{"id":987,"date":"2019-11-07T12:25:21","date_gmt":"2019-11-07T17:25:21","guid":{"rendered":"http:\/\/pages.vassar.edu\/postcolonialstarwars\/?page_id=987"},"modified":"2019-12-10T11:49:22","modified_gmt":"2019-12-10T16:49:22","slug":"austin-tabouchirani","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/anthology\/fall-2019\/austin-tabouchirani\/","title":{"rendered":"Austin Tabouchirani"},"content":{"rendered":"<p style=\"text-align: center\"><span style=\"font-weight: 400\">The Major and Minor of the Force: Sound design and Music in <\/span><i><span style=\"font-weight: 400\">Star Wars<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400\">There is rarely a moment in the <\/span><i><span style=\"font-weight: 400\">Star Wars <\/span><\/i><span style=\"font-weight: 400\">films<\/span> <span style=\"font-weight: 400\">where sound is not present. <\/span><i><span style=\"font-weight: 400\">The Empire Strikes Back <\/span><\/i><span style=\"font-weight: 400\">alone runs 127 minutes, and of that, 117 minutes contain musical accompaniment (Kalinak). Watching the films would arguably not be as moving for the audience without John Williams\u2019s iconic score or the blazing hums of the lightsaber. Williams had several influences for his composition, including Gustav Holst\u2019s \u201cThe Planets,\u201d and Richard Wagner\u2019s \u201cThe Ring Cycle.\u201d He was particularly inspired by Wagner\u2019s concept of the leitmotif, or a musical idea that is linked to a specific character, location, or theme and is repeated throughout the work. Ben Burtt worked as the sound designer for the films who manufactured the many different sounds of the universe. In this essay, I will be discussing how and why sound and music in <\/span><i><span style=\"font-weight: 400\">Star Wars <\/span><\/i><span style=\"font-weight: 400\">strengthen and influence the audience\u2019s perception of good, evil, and the force.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Leitmotifs allow a composer to highlight or raise the importance of certain themes and give the listener a method for identifying them. In the original trilogy, Williams composed leitmotifs that can be associated with good and evil. Among the \u201cgood\u201d leitmotifs are Luke\u2019s theme, which is also <\/span><i><span style=\"font-weight: 400\">Star Wars\u2019s<\/span><\/i><span style=\"font-weight: 400\"> main theme; \u201cBinary Sunset,\u201d also known as the Force theme or Obi-Wan\u2019s theme; Princess Leia\u2019s theme; Yoda\u2019s theme; Han Solo and Leia\u2019s theme; and Luke and Leia\u2019s theme. The \u201cbad\u201d leitmotifs include Darth Vader\u2019s theme, also known as \u201cThe Imperial March\u201d; Jabba the Hutt\u2019s theme; the Imperial Theme; and the Emperor\u2019s theme.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">As <\/span><span style=\"font-weight: 400\">Irena Paulus points out in her paper \u201c<\/span><span style=\"font-weight: 400\">Williams versus Wagner or an Attempt at Linking Musical Epics,\u201d<\/span> <span style=\"font-weight: 400\">Williams evidently composed fewer leitmotifs associated with the darkside than the lightside. This creates an apparent audible bias among the audience, favoring one side, in the case the light one, over the dark side. To support this, I will break down two leitmotifs and their variations: the Force Theme and Darth Vader\u2019s Theme. Firstly, the names. According to Obi-Wan Kenobi, the force is \u201cAn energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together,\u201d (Lucas, <\/span><i><span style=\"font-weight: 400\">A New Hope<\/span><\/i><span style=\"font-weight: 400\">, 00:34:40). It is supposed to be a neutral term that any living being can have if they are force-sensitive, whether or not they support the lightside or darkside of the force; however, right away, Williams creates a bias by naming this the \u201cForce theme\u201d and pinning it as one of the \u201cgood\u201d leitmotifs.<\/span><\/p>\n<p><span style=\"font-weight: 400\">The theme is first introduced after Luke\u2019s uncle tells him he cannot join the Academy and must work another year on his home planet of Tatooine (00:24:24). It starts after Luke expresses his apparent need to start training for the Empire and essentially drives him to meet Obi-Wan, pushing him away from the dark side and reaffirming his connection with Obi-Wan. The theme is noticeably beautiful, and Williams provides it with an instrumentation that is light in tone, featuring a french horn in its high range, and strings backed by a full orchestra. The hopeful sound that this evokes assists the audience in relating to Luke\u2019s troubles.