Every Act is Rebellious

Since Star Wars’ premiere in 1977, the franchise has only become increasingly influential and successful. People enjoy the complex stories and the immense universe portrayed across Star Wars’ eight episodes, but most only understand the story and its characters superficially and do not see the implications behind plots. Using the perspectives presented by Albert Camus’s two great works, The Rebel and The Myth of Sisyphus, this essay asserts that every act in Star Wars is an act of rebellion. Understanding this idea and its implications will be crucial for audiences in perceiving the Star Wars movies’ deeper meanings.

The Myth of Sisyphus provides a theoretical lens by asserting that people, as absurdists, should live out their lives’ meaninglessness with full consciousness instead of choosing to end their lives. It states that to live their lives with full consciousness, people are obligated to accept the inherent pain found in daily life. Camus presents this assertion through his story about Sisyphus. Sisyphus is sentenced to pushing a rock to the top of a mountain for eternity, but whenever he approaches the peak, the rock “rush[es] down in a few moments toward that lower world whence he will have to push it up again toward the summit” (Camus, “The Myth of Sisyphus” n.p.). Sisyphus is forced to work on this ceaseless and meaningless task until its meaninglessness makes him suffer. However, Sisyphus conquers this meaninglessness by refusing to submit to his suffering and instead accepts it as a part of his life. Camus suggests that, like Sisyphus, we should also accept our sufferings and take them as a part of our lives.

The Rebel defines a rebel as one who asserts that certain rights are important to all people, and cannot be surrendered to authority. Camus writes that “the movement of rebellion is founded… on the categorical rejection of an intrusion that is considered intolerable” (“The Rebel,” 6). When a rebel rejects his master’s orders, he acknowledges his rights and rejects the whole system of oppression. He “proceeds to place [his right] above everything else and proclaims it preferable to everything, even to life itself” (Camus, “The Rebel,” 7). In a rebellion, a rebel acts for his rights at the cost of all his life’s other possibilities. Though he could have obeyed his master for his entire life or escaped from his enslavement, he instead chooses to fight against oppression and for his rights. Thus, this decision shapes his entire life following the moment he rejects his master.

The theories of both books emphasize the act of rebelling. In The Myth of Sisyphus, the act of rebelling leads one to live and deny suicide. In The Rebel, the act of rebelling leads one to fight against oppression and deny enslavement. What both ideas share is the true nature of rebellion: to choose a specific course of action and exclude the possibilities of others. Every decision involves the acceptance and rejection of possibilities. If one chooses life, then the implication is that one rebels against death. If one chooses to break a law, then that individual rebels against authority. In the Star Wars movies, many characters undertake such actions. When Cassian and Jyn disobey the surrendering order of the council, when Anakin cuts off Mace Windu’s arm, when Padme kisses Anakin and even when the Jawas scavenge and trade with their customers, a rebellious nature is implicit. Moreover, in a universe in which different people fight against each other and values collide, every act is an act of rebellion. A deep analysis of the characters, from the soldiers of the Rebel Alliance to the Jawas, supports this argument.

In Rogue One, a troop of rebels, disobeying the Rebel Alliance’s intent to surrender, commits an act of rebellion because their attempts to get the Death Star plans limit them to the singular future of fighting the imperial armies (Edwards, 76’35”–79’00”). Since the leaders of the Rebel Alliance cannot fully agree on continuing the rebellion, Cassian, Jyn, and other troopers could have surrendered to the Empire, or they could have waited in the base for someone else to lead them. Even if they had decided to continue the fight, they could have tried to convince the leaders, or they could have asked one of the leaders who wanted to fight to give them permission to depart. Instead, they choose to leave without permission from the authority. When they leave, they break their soldiers’ oath to obey their authority’s orders. Their attack on an Imperial facility destroys pacifist Rebels’ expectations of stopping the wars. However, they ignite the hopes of fighting against the Empire, as the conversation between a rebellious soldier and Princess Leia presents: “What is it they’ve sent us? Hope”  (Edwards, 125’27”–125’36”).As the picture shows, when Leia says this, she stares forward as if she is looking at the future. For the Rebellion, it is a promising future of hope, which would not have happened without Cassian, Jyn and other soldiers. Therefore, each of them devoutly follows his or her own beliefs in rebellion.

