INTERNATIONAL LAW and "STAR TREK: THE: NEXT Generationn
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The Original Series, Star Trek: the Next Generation, and Star Trek: Discovery
Gender and Racial Identity in Star Trek: The Original Series, Star Trek: The Next Generation, and Star Trek: Discovery Hannah van Geffen S1530801 MA thesis - Literary Studies: English Literature and Culture Dr. E.J. van Leeuwen Dr. M.S. Newton 6 July, 2018 van Geffen, ii Table of Contents Introduction............................................................................................................................. 1 1. Notions of Gender and Racial Identity in Post-War American Society............................. 5 1.1. Gender and Racial Identity in the Era of Star Trek: The Original Series........... 6 1.2. Gender and Racial Identity in the Era of Star Trek: The Next Generation......... 10 1.3. Gender and Racial Identity in the Era of Star Trek: Discovery........................... 17 2. Star Trek: The Original Series........................................................................................... 22 2.1. The Inferior and Objectified Position of Women in Star Trek............................ 23 2.1.1. Subordinate Portrayal of Voluptuous Vina........................................... 23 2.1.2. Less Dependent, Still Sexualized Portrayal of Yeoman Janice Rand.. 25 2.1.3. Interracial Star Trek: Captain Kirk and Nyota Uhura.......................... 26 2.2. The Racial Struggle for Equality in Star Trek..................................................... 28 2.2.1. Collaborating With Mr. Spock: Accepting the Other........................... 28 3. Star Trek: The Next Generation........................................................................................ -
Women at Warp Episode 38: Disability and Ableism in Star Trek [Bumper] Hi, This Is Melinda Snodgrass and You're Listening to W
Women at Warp Episode 38: Disability and Ableism in Star Trek [bumper] Hi, this is Melinda Snodgrass and you’re listening to Women at Warp. [end bumper] [audio of LeVar Burton] It was really difficult on a weekly basis for the audience to see what Geordi saw. In fact, we never really successfully did it, in the seven years that we did Next Generation. In fact, the audience has never seen it in any of the movies, the audience has never seen what Geordi sees. Geordi sees all of the electromagnetic spectrum. That means he sees everything from infrared to x- ray. Geordi sees sound, ok? [end audio clip] JARRAH: Hi and welcome to Women at Warp. Join us as our crew of four women Star Trek fans boldly go on our bi-weekly mission to explore our favourite franchise. My name is Jarrah. Thanks for tuning in. Today, with us we have crewmembers Andi−− ANDI: Hello JARRAH: And Sue. SUE: Hi, everybody. JARRAH: We also have a very special guest, Kari. And I’m going to get you to introduce yourself and maybe tell us a bit about how you first got into Star Trek. KARI: Yeah, sure. So as you mentioned, my name is Kari. I’ve loved Star Trek since early high school. I started with Voyager because I was particularly inspired by the strong female role models. I loved Janeway. I’m also planning to get my PhD in sociology. So because of that and my analytical nature, Star Trek has always been a very deep well for me to dig into, in terms of having interesting things to analyze. -
Shatner to Sing Trek Theme; Ferengi Creator Passes William Shatner, Who Played Captain Trek Theme Song
