Klingon Military Power Volume One: Ships
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Trekkies Beware! Paramount Pictures V. Axanar Productions by Joel M
Thursday, March 23, 2017 LAW BUSINESS TECHNOLOGY BUSINESS TECHNOLOGY LAW TECHNOLOGY LAW BUSINESS RECORDERdaily at www.therecorder.com Trekkies Beware! Paramount Pictures v. Axanar Productions By Joel M. Grossman ovie and far and actually produce a very TV stu- professional movie funded by dios often crowdsourcing? That is the allow their question raised by the case of fans to Paramount Pictures Corp. v. Mengage in behavior which tech- Axanar Productions, Inc. The nically might violate copyright case has not been fully liti- or trademark law. For exam- gated, but the district court’s ple, the studio which owns the ruling on cross-motions for copyright to Star Wars might summary judgment is both let fans produce a short video amusing and instructive. in which fans dress up as Darth To begin with the basic facts, Vader or Princess Leia, and act plaintiff Paramount Pictures Trek films before with no law- out a scene from the film. If and CBS own the copyright to suit from Paramount, Axanar the fans post their homemade the Star Trek television shows sought to go “where no man 10 minute video on You Tube, and Paramount owns the copy- has gone before” and produce the studio probably wouldn’t right to the thirteen full-length a professional Star Trek film, mind. They might even encour- movies that followed. While with a fully professional crew, age such amateur tributes, as the copyright owners allowed many of whom worked on one they might keep interest in the fans to make their own ama- or more Star Trek productions. -
Star Trek: Exploring New Worlds Is a Fully Immersive Exhibition That Showcases Star Trek’S Significant Impact on Culture, Society, Arts, Sports, Tech and Fashion
STAR TREK: EXPLORING NEW WORLDS IS A FULLY IMMERSIVE EXHIBITION THAT SHOWCASES STAR TREK’S SIGNIFICANT IMPACT ON CULTURE, SOCIETY, ARTS, SPORTS, TECH AND FASHION. VENUE: SECURITY: AVAILABILITY: ORGANIZATION 5,000–7,000K SF Medium October April rental period of 2019 2020 & CONTACT 12–14 weeks SPECIAL Shawana Lee REQUIREMENTS Group Sales Manager FEE: ADDITIONAL 206 262 3420 Min. ceiling height of $250,000 plus 14 feet, climate control, shipping & RESOURCES [email protected] gallery supervision, installer’s travel Marketing & promo standard electrical sup- Museum of POP Culture costs templates provided ply, traveling installer (formerly EMP Museum) expenses: (est. $8K) EXHIBIT HIGHLIGHTS Set pieces Transporter simulator EXHIBITION ELEMENTS from Star Trek: The Original Series, where visitors can create a film that including a self destruct panel and shows them being beamed to anoth- Artifacts the navigation console. er location and performing in a Star -Costumes Trek-inspired scene. 100+ props and artifacts -Props from the five Star Trek television series KHAAAAN! video booth and many of the films including: where visitors can recreate the -Scripts, Production -original series tricorder memorable scene from Star Trek II: Documents/Storyboards -communicator phaser The Wrath of Khan -a Borg cube -Sketches -Klingon disruptor pistol Spaceship filming models -Models -Tribbles, and more of the Enterprise, USS Excelsior, a Klingon battle cruiser, and Rare costumes Deep Space Nine space station Films including: Spock’s tunic worn by -Five interpretive -
Is Klingon an Ohlonean Language? — a Comparison of Mutsun and Klingon
Is Klingon an Ohlonean Language? | A Comparison of Mutsun and Klingon Dick Grune [email protected] April 19, 1996 1 Introduction Klingon is an artificial language designed by Marc Okrand [1] in 1985 for Paramount Pictures Cor- poration, to serve as the language of the Klingons in the second Star Trek movie and all subsequent Star Trek and spin-off productions. Its best known expression is Qapla'! = Success! Mutsun (pronounced moot-soon, with the short oo of book, and the t and the s well separated) was an American Indian language of the Ohlonean [3] (= Costanoan) family, which, together with Tsimshian in British Columbia, the Mayan languages in Mexico, and many others, is part of the Penutian stock. It was spoken until the beginning of the 20th century around Mission San Juan Bautista, just south of San Francisco, Ca. Its last speaker, Mrs. Ascensi´onSolorsano de Cervantes, died Jan. 29, 1930, at the age of 74. The most accessible work on Mutsun is a grammar produced as a PhD thesis by this same Marc Okrand [2]. So, naturally, the question arises to what degree Klingon was inspired by Mutsun. Already being in the possession of [1] and having recently been able to put my hands on a copy of [2], I set out reading and comparing, in order to find the answer to this question. Those of you who are just after a juicy bit of gossip will be disappointed: No, Klingon is not more similar to Mutsun than it is to any other American Indian language, neither in vocabulary nor in structure. -
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........................................................................................ -
Download the Borg Assimilation
