her father and the Death Star. Jyn does not blindly give her loyalty to the Alliance. She undertakes the task with aloofness and appears that she just wants to leave. Saw sees this in her, and asks “But what do you want, Jyn?” (Edwards, Rogue One). Jyn’s loyalty to herself and independence from following the pack can also be highlighted when Saw asks her if she can “stand to see the Imperial flag reign across the galaxy?” Jyn responds, “It’s not a problem if you don’t look up” (Edwards, Rogue One). This statement speaks to Jyn’s detachment from outside pressures, and her enduring loyalty to herself. She doesn’t comply with the norms. K-2SO summed this up when he said, “Your behavior, Jyn Erso, is continually unexpected” (Edwards, Rogue One). Jyn defies expectations, on a micro and macro level- with her transitional role in the rebellion, as a woman in a postcolonial environment, and as a female lead in a major franchise. Jyn’s actions are indicative of her commitment to following through with her own visions and missions, which is why she stands as the most independent female protagonist in the Star Wars franchise.

In the face of an authoritarian Empire, Jyn maintains her loyalty to her own goals, even if it means disagreeing with the Rebel Alliance or members of her team like Cassian. She delivers a stirring speech at the Rebel leadership meeting, and her credibility is bolstered as she is the only one who knows the Death Star’s weakness. She makes it clear that she is fighting for a goal, and she stands her ground. She is able to rally a team to the planet Scarif, disregarding the wishes of the Alliance. Her motivations are rooted in a personal manner. At the core, she feels an obligation to her father to help destroy the Death Star. She is a paragon of a woman being self-reliant in a postcolonial, male-dominated environment, and being a fully realized character. She is willing to accomplish her mission at any cost, and that cost ended up being her life. By taking initiatives into her own hand, holding the necessary knowledge to complete her missions, seeking answers, and following her own intent and purpose – she is a nuanced character and depiction of how a female is able to embody feminist values of inherent worth and self-determination.  

Overall,  Jyn is an independent female in Star Wars who represents the franchise’s development to stronger portrayals of women, shedding ties to traditional stereotypes. Jyn’s role in Rogue One demonstrates the ability of a female protagonist to achieve self-determination under authoritarian power. Rogue One disseminates the message that females can fight against the ramifications of imperialism. It demonstrates that self-reliance can shape a rebellion and can contribute in the fight against the burden of violent governmental legacies. Accessing mainstream forms of power comes with historically rooted obstacles for women, yet the commitment to one’s self and defying expectations can not only lead to productive political coalition building, but women living a life of full realization, fulfilling their own ambitions, and achieving agency.  

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