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Star Wars IV: A new hope - Binary Sunset (Force Theme)\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/1gpXMGit4P8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">Darth Vader\u2019s theme, however, includes a score that is full of deep and rich brass instruments, such as the trumpet and trombone, which play at the bottom of their range. It clearly overpowers the Force theme, especially considering the fact that although the Force theme is present in all movies in the original trilogy, Darth Vader\u2019s theme is only first introduced in the second film of the trilogy <\/span><i><span style=\"font-weight: 400\">Star Wars: Episode V &#8211; The Empire Strikes Back<\/span><\/i><span style=\"font-weight: 400\">. Vader\u2019s thunderous theme was necessary to maintain the monstrous and heavy tone of his character due to the fact that he only received thirteen minutes of screentime in <\/span><i><span style=\"font-weight: 400\">The Empire Strikes Back<\/span><\/i><span style=\"font-weight: 400\">, compared to someone like Luke who had thirty four minutes.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/youtu.be\/fjWxTbVI0cw?t=86\">https:\/\/youtu.be\/fjWxTbVI0cw?t=86<\/a><\/p>\n<p><span style=\"font-weight: 400\">Variation allows these themes to represent something other than what they did previously. Generally, Vader\u2019s theme is heavily connected to the \u201cbad,\u201d or dark side. It is played at times when Lucas wants the audience to be afraid of him and what he represents. In <\/span><i><span style=\"font-weight: 400\">Return of the Jedi<\/span><\/i><span style=\"font-weight: 400\">, Luke Skywalker fights Vader, who the audience learns in the previous film is his father, but neither of them defeat the other, rather Vader redeems himself by destroying Emperor Palpatine while he is gravely injured. In the scene after this, Luke carries him out, knowing what his father just did for the Rebellion (2:00:26). As this is happening, Vader\u2019s theme opens, though this time it is not a striking melody with horns and percussion but a gentle one featuring flute and strings. It provokes the audience to sympathize with Luke and his dying father while also remembering what he stood for through when the theme played in other points.\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/youtu.be\/TNDwCsFzS8c?t=50\">https:\/\/youtu.be\/TNDwCsFzS8c?t=50<\/a><\/p>\n<p><span style=\"font-weight: 400\">This type of variation can also be seen in <\/span><i><span style=\"font-weight: 400\">The Empire Strikes Back <\/span><\/i><span style=\"font-weight: 400\">when Luke goes to Dagobah to train under Yoda. In this scene, he enters a cave that is heavily connected to the dark side, and Luke confronts who he thinks is Darth Vader and uses his lightsaber to decapitate his head. After this happens, Luke sees himself in Vader\u2019s mask, followed by the start of his theme, or leitmotif<\/span> <span style=\"font-weight: 400\">(1:05:35). This time, when it plays however, it is not the grand score in a major key that audiences are used to but a soft minor version of it. Minor melodies after often heard when conflict is ensuing in a character, so this accompaniment allows the audiences to see Luke\u2019s struggle with maintaining his allegiance to the light side rather than the dark. Additionally, this is immediately followed by the loud, crashing imperial march, juxtaposing Luke\u2019s grapple with joining the dark side with the decisive imperial ship. This variation of leitmotifs allows Williams and Lucas to communicate with the audience and show the inner conflict of characters who are usually associated with it.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Yoda training Luke pt1\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/infZSKB5L9I?start=269&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">In addition to the inclusion of music being necessary for the audience to feel the full effect of the dark side versus the light side, sound as a whole is very important. Included in sound is often a deliberate silence. In <\/span><i><span style=\"font-weight: 400\">A New Hope, <\/span><\/i><span style=\"font-weight: 400\">during the scene in which the Imperial military leaders meet in the Death Star conference room, Admiral Conan Antonio Motti and General Cassio Tagge are discussing Tagge\u2019s opinion and what he thinks are the dangers of the rebellion, while Motti disagrees, as he believes the Death Star is the ultimate weapon of destruction. Darth Vader expresses his skepticism about the Death Star, who firmly tells Motti, \u201c<\/span><span style=\"font-weight: 400\">Don&#8217;t be too proud of this technological terror you&#8217;ve constructed. The ability to destroy a planet is insignificant next to