FORCE AWAKENS CONDENSED FACT SHEET
CONTEXT
- JJ Abrams was the director
- It was the 7th film in the franchise
- The last Star Wars film came out 10 years before it
- The budget was $306 million
- Came out in 2015
- The certification was 12A
- John Williams was the composer
BLOCKBUSTER
- It fits with blockbuster conventions with the futuristic technology, impressive SFX, theme
tune, legacy characters, good vs evil, homages, simple narrative and diversity in the
characters
JJ ABRAMS’ INTENTIONS
- He aimed to recapture the spirit and tone of the original trilogy
- He wanted to create something that honoured the legacy of George Lucas’s original films
while making the saga accessible to newcomers
- He designed the film to pass the torch from legacy characters (Han, Leia, and Luke) to new
protagonists like Rey, Finn, and Kylo Ren. Each new character had echoes of the originals
but was meant to reflect more modern or diverse sensibilities
- He returned to practical effects, on-location shooting, and a more tactile visual language to
contrast the heavy CGI of the prequels. His goal was to evoke nostalgia while delivering a
high-energy, emotionally resonant experience
- He wanted it to have its own self-contained beginning, middle, and end
JJ ABRAMS’ FILM SIGNATURES
- Stories driven by mystery Rey’s parentage, Supreme Leader Snoke’s identity
- Fast paced narrative
- Character-driven emotional arcs Rey’s loneliness and longing are front and centre, Kylo
Ren is a conflicted villain, torn between legacy and identity, Finn’s arc as a stormtrooper-
turned-rebel is grounded in personal morality
- Use of kinetic camera work Dramatic lighting, lens flares in light sabre battle scenes,
shaky cameras in fights, canted angles in high action scenes, dynamic handheld shots and
whip pans during action scenes, sweeping crane and dolly shots add cinematic scope and
emotional intensity
- Visual interest in long shots
- Childlike wonder and nostalgia Rey discovering the Millennium Falcon or igniting Luke’s
lightsabre for the first time evokes a wide-eyed, almost sacred feeling
CONVENTIONS OF THE SCI-FI GENRE
- Advanced technology and futuristic settings Often features space travel, futuristic
weapons, and advanced tech
- Non-human species/AI Includes alien races and often questions the boundaries of
humanity
- Space as a frontier Space as an unexplored realm, evoking the unknown and human
expansion
- Scientific explanations and rationalism Often explains phenomena through science or
speculative logic
- Dystopian or utopian worlds Explores political/social themes through alternate societies
- Hero’s journey Many genre stories use this arc to explore identity in a futuristic setting
CONFORMS TO SCI-FI GENRE
- Advanced tech and futuristic settings Lightsabres, hyperspace travel, droids (BB-8, C-
3PO), Starkiller Base (a planet-sized superweapon), space combat and interplanetary
politics are central to the plot
- Non-human species/AI A galaxy full of aliens and droids; BB-8 and R2-D2 as emotional,
semi-sentient companions
- Space as a frontier The Resistance and First Order fight over control of different parts of
the galaxy, planets like Jakku and Ahch-To reflect both desolation and spiritual isolation
- Scientific explanations and rationalism Technologies like hyperspace and Starkiller Base
are lightly explained
- Dystopian or utopian worlds The First Order is a fascist regime with Nazi imagery; the
Resistance is an underdog rebellion, echoes of real-world tyranny, oppression, and war are
present
, - Hero’s journey Rey follows the classic Hero's Journey: orphaned, called to adventure,
reluctant, gains power, and faces darkness
SUBVERTS THE SCI-FI GENRE
- Advanced tech and futuristic settings The tech is more “used” and retro than shiny and
new, Abrams leaned into the original trilogy’s "lived-in" aesthetic, avoiding the sleek
futurism of some sci-fi
- Non-human species/AI Alien cultures aren’t deeply explored, aliens often function as
background colour rather than central plot elements, unlike in Star Trek or Arrival
- Space as a frontier The focus is less on scientific discovery and more on a
mythic/spiritual journey (Rey’s Force awakening), making this more space opera than hard
sci-fi
- Scientific explanations and rationalism The Force is mystical, not scientific, it’s more
aligned with fantasy or spiritual allegory, there’s little effort to ground the science in realism
(e.g., sound in space, physics-defying ships)
- Dystopian or utopian worlds The socio-political world-building is thinner than in The
Empire Strikes Back or more grounded sci-fi like Blade Runner. The story is driven by
personal stakes over ideological ones
- Hero’s journey The mystical aspect of Rey’s power (e.g., her fast Force proficiency) leans
heavily into myth over science, often frustrating those expecting slower, skill-based
progression
THEORISTS
- Todorov Follows 5 stage structure, has predetermined narratives due to the fact that it is
a franchise
- Propp Rey = hero, Kylo Ren = villain, Maz Kanata = donor (provides Rey with the
lightsabre), Leia = dispatcher (sends Rey and Fin on the mission), Fin/BB-8/Han Solo =
helpers, Kylo Ren = false hero