In addition to the plot, music contributes to presenting the rebellious spirit of Jyn Erso and her Rebellion Alliance’s soldiers. When Jyn Erso steps on the impounded imperial ship and says “may the Force be with you” (Edwards, 81’46”–81’51”), the segment of music played (Giacchino, Michael). is a variation of a part of the “Star Wars Theme” (Williams). This part is one of several parts of the “Star Wars Theme” (Williams) used in different episodes of Star Wars as a sign of rebellion. When Luke Skywalker tries to destroy the Death Star (Lucas, “Star Wars: Episode IV – A New Hope,” 115’39”–117’20”), the parts of “Star Wars Theme” come out. In addition, when Luke wants to leave the Dagobah to help Leia and Han Solo (Lucas. “Star Wars: Episode V – The Empire Strikes Back,” 82’55”–83’05”), the music accompanies Luke’s departure. Parts of “Star War Theme” appear whenever characters fight for the rebellion. Therefore, when the “Star Wars Theme” is used in the Rogue One, it implies that, aside from being soldiers, Jyn Erso and her followers change themselves into fighters who act for the rebellion in which they believe. Since the rebel soldiers’ fighting only leads to one possibility of life, it is an act of rebellion.

An act of rebellion is not always undertaken by a group; it can also be undertaken by an individual. When Anakin cuts off Mace Windu’s arm, it is an act of rebellion (Lucas, “Star Wars: Episode III – Revenge of the Sith,” 74’44”–75’11”). As Windu dies, Anakin turns to the Dark Side of the Force and excludes alternative actions. After Windu tells Anakin to wait in a room, Anakin is given the opportunity to take other actions: He could have stayed in his room as Windu ordered him, or he could have done other things to keep himself busy instead of troubling himself with the question of whether he should save Palpatine. Although turning to darkness gives Anakin what he desires–his love for Padme and his pursuit of greater power–there are other ways to achieve the same goal. If Anakin wants Palpatine alive to save Padme from the possibility of dying, Anakin could have defended Palpatine from Windu by deflecting Windu’s lightsaber. He could have mediated the situation until someone came to help and to ensure that Palpatine and Windu stood trial. However, he chooses not to do this. He chooses to cut off Windu’s arms, which directly leads to Windu’s death. As this scene shows (Lucas, George. Star Wars Episode Three – Revenge of the Sith. 78’07”), the black shades on his face and the darkness in the background both reveal that Anakin’s turn to the Dark Side is complete. The determination in his eyes also suggests that he will follow a path to the darkness. His contribution to Windu’s death leads to a period of Sith domination, cuts off his role as a Jedi, and finishes his transformation into a Sith. (Lucas, “Star Wars: Episode III – Revenge of the Sith,” 76’51”). He cuts off his relationship with Padme when he chokes her to unconsciousness (Lucas, “Star Wars: Episode III – Revenge of the Sith. 106’18”–106’31”). Slicing off Windu’s arms pushes Anakin closer to becoming a Sith Lord and takes him away from all his other possibilities and identities; it is, therefore, an act of rebellion.

Aside from disobeying rules and orders, a kiss, usually a sign of love, can also be a sign of rebellion. When Padme kisses and marries Anakin (Lucas, “Star Wars: Episode II – The Attack of the Clones.” 134’49” – 135’52”), they situate their love for each other as their highest priority. Anakin is a Jedi for whom love is forbidden. Padme is a senator so love might distract her attention from her political pursuits. They clearly know what it means when they kiss and love each other, as Padme says to Anakin：

No, you listen to me. We live in a real world. Come back to it. You’re studying to be a Jedi. I’m a senator. If you follow your thoughts through to conclusion, it’ll take us to a place we cannot go, regardless of the way we feel about each other.” (Lucas. “Star Wars: Episode II – The Attack of the Clones,” 55’22”–55’42”)

If others find out that they are in a relationship, they will face serious consequences: Anakin might be expelled from the Jedi Order, and Padme’s political achievements might be influenced. Therefore, a logical thing for them to do would be to stick to the rules of their own roles instead of loving each other. However, they follow their emotional desires through to conclusion. They make the decision to choose a dangerous way of living and deny a more peaceful one.