the power of the Force\u201d (00:38:11). While Motti opposes him, Vader clearly places his full trust in the force, and to prove this, he holds Motti in a force choke. During the entire length of this scene, no music is present, however, the audience can hear a subtle low humming noise in the background. Right when Vader starts using the force, the humming rises in volume and engulfs the listener\u2019s ears. The force itself manifests in this humming, showing the audience how connected Darth Vader truly is to the dark side in this moment. It also substantiates Obi-Wan\u2019s claim that the force is omnipresent and surrounds everything. In this case, the force not only shows itself as a symbol in this music but it <\/span><i><span style=\"font-weight: 400\">is<\/span><\/i><span style=\"font-weight: 400\"> the music.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Darth Vader &quot;I find your lack of faith disturbing&quot; - HD1080p - Star Wars Episode IV A New Hope\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/YnNSnJbjdws?start=90&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">The sounds of lightsabers and blasters are also significant in representing the lightside and darkside. I will use one instance of the lightsabers\u2019s sounds in <\/span><i><span style=\"font-weight: 400\">The Empire Strikes Back<\/span><\/i><span style=\"font-weight: 400\"> to compare the sound of a Jedi\u2019s lightsaber, in this case Luke Skywalker\u2019s, to the sound of a Sith Lord\u2019s lightsaber, in this case Darth Vader\u2019s. During their final battle of the film, they both ignite their lightsabers. I isolated both of their sounds and found their pitches: Luke\u2019s lightsaber in this scene is a concert A flat, while Vader\u2019s lightsaber is a lower F sharp (1:45:02). An A flat is higher in pitch, and higher pitches can often be interpreted as lighter and may generally sound nicer to the human ear, while deeper, bass-driven pitches may sound more sinister. What this means for the lightsaber is that Ben Burtt distinctly designed the pitches for different lightsabers to inherently represent good and evil.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Burtt then plays with this notion during Vader and Luke\u2019s battle in <\/span><i><span style=\"font-weight: 400\">Return of the Jedi<\/span><\/i><span style=\"font-weight: 400\">. While Luke is struggling to remain faithful to the light side of the force, his rage momentarily consumes him and prompts him to pursue Vader fiercely with his lightsaber (1:48:48). This time, however, his new green lightsaber constantly switches pitch from A flat to G, which is a note that is in between F sharp and A flat. This pitch represents Luke\u2019s conflict, and being in the middle of the two opposing notes, it is almost a balance between the light and the dark. In addition, according to David Sonnenschein, Obiwan Kenobi\u2019s is pitched to a C major key, while Darth Vader\u2019s lightsaber is pitched to a minor key, leading us to believe that Burtt designed the Sith\u2019s lightsaber to be associated with bad, or evil, and the Jedi\u2019s lightsaber to be correlated with good (Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema).\u00a0<\/span><\/p>\n<p><a href=\"https:\/\/youtu.be\/rgyitSlMtMY?t=146\">https:\/\/youtu.be\/rgyitSlMtMY?t=146<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Luke Skywalker vs Darth Vader (Whole Fight)\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/U1MnMA0TzGI?start=244&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><span style=\"font-weight: 400\">This distinction in pitch can also be seen with the sound of blasters, specifically Han Solo\u2019s versus the stormtroopers\u2019. Solo\u2019s blaster has a change in pitch in <\/span><i><span style=\"font-weight: 400\">A New Hope<\/span><\/i><span style=\"font-weight: 400\">. In the cantina scene, his blaster when he shoots Greedo is pitched at an E (00:50:08); however, in his shootout in the Death Star to escape the stormtroopers, the pitch of his blaster becomes a C (1:17:20). This shift in pitch from lower to higher represents Solo\u2019s change from being someone who shoots for his own good to someone who is shooting for another\u2019s. In addition, Han\u2019s blaster sound is also pitched differently than stormtroopers\u2019. In that same scene, the stormtroopers\u2019 blasters are pitches at an A, lower than Han\u2019s C. Although Han is using the same type of blaster as the stormtroopers, one that both he and Luke took off one of their dead bodies, their sounds are still pitched differently, again suggesting that Han\u2019s higher sound is linked with the good lightside, whereas the stormtrooper\u2019s blaster sound is associated with the bad dark side.