Is Star Wars a Boys’ Club?

© Andrew Burton/Getty
© Andrew Burton/Getty

I have a special request for all my fellow Star Wars fans – but especially the ones who remember when it all started.

I’ve got a couple of questions about the fandom and marketing that, as much as I already know, I’m just not up to speed on. It’s partly for a work project (more info below), but also just out of interest.

  1. Do you remember reading anything that described Star Wars as a boys’ club – or, on the flip side, recall seeing an appeal to female audiences either in storytelling or in marketing?
  2. If you’re a female fan, what first drew you to Star Wars?
  3. What kinds characters, stories, or merchandise has the franchise marketed with a clear idea of men/boys or women/girls in mind?
  4. What are some of the ways (good, bad, and hilarious) in which Star Wars has tried to appeal to women/girls?
  5. What kinds of things have been perceived as gender-pandering, by fans or by the media?

yteorhfI’m especially interested in concrete examples from before the prequels, but would welcome anything you can send my way. Films, toys, EU, Happy Meal tie-ins. The more specific, the better.

I’m too young (1987) and too foreign (grew up on US military bases) to remember examples from 1977-1990, and I’ve probably missed out on some recent ones as well. The information available online about Star Wars marketing and mythmaking is pretty sparse before 1995 – no surprise, given that the internet wasn’t really a big thing until then – and there’s no way I can afford all the paper fanzines, adverts, articles, and reports I would ideally like for this project.

Here’s a list of some topics I’m already looking at [updated 13 November 2016]:

  • Princess Leia action figures (OT era)
  • Covergirl’s TFA make-up line
  • Responses to the casting of Liam Neeson and Ewan McGregor in TPM
  • OT early screening invitees
  • Female employees at Lucasfilm and LucasArts
  • Wear Star Wars Share Star Wars
  • Dathomir and the Nightsisters (in The Courtship of Princess Leia and The Clone Wars)
  • The ‘Tales from’ EU anthologies (Jabba’s Palace, Mos Eisley Cantina, etc)
  • R2-KT
  • Marcia Lucas
  • Leigh Brackett
  • Kathleen Kennedy
  • Comparisons between Leia and Padmé
  • Characters explicitly used as young adult role models (Ahsoka Tano, Sabeen Wren, Tenel Ka, Jaina Solo, etc.)
  • The #WheresRey campaign
  • Discussions about BB-8’s gender
  • HerUniverse.com

I would hugely, hugely appreciate any info you can give me. Tips for where to look or who else to ask are also very welcome.

You can get in touch with questions or suggestions on Twitter (@MegenJM), via e-mail (DeBruinMJ@cf.ac.uk), or just by commenting on this post.

May the Force be with you!

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A little background info / disclaimer

I’ve been a Star Wars fan since 1994, and have been hanging around TFN since 2001. I even penned and beta-read some fanfic on the TFN forums, though I can’t for the life of me remember my original login password. Now I’m a teacher and academic researching popular culture (more here: www.frankenfiction.com). Although my fandom is a huge part of who I am, and why I ended up doing this kind of work in the first place, I haven’t had the chance to write about or research Star Wars – until now. 

I’ve just been chosen to write a chapter for the upcoming book Star Wars and the History of Transmedia Storytelling. It’s scheduled for publication in 2017, to celebrate the 40th anniversary of ANH. The point of this book is to argue that Star Wars ‘laid the foundations for the forms of convergence culture that rule the media industries today […] spreading that storyworld across as many media platforms as possible’.

My chapter will argue that even though the news media tends to pitch Star Wars as a boys’ club, it actually did a remarkable job of inspiring female fans from the very beginning. Rey has gotten a lot of attention lately, but she’s only the latest in a long list of reasons a woman might want to watch Star Wars. Even aside from Princess Leia, there have been lots of ways the franchise has gone out of its way to try and appeal to women, and even though some of its early attempts fell flat or flew under the radar, it helped to pioneer a lot of the storytelling and marketing strategies that have taken over twenty-first-century culture.

I will obviously ask for your permission before I even think of using anything you say in the book, so feel free to speak your mind. I’m mainly interested in whether other people’s experiences overlap with mine.

If you’re looking for more of a technical explanation of what the chapter is about, you can check out my other blog post on it: http://frankenfiction.com/feminist-politics-star-wars/.