- Levi-Strauss Light vs dark, resistance vs first order, past vs future, freedom vs control,
good vs evil
- Neale Repetition in classic Star Wars tropes likes desert planet, death-star weapon, droid
with mission. Differences in more diverse leads, a morally conflicted stormtrooper, a villain
torn between light and dark
- Barthes Where is Luke Skywalker? Who are Rey’s parents? (Hermeneutic codes), Poe
hides the map -> sets off the quest (proairetic codes), Kylo Ren’s mask = Vader, repression,
fear, stormtroopers = conformity (semantic code), Lightsabre colours (blue = hope, red =
aggression), desert vs. forest environments, stormtrooper blood on helmet = individuality
breaking through conformity (symbolic code)
- Altman Droids, spaceships, lightsabres, the Force, desert planets (semantic), theme of
rebellion vs oppression, hero’s journey, father/legacy conflict (syntactic)
- Sanders Simple and clear plot, universal themes of good vs evil, relatable characters,
massive SFX, action scenes, aligns with franchise
- Bazin Abram’s signature style is evident in the fast pacing, lens flares, mystery boxes,
nostalgic reverence to A New Hope, personal themes of abandonment, legacy, and
redemption
- Tasker Rey is softened emotionally (shown as nurturing, kind, caring), she resists
violence unless necessary, unlike traditional male action heroes, and despite her strength,
her femininity is never erased - she cries, hesitates, shows compassion
- Mulvey Rey is not sexualized; camera does not objectify her, she is an active subject, not
a passive object. However, Leia (older and less “glamorous” now) is given less screentime
and agency, which could still reflect lingering objectification in broader casting choices
- Hypodermic Needle the Resistance is good, the First Order is evil. Themes of legacy and
identity are emotionally resonant, potentially shaping views on rebellion, war, and loyalty
- Hall Some may see Rey as a feminist hero and that the First Order represents modern
fascism whilst others may see Rey as a "Mary Sue" or criticize the film’s political
undertones
OPENING SCENE
- Silhouetting The silhouette of a First Order Star Destroyer eclipses a planet, symbolising
how the First Order casts a shadow over peace and freedom, a visual metaphor for tyranny.
It is a visual callback to the original A New Hope (1977) shot of the Star Destroyer invokes
nostalgia but with a darker, sharper aesthetic
- Lighting The First Order's entrance is marked by a stark contrast between light and
darkness, reinforcing their role as antagonists. The blue lighting contrasts with the warm,
CONTEXT
- JJ Abrams was the director
- It was the 7th film in the franchise
- The last Star Wars film came out 10 years before it
- The budget was $306 million
- Came out in 2015
- The certification was 12A
- John Williams was the composer
BLOCKBUSTER
- It fits with blockbuster conventions with the futuristic technology, impressive SFX, theme
tune, legacy characters, good vs evil, homages, simple narrative and diversity in the
characters
JJ ABRAMS’ INTENTIONS
- He aimed to recapture the spirit and tone of the original trilogy
- He wanted to create something that honoured the legacy of George Lucas’s original films
while making the saga accessible to newcomers
- He designed the film to pass the torch from legacy characters (Han, Leia, and Luke) to new
protagonists like Rey, Finn, and Kylo Ren. Each new character had echoes of the originals
but was meant to reflect more modern or diverse sensibilities
- He returned to practical effects, on-location shooting, and a more tactile visual language to
contrast the heavy CGI of the prequels. His goal was to evoke nostalgia while delivering a
high-energy, emotionally resonant experience
- He wanted it to have its own self-contained beginning, middle, and end
JJ ABRAMS’ FILM SIGNATURES
- Stories driven by mystery Rey’s parentage, Supreme Leader Snoke’s identity
- Fast paced narrative
- Character-driven emotional arcs Rey’s loneliness and longing are front and centre, Kylo
Ren is a conflicted villain, torn between legacy and identity, Finn’s arc as a stormtrooper-
turned-rebel is grounded in personal morality
- Use of kinetic camera work Dramatic lighting, lens flares in light sabre battle scenes,
shaky cameras in fights, canted angles in high action scenes, dynamic handheld shots and
whip pans during action scenes, sweeping crane and dolly shots add cinematic scope and
emotional intensity
- Visual interest in long shots
- Childlike wonder and nostalgia Rey discovering the Millennium Falcon or igniting Luke’s
lightsabre for the first time evokes a wide-eyed, almost sacred feeling
CONVENTIONS OF THE SCI-FI GENRE
- Advanced technology and futuristic settings Often features space travel, futuristic
weapons, and advanced tech
- Non-human species/AI Includes alien races and often questions the boundaries of
humanity
- Space as a frontier Space as an unexplored realm, evoking the unknown and human
expansion
- Scientific explanations and rationalism Often explains phenomena through science or
speculative logic
- Dystopian or utopian worlds Explores political/social themes through alternate societies