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"star wars 1977 v.s 2004(Han and Greedo)\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/fKxOEUhRMt0?start=55&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>https:\/\/youtu.be\/wtoHjGWc2s8?t=214<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400\">Originally a film, <\/span><i><span style=\"font-weight: 400\">Star Wars <\/span><\/i><span style=\"font-weight: 400\">relies heavily on its visual components. In my experience, sound design is often overlooked, and the audience first <\/span><i><span style=\"font-weight: 400\">sees<\/span><\/i><span style=\"font-weight: 400\"> a movie, and then hears it. <\/span><i><span style=\"font-weight: 400\">Star Wars<\/span><\/i><span style=\"font-weight: 400\">, however, would not be complete without its original score and sound design. Visuals often deceive the viewer, as shown in the Cantina scene in <\/span><i><span style=\"font-weight: 400\">A New Hope<\/span><\/i><span style=\"font-weight: 400\">, in which fans widely argue about whether or not Han Solo or Greedo pulled the trigger first. Sound often makes things clear that the audience does not consider. Clearly, sound and music in the original trilogy are designed to favor the light side over the dark with more \u201cgood\u201d leitmotifs and \u201cnicer\u201d sounds associated with in-world objects used by the Rebellion.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">We can learn about the implications of John Williams\u2019s music in <\/span><i><span style=\"font-weight: 400\">Star Wars <\/span><\/i><span style=\"font-weight: 400\">when we view it through a Gothic lens. One of the elements of Gothicism is that of the \u201cother.\u201d In this universe it would be those who are not human: Biths, Ewoks, Jawas, Sand People, Hutts, and Wookies to name a few. In his paper about the psychoanalysis of sound in <\/span><i><span style=\"font-weight: 400\">Star Wars<\/span><\/i><span style=\"font-weight: 400\">, Andrew Gresko introduces the fact that the only diegetic music (source music that is part of in-world setting) in <\/span><i><span style=\"font-weight: 400\">A New Hope<\/span><\/i><span style=\"font-weight: 400\"> is found in the cantina scene, which takes place in an establishment filled with aliens, or the \u201cothers,\u201d that are clearly portrayed as criminals. This music is played by the Biths, a race that is barely represented in the <\/span><i><span style=\"font-weight: 400\">Star Wars<\/span><\/i><span style=\"font-weight: 400\"> universe apart from this scene and in the novel <\/span><i><span style=\"font-weight: 400\">From a Certain Point of View<\/span><\/i><span style=\"font-weight: 400\">, which demystifies their species and others. The style of music they play is derived from the swing era of Jazz music and includes instruments that look like saxophones, clarinets, and a standard drum set. As Gresko points out, \u201cIt is heard at precisely the point at which Luke is first exposed to a diverse array of alien life, or the other of his world,\u201d (Gresko 8). <\/span><\/p>\n<p><span style=\"font-weight: 400\">What does this suggest outside of the film? In a musical context, the \u201cexotic\u201d genre of music that played during this scene largely came from a marginalized group in our own world. Now, we have to ask ourselves why the non-diegetic music, consisting of Williams\u2019s score from soundtrack, is derived from the classical music mainly composed by white people, and why the in-film music, mostly shown when the \u201cother\u201d is present, is from marginalized groups, also seen during <\/span><i><span style=\"font-weight: 400\">Return of the Jedi<\/span><\/i><span style=\"font-weight: 400\"> in Jabba the Hutts\u2019 palace and <\/span><span style=\"font-weight: 400\">with the Ewoks after their victory. What we learn from the sound and music reinforces these gothic elements of the film and introduces to us a new question: was <\/span><i><span style=\"font-weight: 400\">Star Wars <\/span><\/i><span style=\"font-weight: 400\">created for a white audience? Take this thought into consideration the next time you <em>listen<\/em>\u00a0to\u00a0<em>Star Wars<\/em>; remember, listening to a film is just as important as watching it.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center\"><span style=\"font-weight: 400\">Works Cited<\/span><\/p>\n<p><span style=\"font-weight: 400\">Gresko, Andrew J. <\/span><i><span style=\"font-weight: 400\">Sound, Spectator, and Psychoanalysis in Star Wars: Episode IV New Hope<\/span><\/i><span style=\"font-weight: 400\">, Tufts University, Ann Arbor, 2019<\/span><i><span style=\"font-weight: 400\">. ProQuest<\/span><\/i><span style=\"font-weight: 400\">, http:\/\/libproxy.vassar.edu\/login?url=https:\/\/search.proquest.com\/docview\/2240049305?accountid=14824.