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 as George Lucas's return to directing after a sixteen year absence, the second installment in the prequel trilogy released by 20th Century Fox and Lucasfilm. It expanded the saga's political intrigue while introducing the Clone Wars that would reshape the galaxy, and it marked a technical milestone as the first major studio film shot entirely on high definition digital cameras. For collectors of the modern era Star Wars catalog, it represents a bridge between the practical filmmaking of the originals and the digital future Lucas pursued.
This 35MM cell preserves a frame of Padmé Amidala, the former queen turned senator whose romance with Anakin Skywalker anchors the film's emotional core. As one of the saga's most collected female leads, she draws interest from those building character-specific archives alongside the Skywalker and Kenobi lines. A cell bearing her name alone, without scene or setting specified, functions much like a studio identification frame, a single preserved unit of film stock tied directly to her presence in the print rather than to any particular sequence.
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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