Publication of the U.S.S. Chesapeake Star Trek and Science-Fiction Club September, 2005 Shatner to sing Trek theme; Ferengi creator passes William Shatner, who played Captain Trek theme song. “There was a moving ser- James T. Kirk in Classic Trek, will sing at the vice for her at the First Christian Church of Emmy Awards on Sunday, September 18. He North Hollywood on Saturday,” wrote the is nominated for an award for his role on the actor, noting that her husband and a number ABC series, Boston Legal. of luminaries had attended, including Cyd Herb Wright, who Variety reported that Shatner will com- Charisse, the actress and dancer who is the created the Ferengi pete in “Emmy Idol,” a spoof of reality shows aunt of Nana Visitor (Kira on DS9). “Loulie race for TNG, passed in which Shatner, Donald Trump and Megan had many, many friends, and she will be away recently. Mullally will compete in performing classic missed,” added Shatner at his web site. television theme songs during the telecast. Writer/producer Herbert J. Wright, Viewers will vote via text message or online who helped bring Star Trek: The Next Genera- for the victor, who will be announced at the tion to life in 1987 and was responsible for the end of the show. creation of the Ferengi, passed away on Wed- Shatner, paired with opera star Fredrica nesday, August 24, of natural causes, accord- von Stade, will perform the Star Trek theme, ing to startrek.com. He was 58. while Trump and Mullally will sing the theme Wright served as a writer and producer from Green Acres. -
{PDF EPUB} Countdown the Doomsday Playbook Introductions by Rashad Freeman Rashad Freeman
Read Ebook {PDF EPUB} Countdown The Doomsday Playbook Introductions by Rashad Freeman Rashad Freeman. "Ode to the fickle life, but rage against death for the fire burns within all of us."Lenny has been captured by the very people he left to save. The clock is ticking and with his team dismantled they have little hope of survival. The world is in turm. Genesis. Fear the SERE. Five years ago, an alien species known as Aker, invaded the Earth. Billions lost their lives, but eventually mankind fought back and defeated the parasitic intruders. at least they thought they did.Now something much darker and much . Revenge. Everything ends, but not everything dies. Lenny has seen the world crumble before his very eyes. He's lost everything and everyone he's loved, but somehow he's still clinging to hope. But hope isn't want Lenny wants anymore, now he's looking for rev. Out of the Dark. Agnes has lurked in the shadows for too long. She's left a trail of horror longer than the Mississippi River, but she's also made a grave mistake. She left Eve alive. In the third installment of the Agnes McCall Mysteries the hole gets even deeper. Resurrection. Wake up!When Lenny awakes in a strange room strapped to a table he thinks his luck can't get any worse. He couldn't be more wrong.After surviving a nuclear attack, an alien invasion and legions of crazed marauders Lenny has become a human Guinea Pig. Countdown. "Do not go gentle into that good night."Our World is ending. -
Star Trek: the Next Generation the Ron Jones Project Supplemental Liner Notes
FSM Box 05 Star Trek: The Next Generation The Ron Jones Project Supplemental Liner Notes Contents The Defector . 28 The High Ground . 29 Foreword 1 A Matter of Perspective . 29 The Offspring . 30 Season One 2 Allegiance . 31 The Naked Now . 3 Menage´ a` Troi . 32 Where No One Has Gone Before . 4 Lonely Among Us . 6 Season Four 33 The Battle . 6 Brothers . 36 Datalore . 7 Reunion . 37 11001001 . 8 Final Mission . 38 When the Bough Breaks . 9 Data’s Day . 39 Heart of Glory . 10 Devil’s Due . 40 Skin of Evil . 11 First Contact . 40 We’ll Always Have Paris . 12 Night Terrors . 41 The Neutral Zone . 12 The Nth Degree . 42 Season Two 13 The Drumhead . 43 Where Silence Has Lease . 14 The Best of Both Worlds . 43 The Outrageous Okona . 15 Afterword 44 Loud as a Whisper . 16 A Matter of Honor . 17 Additional and Alternate Cues 45 The Royale . 18 The Icarus Factor . 19 Data and Statistics 46 Q Who . 19 Up the Long Ladder . 21 Interplay Computer Games 48 The Emissary . 22 Starfleet Academy . 48 Shades of Gray . 23 Starfleet Command . 48 Season Three 24 1992 Ron Jones Interview 49 Evolution . 25 Who Watches the Watchers . 26 1996 Ron Jones Interview 55 Booby Trap . 26 The Price . 27 2010 Rob Bowman Interview 58 Liner notes ©2010 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com Star Trek: The Next Generation P 2010, ©1987–1991, 2010 CBS Studios Inc. -
DOCUMENT RESUME ED 358 491 CS 503 190 AUTHOR Allen, Sheilah TITLE the World According to Gene Rodenberry. PUB DATE NOTE PUB TYPE