When Anakin and Padme marry, the lighting effects, the music, and the Anakin’s action implies a dangerous future for both of them.(Lucas, “Star Wars: Episode II – The Attack of the Clones,” 134’47”–135’52”) The sunlight is bright, but it is so bright that it is dazzling and can hurt people’s eyes. Also, the accompanying music is strong and loud, implying that they will influence the universe in significant and dangerous ways. Almost near the end of the movie, in the above scene, Anakin lowers his head, signifying that he senses his dangerous future. Their love for each other leads to this future and lays the pathway to the stories of the third episode, in which love pushes Anakin to the Dark Side of the Force and Padme to lose her will to live. Their affection for each other leads them to place love above other things and to exclude other possibilities of living. Therefore, their kiss, a sign of affection, is also an act of rebellion.

A counterargument to the previous discussion states that the love between Anakin and Padme is not an act of rebellion, but that the love comes naturally from their human desires. This argument claims that they love each other not because they want to rebel against their roles and identities, but because they have emotional feelings to each other. However, this argument is inaccurate because it separates the rebellious nature of their actions from their affections. Love is a rebellion. To love is to choose the most important person, a desirable way of living, and a promising future in which two lovers live. It usually excludes most other possible lovers, ways of living, and futures; thus, to love is to rebel against these possibilities. This is the nature of love, but the “natural desires” argument ignores it.

Perhaps the least obvious act of rebellion in the Star Wars universe occurs in A New Hope when we meet the scavenging Jawas. As the Jawas peddle their wares, they undertake an act of rebellion, because they choose to live a scavenger’s way of life beyond the laws of the Empire. The Jawas relies on scavenging to survive, as shown when they collect a lot of old and poor droids and collections in their carrier (Lucas, “Star Wars: Episode IV – A New Hope,” 13’55”–15’00”). Also, the fact that the Jawas capture R2-D2 shows that they collect droids that no one clearly claims (https://www.youtube.com/watch?v=iqIl1f3hZ3w&t=94s. A New Hope. 11’22” – 15’30”).  The picture shows that the Jawas are skilled at capturing droids and it indicates that this activity is a common and normal part of their lives. It is understandable for one species to live this way on Tatooine, a cruel and underdeveloped planet, far away from the center of civilization. However, there is more than one way of living. There are smugglers like Han Solo, slave owners like Watto, bartenders serving drinks, and moisture farmers, but the Jawas choose to live as scavengers. This decision itself is an act against other possibilities. Moreover, when Jawas choose to live as scavengers, they separate themselves from the civilization. Since scavenging is a gray area in most laws, it is reasonable to assert that the Jawas are not fulfilling their social responsibilities. They are not paying taxes, nor are they drafted. No Jawa has fought for either the Rebellion Alliance or the Empire. They are living away from civilization.

Once again, the background music (John Williams) of the scene in which the Jawas capture R2-D2 (Lucas, “Star Wars Episode VI – A New Hope,” 12’35”–13’55”) implies the Jawas’ differences from mainstream society. It is different from most other grand Star Wars music, since the music’s short notes, which are played by clarinet, flute, and tuba make the music lively and create a happy impression of the Jawas for the audience. In a universe of war, oppression, and rebellion, the Jawas live their separate and satisfying lives in their own ways, so their ways of living act against the civilization. Therefore, when the Jawas choose to live as scavengers, they exclude other possibilities of living, especially those in mainstream society, and live in rebellion.

However, one might argue that the Jawas’ way of living is not an act of rebellion because there must be a system of oppression for a rebellion to occur. This is a narrow definition of rebellion, however, which only defines political and social rebellion, but it does not include rebellion in individuals. This definition will limit our perspectives of viewing things, and therefore will prevent us from seeing the various possibilities in the Star War universe.

