Named in the title of 3 peer-reviewed works
Examples
La Force est avec George! Star Wars : Episode II — Attack of the Clones Star Wars : Episode II — Attack of the Clones — Ciné-Bulles : Le cinéma d’auteur avant tout, 2002
Star Wars Episode II Attack of the Clones (Motion picture) — Sight & sound/Sight and sound, 2002
La Force est avec George! / Star Wars : Episode II — Attack of the Clones — Ciné-Bulles : Le cinéma d’auteur avant tout, 2002
Sources: Wikidata · OpenAlex · Library of Congress. The record of the motion picture, not an assessment of this cell.
FILM NOTES
Star Wars: Episode II – Attack of the Clones arrived in 2002 from Lucasfilm and 20th Century Fox, the second chapter of the prequel trilogy and George Lucas's return to the director's chair after a seventeen year absence from the series. Coming three years after The Phantom Menace, it pushed the saga's digital ambitions further, expanding the scale of its battles and its use of computer generated environments. As a piece of blockbuster history it marked a moment when the Star Wars universe was being rebuilt from the ground up for a new generation, bridging the fall of the Republic with the rise of the Empire still to come.
This cell preserves a frame of Anakin Skywalker and Obi-Wan Kenobi together, the master and apprentice pairing at the emotional center of the prequel era. Collectors seek these two out because their bond carries the tragedy the whole trilogy is built toward, the teacher who trains the boy who will become Darth Vader. A shared frame of these characters from 35mm stock represents a physical fragment of that story's midpoint, a tangible piece of the print struck for theatrical release rather than a reproduction made after the fact.
This original motion picture film element has been examined and authenticated by Crown Grading in partnership with National Film Vault, and encapsulated for archival preservation.
Why so little survivesRelease prints were leased to theaters, not sold. When the run ended they went back to the distributor to be destroyed, and most were. What collectors hold today came from the prints that escaped that order, and no new 35mm prints of these films are being struck.
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