DOCUMENT RESUME ED 358 491 CS 503 190 AUTHOR Allen, Sheilah TITLE The World according to Gene Rodenberry. PUB DATE [93] NOTE 20p. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MFO1 /PCO1 Plus Postage. DESCRIPTORS English Instruction; Higher Education; Instructional Innovation; *Mass Media Role; Mathematics Instruction; *Popular Culture; Science Instruction; Secondary Education; Time IDENTIFIERS Deep Space 9; *Star Trek; Star Trek the Next Generation; Story Concepts ABSTRACT A teacher of reading across the curriculum uses stories, many based on the television show "Star Trek"or its derivatives "Star Trek: The Next Generation" (STNG) and "Deep Space 9," to illustrate educational theories and practice,. Theteacher began a discussion of the nature of language, meaning and the significance of literacy by discussing an episode of STNG entitled "Darmok" in which an alien race spoke only in metaphor. Humor is present in many episodes of "Star Trek," as wellas concepts like the power of fear. Cultural differences are explored in a number of episodes of STNG. The teacher uses "Star Trek"as an introduction to a lesson and as an impetus for story writing. One of the most enduring qualities of the three series is their focuson problem solving, which can serve as demonstrations for students. The series are also used for teaching the technique of role playing. Episodes of STNG and of "Deep Space 9" can be used to teach contentareas such as English, mathematics, history, physics, chemistry, and biology: "Clues" involves an examination ofspace and time; "Drumhead" involves a Joe McCarthy-like investigator; "Cause and Effect" involves a time loop; "Time's Arrow," involving backward timetravel and Mark Twain; "Emissary" deals with guilt, responsibility,and explaining the nature of time to an immortal-ace; and "The Forsaken" which involves a "shape-shifting" character. -
ORDEM CRONOLÓGICA: 1ª Star Trek: the Original Series (1966-1969
ORDEM CRONOLÓGICA: 1ª Star Trek: The Original Series (1966-1969) 2ª Star Trek: The Next Generation (1987-1993) 3ª Star Trek: Deep Space Nine (1993-1999) 4ª Star Trek: Voyager (1995-2001) 5ª Star Trek: Enterprise (2001-2005) Jornada nas Estrelas: A Série Original (NCC-1701) Temporada 1 (1966-1967) 01. The Cage (1964) (A Jaula) -02. Where No Man Has Gone Before (1965) (Onde Nenhum Homem Jamais Esteve) 03. The Corbomite Maneuver (O Ardil Corbomite) 04. Mudds Women (As Mulheres de Mudd) 05. The Enemy Within (O Inimigo Interior) 06. The Man Trap (O Sal da Terra) 07. The Naked Time (Tempo de Nudez) 08. Charlie X (O Estranho Charlie) 09. Balance of Terror (O Equilíbrio do Terror) 10. What Are Little Girls Made Of? (E as Meninas, de que São Feitas?) 11. Dagger of the Mind (O Punhal Imaginário) 12. Miri (Miri) 13. The Conscience of the King (A Consciência do Rei) 14. The Galileo Seven (O Primeiro Comando) -15. Court Martial (Corte Marcial) 16. The Menagerie, Parts I & II (A Coleção, Partes I & II) 17. Shore Leave (A Licença) 18. The Squire of Gothos (O Senhor de Gothos) -19. Arena (Arena) 20. The Alternative Factor (O Fator Alternativo) 21. Tomorrow Is Yesterday (Amanhã é Ontem) 22. The Return of the Archons (A Hora Rubra) 23. A Taste of Armageddon (Um Gosto de Armagedon) 24. Space Seed (Semente do Espaço) 25. This Side of Paradise (Deste Lado do Paraíso) 26. The Devil in the Dark (Demônio da Escuridão) 27. Errand of Mercy (Missão de Misericórdia) 28. The City on the Edge of Forever (Cidade à Beira da Eternidade) 29. -
The Klingon Empire 1.1 – the Homeworld 4 1.2 – Important Places 5 1.3 – History of the Empire 6
