If, as Churchill proclaimed, “history is written by the victors” then any account accepted by a cultural majority is a prescribed and biased narrative. Individual accounts of the same events rarely align, but on the national scale this becomes much more sinister. Taking charge of an information stream and manipulating events historically and in the present is a means of controlling a populace, a kind of cultural brainwashing. The regime in North Korea is arguably the most visible contemporary example, though history is littered with dozens of extreme political ideologies at the ends of both sides of spectrum. Yet this phenomenon is hardly the preserve of dictators and despots, with propaganda a useful universal tool during wartime. Pamphlets and posters have been utilised for centuries to unite a nation under one belief, whether rallying against a common foe, dehumanising an enemy, emphasising the importance of food and materials, or stoking national pride.
The clue might be in the title, but Star Wars has spent decades exploring war. Chronologically, the films show how a democracy is manipulated from the inside out before it becomes a dictatorship. Crucial to Palpatine’s rise from senator to Emperor is taking charge of the galactic narrative. In Revenge of the Sith, he addresses the senate following his duel with Mace Windu and accepting Anakin as his apprentice. Here he positions the Jedi as enemies of the state and, therefore, the people. By creating fear among the populace, through the perceived threat of the Jedi and the ongoing Clone War, Palpatine can promise safety and security making his rule not one of tyranny but for the greater good.
“In order to ensure our security and continuing stability, the Republic will be reorganised into the first Galactic Empire for a safe and secure society,” Palpatine announces. But it’s a regime that will come to be defined by the fear it instils.
The Empire’s manipulation of history has been best envisaged outside of the Star Wars movies, in the comics, novels and TV shows. Arguably the best example from the new canon is Claudia Gray’s Lost Stars. Early on, protagonists Thane and Ciena are studying to get into the Empire’s youth training programme. As with any exam, the curriculum requires a fundamental understanding of the Empire, its history and ideology. But readers will notice that the history the two young would-be cadets accept as truth is far removed from the events of the prequel trilogy. Although the beats remain the same, the agenda and motivation has been skewed.
Ciena’s head swam. They’d been reviewing galactic history for three hours now. “Okay. The criminal gang that interfered with a legal execution on Geonosis and sparked the Clone Wars was led by . . . by . . .” She shut her eyes, winced, and said, “Mace Windu?”
Then she opened her eyes again to see Thane grinning at her. “See? You knew it all along”
Next to them, the CZ-I droid clucked approvingly. “Your grasp of history is excellent, Miss Ree…
– Lost Stars, Claudia Gray
Built from the ashes of the Empire, the First Order has more than a few similarities to the regime that came before it. Despite its similar visual aesthetic and fondness for superweapons, it has more in common with the Democratic People’s Republic of Korea. On a superficial level, a comparison is warranted by virtue of both being led by a Supreme Leader. But the similarities run deeper than that. The First Order’s ideology is inseparable from its military might. More than the Empire, it’s like an occupying force, dwarfing the Resistance. The Korean People’s Army is the largest military institution in the world and is central to national identity and the image Kim Jong-un wants to portray to the rest of the world.
And as with North Korea, the First Order feeds its own version of history and the present to its people, inventing its own mythology. It goes a step further and use brainwashing to create an obedient army, one which is completely dedicated to its version of events. Before firing on Starkiller Base, General Hux gives a Nuremberg-style rally to his gathered troops, reaffirming their organisation’s ideology and its idea of the New Republic as the enemy.
“Today is the end of the Republic. The end of a regime that acquiesces to disorder. At this very moment in a system far from here, the New Republic lies to the galaxy while secretly supporting the treachery of the rogues of the Resistance. This fierce machine which you have built, upon which we stand will bring an end to the Senate, to their cherished fleet. All remaining systems will bow to the First Order and will remember this as the last day of the Republic!”
– General Hux, The Force Awakens
If rebellions are built on hope, then dictatorships are built on the control and manipulation of information and history. Our own real-world history can attest to that much and in mirroring these events, Star Wars is as much a cautionary tale as a Saturday morning matinee, a space opera or fairy tale.
Journalism and media are also utlised for control and to push a single dominant narrative, as explored in this follow-up article.