The Feminist Politics of Star Wars

This week started off with some exciting news: I get to draft a chapter for Star Wars and the History of Transmedia Storytelling, a collection of academic essays on the franchise edited by Dan Hassler-Forest and Sean Guynes. This collection is scheduled for publication in 2017, to coincide with the 40th anniversary of the first film release.

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The Project

In forty years a lot has changed for Star Wars, and my chapter focuses on the franchise’s feminist politics.

A recent YouTube video cut together all the lines spoken by women in the original Star Wars film trilogy, apart from Princess Leia. The total runtime was just over a minute. Women have been well represented among the ranks of Lucasfilm and LucasArts, but historically the franchise is not known for its groundbreaking portrayal of female characters on-screen. Even so, women have made up a significant and vocal portion of the franchise’s fanbase from early on. Though Princess Leia’s example is a powerful one, what else draws women to Star Wars, and how has the franchise adapted itself to tap into this market?

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R2-KT, the pink astromech droid. First created for a little girl with cancer, later honoured with a place in Star Wars canon – to the chagrin of some uninformed fans.

As you can read in the original call for papers, the focus of the collection is on transmedia revision both in and outside of the films:

The chapters in this collection will ultimately demonstrate that Star Wars laid the foundations for the forms of convergence culture that rule the media industries today. As a commercial entertainment property and meaningful platform for audience participation, Star Wars created lifelong fans (and consumers) by continuing to develop characters and plots beyond the original text and by spreading that storyworld across as many media platforms as possible.

Ashley Eckstein, the voice of Ahsoka Tano and founder of HerUniverse.
Ashley Eckstein: Star Wars fan, voice of Ahsoka Tano, and founder of the clothing line HerUniverse.

From the myriad female-led stories in the Star Wars ‘Legends’ (Expanded Universe) novels, to the casting of stars Ewan McGregor and Liam Neeson in The Phantom Menace, to the popular success of female characters like Ahsoka Tano in The Clone Wars and Rey in The Force Awakens, the first half of my chapter will provide a survey of the tactics used to quietly cater to an imagined female audience, from the earliest days of Star Wars’ transmedia empire. This is a complex subject, and I won’t be able to cover everything in the 5,000 words I’m allotted, but I’ll be doing my best to highlight key examples.

'Encounter on Dathomir' © wraithdt on DeviantArt
‘Encounter on Dathomir’ © wraithdt on DeviantArt

In the second part of the chapter, I plan to tie things together by using the matriarchal planet of Dathomir – first depicted in the bonkers (and bestselling) ‘Legends’ novel The Courtship of Princess Leia (1994) and later re-imagined for the canonical Clone Wars animated series (2008-2014) – as an illustration of the franchise’s own evolving relationship with feminist discourse.

How You Can Help

While I have the wealth of the internet and my own experiences to draw on, as well as the invaluable research of people like Michael Kaminski, J.W. Rinzler, and Will Brooker, ideally I want to take this research further. The information available online about Star Wars‘ marketing and mythmaking is pretty sparse before 1995 – no surprise, given that the internet wasn’t really a big thing until then – and there’s no way I can buy up all the paper fanzines, adverts, articles, and reports I would like for this project on a PhD student’s salary.

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So. Here’s where you come in. Do you remember reading anything that described Star Wars as a boys’ club, or recall seeing an appeal to female audiences either in storytelling or in marketing? What kinds characters, stories, or merchandise has the franchise marketed with a clear idea of ‘men’ or ‘women’ in mind? What are some of the ways (good, bad, and hilarious) in which the Star Wars franchise has tried to appeal to women over the years? What kinds of things have been perceived by the media as gender-pandering?

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I’m particularly interested in concrete examples from before the prequels (so 1977-1999), and am prioritising officially sanctioned attempts to sell Star Wars to women over grassroots projects, but would welcome anything you can send my way.

Now obviously, on the surface this description seems to ignore all the queer Star Wars fans out there. Please don’t think you’re not also important! Your fandom is a vital part of this research, especially because you’ve long been ignored by marketers. As the previous paragraph states, what I’m looking at here is the perceived audiences for canonical Star Wars products, not the actual ones. I will be on the lookout for slippage between these two groups. I’m also interested in the way the franchise queers itself over time – allowing for multiple readings of the same characters and stories – in order to adjust to changing ideas about gender.