INSTITUTE OF ALIEN STUDIES Klingon Warrior Academy Warrior’s Manual This document is a publication of STARFLEET Academy - A department of STARFLEET, The International Star Trek Fan Association, Inc. It is intended for the private use of our members. STARFLEET holds no claims to any trademarks, copyrights, or properties held by CBS Paramount Television, any of its subsidiaries, or on any other company's or person's intellectual properties which may or may not be contained within. The contents of this publication are copyright (c)2008 STARFLEET, The International Star Trek Fan Association, Inc. and the original authors. All rights reserved. No portion of this document may be copied or republished in any or form without the written consent of the Commandant, STARFLEET Academy or the original author(s). All materials drawn in from sources outside of STARFLEET are used per Title 17, Chapter 1, Section 107: Limitations on exclusive rights: Fair Use, of the United States code. The material as used is for educational purposes only and no profit is made from the use of the material. STARFLEET and STARFLEET Academy are granted irrevocable rights of usage of this material by the original author. Contributors: Larry French, Carol Thompson, and Wayne L. Killough, Jr., Gary Hollifield, Jr., Eric Schulman,Dewald de Coning, and George Pimentel Published October 2008 Revised March 2011 Updated October 2014 Material herein was copied or summarized from www.ditl.org , http://en.wikipedia.org/wiki/Klingon and linked pages, http://memory-alpha.org/en/wiki/ , http://startrek.wikia.com/wiki/Klingon , http://en.hiddenfrontier.com/index.php/Klingon , The Klingon Dictionary, Klingon for the Galactic Traveler, Star Trek Encyclopedia: Expanded Version, and various Star Trek episodes and licensed novels. -
Popular Imagination and Identity Politics: Reading the Future in Star Trek: Next Generation
Western Journal of Communication, 65(4) (Fall 20011, 392-415 Popular Imagination and Identity Politics: Reading the Future in Star Trek: The Next Generation Brian L. Ott and Eric Aoki Through an analysis of the popular syndicated television series Star Trek: The Next Generation, this essay begins to theorize the relationship between collective visions of the future and the identity politics of the present. Focusing on the tension between the show's utopian rhetoric of the future and its representational practices with regard to race, gender, and sexuality, it is argued that The Next Generation invites audiences to participate in a shared sense of the future that constrains human agency and (re)pro duces the current cultural hegemony with regard to identity politics. The closing section calls for critics to continue politicizing mediated images that appeal to popular imagi nation and to develop and implement a pedagogical practice of counter-imagination. TAR TREK-by which we mean the four dramatic television series, S the animated cartoon, the nine full-length motion pictures, the hundreds of novels and comics, the multi-million-dollar-a-year mer chandizing industry of toys, games, recordings, and clothing, the un precedented exhibit at the National Air and Space Museum in Wash ington D.C., the science modules developed for teaching elementary school children about physics and medicine (Mestel, 1994; Anthony, 1994), the special topics courses at colleges and universities (Nagler, 1994), and the three distinctive fan co-cultures of Trekkers, Trekkies, and slash novelists each with their own annual conventions (Tulloch & Jenkins, 1995; Bacon-Smith, 1992; Penley, 1997)-has been entertain ing audiences, young and old, for forty years now. -
STAR TREK: the NEXT GENERATION "Too Short a Season"
STAR TREK: THE NEXT GENERATION "Too Short A Season" #40271-112 Story by Michael Michaelian Teleplay by Michael Michaelian and D. C. Fontana Directed by Rob Bowman Copyright 1987 Paramount Pictures Corporation. All Rights Reserved. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify the Script Department. REV. FINAL DRAFT OCTOBER 6, 1987 STAR TREK: "Too Short... " - 10/6/87 - CAST STAR TREK: THE NEXT GENERATION "Too Short A Season" CAST PICARD ADMIRAL MARK JAMESON RIKER ANNE JAMESON DATA JAMESON (BOY) TROI KARNAS BEVERLY BEVERLY TASHA TASHA GEORDI Non-Speaking Roles: WORF TRANSPORTER CHIEF MORDANITE SOLDIERS OLD MORDANITE VETERANS ENTERPRISE CREW MEMBERS STAR TREK: "Too Short... " - 10/6/87 - SETS STAR TREK: THE NEXT GENERATION "Too Short A Season" SETS INTERIORS EXTERIORS USS ENTERPRISE USS ENTERPRISE MAIN BRIDGE IN SPACE TRANSPORTER ROOM ORBITING PERSEPHONE V SICKBAY ORBITING MORDAN