It is seen that, from high to low levels of clarity, different actions can be considered as acts of rebellion. When one sees the Star Wars movies in black and white, one ignores many other alternatives to these actions and complexities of the movies. For example, if one sees Anakin cutting off Windu’s arm or not as turning to the dark side or not, one ignores many other actions he could have done and the significance of his action. Developed from The Myth of Sisyphus and The Rebel, the argument that every act is an act of rebellion helps the audience see the alternatives and complexities. On Youtube, many videos talk about the “what ifs” in Star Wars Movies. People contemplate on possibilities because they make the Star Wars movies intriguing: Thinking over possibilities satisfies the audience’s curiosity in regard to the movies, and possibilities make the imaginary world of the Star Wars movies real because our real world is full of possibilities. Moreover, because the Star Wars universe and plots feel real, the series creates a substituting feeling for the audience and makes the movies a testing ground: seeing Anakin, Padme, Jyn and Jawas make their decisions among many alternatives and choose their lives, we reflect on what we should do in similar situations. It is important for us to not limit ourselves to the exact action itself, but to think about its alternatives, so we can see the whole picture of the obstacle that we face. This will help us make more knowledgeable decisions to solve the many obstacles that we face in our lives. When we make a choice, we are not only responsible for the decision, but also for choices that we give up. It is important to remember what we lose so that we value what we have. By being aware of this fact, we will be more careful when making choices and be more capable of making responsible choices.

Works Cited

Camus, Albert. The Rebel. Vintage International Publishing 1991.

This book is the major lens that I will look through to view the Star Wars Movies. His political definition of the Rebels is an important part of the theoretical foundation of the whole analysis. From his definition of rebels, an emphasis on the act of rebelling is particularly used to understand characters in the Star Wars Movies.

Camus, Albert. “The Myth of Sisyphus.” Albert Camus: The Myth of Sisyphus, https://www.sccs.swarthmore.edu/users/00/pwillen1/lit/msysip.htm

This work is another source for me to understand Camus’s absurdist idea. This idea, by itself, is a rebellious idea. The act of rebellion is part of its nature. Camus’s ideas about absurdist and rebels share this act of rebelling, which lead me to develop thesis emphasizing on the action itself.

Edwards, Gareth, director, and Michael Giacchino, composer. Rogue One: A Star War Story. Youtube, Disney, 28 Feb. 2017, www.youtube.com/watch?v=joldJiP04hk.

In this particular movie, a group of Rebellion’s soldiers, led by Cassian Andor and Jyn Erso, openly disobeyed the Rebellion’s authority’s will to surrender and fought to get the plans of Dead Sart. This is particularly analyzed to support the argument that every act in the Star Wars Movies is an act of rebellion

Giacchino, Michael. “Rogue One: A Star Wars Story.” Dorling Kindersley, 2016, http://michaelgiacchino.com/albums/rogue-one-star-wars-story/

Lucas, George, director, George Williams, composer. “Star wars: episode III, revenge of the Sith.” Youtube. Star War: Revenge of the Sith – Youtube, 20th Century Fox, 20 Mar. 2015, www.youtube.com/watch?v=yDpx4XCM_qQ.

Theories from Camus are applied to the analysis of characters and actions in the Star Wars Movies. In this particular one, Revenge of the Sith, Anakin’s involvement in the fight between Windu and Palpatine is especially analyzed. Also, some parts of this movie are also used to show Padme’s love for Anakin.

Lucas, George, director, and John Williams, composer. “Star Wars: Episode II: Attack of the Clones.” Star Wars: Attack of the Clones – Youtube, 20th Century Fox, 21 Mar. 2015, www.youtube.com/watch?v=Ug_Mkkxoc1w.

This source is used because it has the scene that Anakin and Padme kissed each other. This is scene is important to understanding why their kiss is an act of rebellion.

Lucas, George, director, and John Williams, composer. “Star Wars: Episode IV – A New Hope. Star Wars: A New Hope” – Youtube, 20th Century Fox, 30 Mar. 2015, www.youtube.com/watch?v=yYNSSNJ0z_U.

This movie is important particularly because it has scenes about Jawas. Its scenes of Jawas capturing R2-D2 and of Jawas’s collections of droids are important to show that Jawas live lives of scavenger.

Lucas, George, director. “Star Wars: Episode V – The Empire Strikes Back.” 20th Century Fox, 1980, www.youtube.com/watch?v=Ooh3k8cJDBg.

Williams, John, composer. The star wars trilogy.

This album of Star Wars music contains all the songs used in the Star Wars trilogy. Among many songs that it contains, the Star Wars Theme is the most important one that features the development of the Star Wars story. Different parts of it are incorporated in many other songs to present spirits, values and other messages of importance. Therefore, the use of music, especially the Star War Theme, is important in presentations of the Star Wars movies.