<\/span><\/p>\n<p>This source introduced the point of &#8220;exoticism&#8221; related to music in Star Wars.<\/p>\n<p><span style=\"font-weight: 400\">Kershner, Irvin, director. Star Wars: Episode V \u2013 The Empire Strikes Back. Twentieth Century Fox, 1980.<\/span><\/p>\n<p>I used this film for Darth Vader&#8217;s Theme, Luke&#8217;s training on Dagobah, and Luke Skywalker&#8217;s and Darth Vader&#8217;s lightsaber sounds in their final battle.<\/p>\n<p><span style=\"font-weight: 400\">Kalinak, Kathryn. \u201cJohn Williams and &#8220;The Empire&#8221; Strike Back.\u201d <\/span><i><span style=\"font-weight: 400\">The Eighties and Beyond: Classical Meets Contemporary, <\/span><\/i><span style=\"font-weight: 400\">http:\/\/web.archive.org\/web\/19970516041818\/http:\/\/citd.scar.utoronto.ca\/VPAB93\/course\/readings\/kalinak.html<\/span><\/p>\n<p>I used this source for information on the amount of screentime William&#8217;s score is featured in The Empire Strikes Back.<\/p>\n<p><span style=\"font-weight: 400\">Lucas, George, director. <\/span><i><span style=\"font-weight: 400\">Star Wars Episode IV: A New Hope<\/span><\/i><span style=\"font-weight: 400\">. Twentieth Century Fox, 1977.\u00a0<\/span><\/p>\n<p>This film was used for Obi-wan Kenobi&#8217;s description of the force, and for the significance of the Imperial conference room scene and the Cantina scene.<\/p>\n<p><span style=\"font-weight: 400\">Marquand, Richard, director. Star Wars: Episode VI \u2013 Return of the Jedi. Twentieth Century Fox, 1983.<\/span><\/p>\n<p>This film was used to support my evidence about the sound of lightsabers. It used Luke and Vader&#8217;s final battle, Jabba the Hutt&#8217;s palace scene, and the Ewok&#8217;s theme.<\/p>\n<p><span style=\"font-weight: 400\">Molina, Juanjo. \u201c<\/span><span style=\"font-weight: 400\">The music of Star Wars \u2013 The Leitmotif and its use in \u2018The Empire Strikes Back\u2019.\u201d <\/span><i><span style=\"font-weight: 400\">SoundTrackFest, <\/span><\/i><span style=\"font-weight: 400\">https:\/\/soundtrackfest.com\/en\/articles\/the-music-of-star-wars-the-leitmotif-and-its-use-in-the-empire-strikes-back\/ <\/span><i><span style=\"font-weight: 400\">\u00a0<\/span><\/i><\/p>\n<p>I used this source to help track and analyze the leitmotifs that are present in The Empire Strikes Back.<\/p>\n<p><span style=\"font-weight: 400\">Paulus, Irena. \u201cWilliams versus Wagner or an Attempt at Linking Musical Epics.\u201d <\/span><i><span style=\"font-weight: 400\">International Review of the Aesthetics and Sociology of Music<\/span><\/i><span style=\"font-weight: 400\">, vol. 31, no. 2, 2000, pp. 153\u2013184. <\/span><i><span style=\"font-weight: 400\">JSTOR<\/span><\/i><span style=\"font-weight: 400\">, <\/span><a href=\"http:\/\/www.jstor.org\/stable\/3108403\"><span style=\"font-weight: 400\">www.jstor.org\/stable\/3108403<\/span><\/a><span style=\"font-weight: 400\">.<\/span><\/p>\n<p>This source analyzed the Williams&#8217; leitmotifs in the context of good and evil.<\/p>\n<p><a href=\"https:\/\/m.imdb.com\/user\/ur51880615\/?ref_=ttls_urpf\"><span style=\"font-weight: 400\">ninewheels0<\/span><\/a><span style=\"font-weight: 400\">. \u201cScreen Time Breakdown: Star Wars\u201d <\/span><i><span style=\"font-weight: 400\">IMDB, <\/span><\/i><span style=\"font-weight: 400\">https:\/\/m.imdb.com\/list\/ls027631145\/.<\/span><\/p>\n<p>This source broke down when each leitmotif was present in the films.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Major and Minor of the Force: Sound design and Music in Star Wars &nbsp; There is rarely a moment in the Star Wars films where sound is not present. The Empire Strikes Back alone runs 127 minutes, and of &hellip; <a href=\"https:\/\/pages.vassar.edu\/postcolonialstarwars\/anthology\/fall-2019\/austin-tabouchirani\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":594,"featured_media":0,"parent":451,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-987","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/pages\/987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/users\/594"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/comments?post=987"}],"version-history":[{"count":18,"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/pages\/987\/revisions"}],"predecessor-version":[{"id":1148,"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/pages\/987\/revisions\/1148"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/pages\/451"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/postcolonialstarwars\/wp-json\/wp\/v2\/media?parent=987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}