IV CONFERENCE LOUNGE PICARD'S READY ROOM JAMESON QUARTERS CRUSHER'S OFFICE OBSERVATION LOUNGE MORDAN TUNNEL #1 TUNNEL #2 TUNNEL #3 KARNAS' OFFICE STAR TREK: "Too Short... " - 10/6/87 - TEASER 1. STAR TREK: THE NEXT GENERATION "Too Short A Season" TEASER FADE IN: 1 EXT. SPACE - ENTERPRISE IN ORBIT (OPTICAL) The great ship circles a reddish planet. Behind both is the backdrop of a sparkling splash of stars against black space. PICARD (V. O.) Captain's log, stardate 41309.5. We are in orbit around Persephone V where I have been sent to confer with Admiral Mark Jameson in regard to an extraordinary situation.... 2 INT. MAIN BRIDGE - ANGLE ON PICARD All other bridge personnel are in place at their usual stations. -
Star Trek's Picard
Victor Grech Star Trek’s Picard: Humanity’s Conscience * Introduction Enterprise with a sagely wisdom” (Ghosh 63). Picard carries out Star Trek is a rolling and seemingly endless adventure, a continual actions irrespective of consequences, because he “thought it was the reaffirmation of the Campbellian monomyth, a right thing to do” (Lynch, “A Matter of Time”). Picard also believes in justice, preferably in trial by jury of universe in which Captains Kirk, Picard, Janeway, Sisko, and one’s peers, since “the courtroom is a crucible. In it we burn away Archer are still one with Jason, Odysseus, Sinbad, Columbus, irrelevancies until we are left with a pure product, the truth for all Cook, Ahab, Armstrong, and every other sea- or spacefarer, time” (Scheerer, “The Measure of a Man”). real or fictional, that has ever left (or will ever leave) the Picard scoffs at the usual excuses that are employed for the sake comfort and safety of home port in search of what’s lurking of tyrannical convenience: “‘[m]atter of internal security,’ the age old “out there” and waiting to be discovered. (Pilkington 54) cry of the oppressor” (Bole, “The Hunted”). Indeed, when an inquiry Several captains have led in Star Trek but arguably none have degenerates into a witch hunt on board the Enterprise, with overtones been imbued with more integrity and authority than Captain Jean- of a drumhead, he defends his crew, with escalating levels of emphasis: Luc Picard, the epitome of a twenty-fourth century Starfleet captain “Admiral, what you’re doing here is unethical. It’s immoral. -
Heteroglossia in the Ensemble Programme
Heteroglossia in the Ensemble Programme By Roberta Pearson We asked Rick Berman whether Trek’s message shows tended to be on the liberal side of the spectrum. “I would say that they do. I think they certainly did with Gene, and I think there’s a bit more of a liberal bent. But we’ve tried to examine issues from both sides.”i Berman’s answer underestimates television and Trek’s capacity for a remarkably complex engagement with the public sphere; the multiple narrative voices of a series with an ensemble cast enable the presentation of many more than two sides. The ambiguities resulting from this polysemy make it difficult to identify the “truth” within the textual actual world or, by extension, in the real world upon which it comments. Says Marie-Laure Ryan, Though the text should be regarded as the highest authority in establishing the facts of the fictional world, this authority does not derive from a monolithic power but is distributed – in accordance with Mikhail Bakhtin’s idea of dialogism – among a plurality of narrative voices. Since these voices may contradict each other, fictional truths cannot automatically be derived from textual statements. ii A television programme with an ensemble cast resembles in many respects the novel from which Bakhtin derived his concepts of heteroglossia and the dialogism to which it gives rise. According to Bakhtin The novel can be defined as a diversity of social speech types … and a diversity of individual voices, artistically organized…. The novel orchestrates all its themes, the totality of the world of objects and ideas depicted and expressed in it, by means of the social diversity of speech types and by the differing individual voices that flourish under such conditions.