- Hero’s journey Many genre stories use this arc to explore identity in a futuristic setting
CONFORMS TO SCI-FI GENRE
- Advanced tech and futuristic settings Lightsabres, hyperspace travel, droids (BB-8, C-
3PO), Starkiller Base (a planet-sized superweapon), space combat and interplanetary
politics are central to the plot
- Non-human species/AI A galaxy full of aliens and droids; BB-8 and R2-D2 as emotional,
semi-sentient companions
- Space as a frontier The Resistance and First Order fight over control of different parts of
the galaxy, planets like Jakku and Ahch-To reflect both desolation and spiritual isolation
- Scientific explanations and rationalism Technologies like hyperspace and Starkiller Base
are lightly explained
- Dystopian or utopian worlds The First Order is a fascist regime with Nazi imagery; the
Resistance is an underdog rebellion, echoes of real-world tyranny, oppression, and war are
present
, - Hero’s journey Rey follows the classic Hero's Journey: orphaned, called to adventure,
reluctant, gains power, and faces darkness
SUBVERTS THE SCI-FI GENRE
- Advanced tech and futuristic settings The tech is more “used” and retro than shiny and
new, Abrams leaned into the original trilogy’s "lived-in" aesthetic, avoiding the sleek
futurism of some sci-fi
- Non-human species/AI Alien cultures aren’t deeply explored, aliens often function as
background colour rather than central plot elements, unlike in Star Trek or Arrival
- Space as a frontier The focus is less on scientific discovery and more on a
mythic/spiritual journey (Rey’s Force awakening), making this more space opera than hard
sci-fi
- Scientific explanations and rationalism The Force is mystical, not scientific, it’s more
aligned with fantasy or spiritual allegory, there’s little effort to ground the science in realism
(e.g., sound in space, physics-defying ships)
- Dystopian or utopian worlds The socio-political world-building is thinner than in The
Empire Strikes Back or more grounded sci-fi like Blade Runner. The story is driven by
personal stakes over ideological ones
- Hero’s journey The mystical aspect of Rey’s power (e.g., her fast Force proficiency) leans
heavily into myth over science, often frustrating those expecting slower, skill-based
progression
THEORISTS
- Todorov Follows 5 stage structure, has predetermined narratives due to the fact that it is
a franchise
- Propp Rey = hero, Kylo Ren = villain, Maz Kanata = donor (provides Rey with the
lightsabre), Leia = dispatcher (sends Rey and Fin on the mission), Fin/BB-8/Han Solo =
helpers, Kylo Ren = false hero
- Levi-Strauss Light vs dark, resistance vs first order, past vs future, freedom vs control,
good vs evil
- Neale Repetition in classic Star Wars tropes likes desert planet, death-star weapon, droid
with mission. Differences in more diverse leads, a morally conflicted stormtrooper, a villain
torn between light and dark
- Barthes Where is Luke Skywalker? Who are Rey’s parents? (Hermeneutic codes), Poe
hides the map -> sets off the quest (proairetic codes), Kylo Ren’s mask = Vader, repression,
fear, stormtroopers = conformity (semantic code), Lightsabre colours (blue = hope, red =
aggression), desert vs. forest environments, stormtrooper blood on helmet = individuality
breaking through conformity (symbolic code)
- Altman Droids, spaceships, lightsabres, the Force, desert planets (semantic), theme of
rebellion vs oppression, hero’s journey, father/legacy conflict (syntactic)
- Sanders Simple and clear plot, universal themes of good vs evil, relatable characters,
massive SFX, action scenes, aligns with franchise
- Bazin Abram’s signature style is evident in the fast pacing, lens flares, mystery boxes,
nostalgic reverence to A New Hope, personal themes of abandonment, legacy, and
redemption
- Tasker Rey is softened emotionally (shown as nurturing, kind, caring), she resists
violence unless necessary, unlike traditional male action heroes, and despite her strength,
her femininity is never erased - she cries, hesitates, shows compassion
- Mulvey Rey is not sexualized; camera does not objectify her, she is an active subject, not
a passive object. However, Leia (older and less “glamorous” now) is given less screentime
and agency, which could still reflect lingering objectification in broader casting choices
- Hypodermic Needle the Resistance is good, the First Order is evil. Themes of legacy and
identity are emotionally resonant, potentially shaping views on rebellion, war, and loyalty
- Hall Some may see Rey as a feminist hero and that the First Order represents modern
fascism whilst others may see Rey as a "Mary Sue" or criticize the film’s political
undertones
OPENING SCENE
- Silhouetting The silhouette of a First Order Star Destroyer eclipses a planet, symbolising
how the First Order casts a shadow over peace and freedom, a visual metaphor for tyranny.
It is a visual callback to the original A New Hope (1977) shot of the Star Destroyer invokes
nostalgia but with a darker, sharper aesthetic
- Lighting The First Order's entrance is marked by a stark contrast between light and
darkness, reinforcing their role as antagonists. The blue lighting contrasts with the warm,
