What Were The Archetypes In Star Wars Episode Iv


the crossroads in starwars -
1. Luke leaves home or stays on the farm with his aunt and uncle
2. After finding Alderaan exploded - To rescue the princess or to go into hiding
3. To make one last run at the empire by attacking the death star or run

the underworld(a place of great evil)
1. On tatooine - Mos Eisley Space Port
2. The deathstar

The unhealable wound?
1. Blowing up Alderaan
2. Uncle owen and Aunt Beru being burned alive
3. Ben Kenobi being struck down
4. Those soldiers lost in the space battle

'Star Wars Episode IV: A New Hope' (1977)?

Don't call it 'A New Hope' or 'Episode IV'. Just use the real, original title 'Star Wars'.

Luke is the poor boy who becomes a hero
Leia is the basic damsel in distress
C-3PO and R2D2 are basic comedic relief

Archetypes in Star Wars: A New Hope?

I'm curious to these:

Young Man from the Provinces
The Initiates
Mentor - pupil relationship
The Platonic Idea Heroine
The Damsel in Distress
The Father-Son Conflict
The magic Weapon
Death and Rebirth
Natural vs. Mechanized
The Battle Between Good and Evil
Apparently Evil Figure with the Ultimately Good Heart
The Fall

and examples. thanks
easy 10 points :)

I need some Archetype examples for Star Wars IV?

Archetypes that I need include:

The Quest
The Initiation
The Task
The Magic Weapon
The Ritual
The Journey
The Fall
Death and rebirth
The Natural Vs. Mechanic World
The Battle between Good and Evil
The Unhealable Wound

The Hero
The Young Man from the Provinces
The Initiates
The Mentor
The Mentor-Pupil Relationship
The The Devil Figure
The Father-Son Conflict
The Outcast
The Scapegoat
The Star Crossed Lovers
The Hunting Group Of Companions
The Loyal Retainers
The Creature Of Nightmare
The Friendly Beast
The Apparently Evil Figure with an Ultimately Good Heart
The Woman Figure
The Damsel In Distress
The Earth Mother
The Temptress
The Platonic Ideal
The Unfaithful Wife
The Ingenue
The Model Wife

Light Vs. Darkness
Water Vs. Desert
Heaven Vs. Hell
Innate Wisdom Vs. Educated Stupidity
Supernatural Intervention
Fire Vs. Ice

Also, if someone has already answered for one of the archetypes, please don't answer for it again. And don't worry you don't have to answer all of them, Some of them aren't even in the movie so yeah, just don't worry :) Thank you for the immense help.

Is Star Wars A New Hope an adaption of The Hidden Fortress by Kurosawa?

Not really, no. It’s directly inspired by its plot and a couple of character archetypes, but not all of the characters from Star Wars are perfectly (or even remotely) analogous to those in Hidden Fortress, and the end goal isn’t similar. C-3P0 and R2D2 aren’t soldiers, Obi-Wan Kenobi isn’t similar to the general, the princess isn’t a constant within the story of Star Wars, neither Luke nor Han have a direct analogue to the main cast in Kurosawa’s film, and the objective isn’t to ferry a bunch of treasure to a secret fortress, it’s a military objective in preparation for a counter-strike against the Empire.One is no more an adaptation of the other than Batman is an adaptation of Zorro.

What is the theme of the movie Star Wars: The Force Awakens?

In SWFTA, the focus on the Freudian-Oedipal theme of the Star Wars saga as a family history remains, whilst the mythic mode of it has become more nuanced and sophisticated, and other threads have been entwined therein. The Force Awakens is consistently mythic on at least two different levels. The first is through the actual perspective of the characters, who understand themselves to be living into a myth in the film. Broadly framed as a search for the missing Luke Skywalker, the plot of The Force Awakens in some ways resembles the post-resurrection Gospel narratives, as well as the Book of Acts and related Christian folklore, in which the new disciples must seek to “find” the risen and ascended Christ (young Luke’s most significant archetype was always Jesus, as his interrogation by and defeat of Darth Vader and the Emperor Palpatine in Episode VI: The Return of the Jedi is his crucifixion and resurrection). More specifically, the stories of the new main characters, Finn and Rey, draw on well-known initiation myths from world mythology: Finn’s draws on various Biblical folktales and Celtic myths, and Rey’s story is a remarkable, clever adaptation or inversion of the oldest myth we have, The Epic of Gilgamesh: a feminist interpretation, if you will, of our most ancient initiation myth. Whilst Rey is an inverted, feminist Gilgamesh-figure, her character also taps into a number of other universal and yet potentially feminist archetypes. Like Finn, Rey is also an orphan, having apparently been abandoned on Jakku, and so she simultaneously alludes to several poignant female examples of that figure, from Cinderella to Jane Eyre to Annie to Daenerys Targaryen. Indeed, the archetype of the orphan has special feminine significance because, for the female orphan, the search for one’s family is not just about parental acknowledgment but transcending particular social inequities and vulnerabilities.Furthermore, Rey’s conflict with Kylo Ren, who is revealed to be the wayward son of Han and Leia, revisits a venerable Indo-European mythic theme about relations and rivalries between cousins, and particularly anxieties about the “sister’s son”.In its usage of ancient myth, The Force Awakens, like the other Star Wars movies, is a deeply traditional film. The result of its efforts is a film that is both a sequel and a reboot – a requel, if you will – a story that both continues the best of what came before it and promises to build on it in new directions.