RESISTANCE IS FUTILE… BORG CUBES Monolithic, geometric monstrosities capable of YOU WILL BE ASSIMILATED. defeating fleets of ships, they are a force to be Adding the Borg to your games of Star Trek: Ascendancy feared. introduces a new threat to the Galaxy. Where other civilizations may be open to negotiation, the Borg are single-mindedly BORG SPIRES dedicated to assimilating every civilization they encounter into Borg Spires mark Systems under Borg control. the Collective. The Borg are not colonists or explorers. They are Over the course of the game, Borg Spires will build solely focused on absorbing other civilizations’ technologies. new Borg Cubes. The Borg are not controlled by a player, but are a threat to all the forces in the Galaxy. Adding the Borg also allows you to play BORG ASSIMILATION NODES games with one or two players. The rules for playing with fewer Borg Assimilation Nodes are built around Spires. Built than three players are on page 11. Nodes indicate how close the Spire is to completing a new Borg Cube and track that Borg System’s current BORG COMPONENTS Shield Modifier. • Borg Command Console Card & Cube Card BORG TECH CARDS • 5 Borg Cubes & 5 Borg Spires Players claim Borg Tech Cards when they defeat • 15 Borg Assimilation Nodes & 6 Resource Nodes the Borg in combat. The more Borg technology you • 20 Borg Exploration Cards acquire, the better you will fare against the Borg. • 7 Borg System Discs • 20 Borg Technology Cards BORG COMMAND CARDS • 30 Borg Command Cards Borg Command Cards direct the Cubes’ movement • 9 Borg Dice during the Borg’s turn and designate the type of System each Cube targets. -
STAR TREK the TOUR Take a Tour Around the Exhibition
R starts CONTents STAR TREK THE TOUR Take a tour around the exhibition. 2 ALL THOSE WONDERFUL THINGS.... More than 430 items of memorabilia are on show. 10 MAGIC MOMENTS A gallery of great Star Trek moments. 12 STAR TREK Kirk, Spock, McCoy et al – relive the 1960s! 14 STAR TREK: THE NEXT GENERATION The 24th Century brought into focus through the eyes of 18 Captain Picard and his crew. STAR TREK: DEEP SPACE NINE Wormholes and warriors at the Alpha Quadrant’s most 22 desirable real estate. STAR TREK: VOYAGER Lost. Alone. And desperate to get home. Meet Captain 26 Janeway and her fearless crew. STAR TREK: ENTERPRISE Meet the newest Starfleet crew to explore the universe. 30 STARSHIP SPECIAL Starfleet’s finest on show. 34 STAR TREK – THE MOVIES From Star Trek: The Motion Picture to Star Trek Nemesis. 36 STAR trek WELCOMING WORDS Welcome to Star TREK THE TOUR. I’m sure you have already discovered, as I have, that this event is truly a unique amalgamation of all the things that made Star Trek a phenomenon. My own small contribution to this legendary story has continued to be a source of great pride to me during my career, and although I have been fortunate enough to have many other projects to satisfy the artist in me, I have nevertheless always felt a deep and visceral connection to the show. But there are reasons why this never- ending story has endured. I have always believed that this special connection to Star Trek we all enjoy comes from the positive picture the stories consistently envision. -
Warrior Culture and Science Fiction TV
Copyright rests with Florilegium. The contents of the journal may not be copied, reprinted, or posted electronically without the editor's express written permission, although users are welcome to download and print articles for individual use. High-Tech Feudalism: Warrior Culture and Science Fiction TV Graham Knight and Jennifer Smith "Richard ΠΙ with aliens" is how Cornell (102) describes "Sins of the Father," an episode of Star Trek: The Next Generation (hereafter TNG) in which the Klingon warrior Worf, son of Mogh, seeks to restore his family's honour by exposing and challenging those responsible for falsely accusing his dead father of treason to the Klingon Empire. Worf is only partly successful in his quest, and he remains a perpetually marginal figure whose identity is divided by his Klingon heritage, his childhood as a Klingon orphan raised by humans., and his current status as the only Klingon in Starflect, the military arm of the Federation of Planets, an alliance of Earth and other worlds whose relationship with the Klingon Empire is marked by tension, suspicion and, at times, open hostility. As a result of these divisions and struggles, Worf s family is e'ventually stripped of its wealth and rank on the Klingon home-world, and Worfs brother Kurn seeks a ritual death as the only way to absolve his own and his family's disgrace. Historical and cross-cultural motifs are common in TNG, and resonate throughout the secondary texts that have sprung up around the television series— comics, reference books, novelisations of the TV episodes, fan conventions, and numerous Internet sites where devotees debate the minutiae of an imaginary future. -
Klingon Empire
Original texts and manuscript concept copyright © 2007 by Richard E. Mandel STAR TREK, its on-screen derivatives, and all associated materials are the property of Paramount Pictures Corporation. Multiple references in this document are given under the terms of fair use with regard to international copyright and trademark law. This is a scholarly reference work intended to explain the background and historical aspects of STAR TREK and its spacecraft technology and is not sponsored, approved, or authorized by Paramount Pictures and its affiliated licensees. All visual materials included herein is protected by either implied or statutory copyright and are reproduced either with the permission of the copyright holder or under the terms of fair use as defined under current international copyright law. All visual materials used in this work without clearance were obtained from public sources through public means and were believed to be in the public domain or available for inclusion via the fair use doctrine at the time of printing. Cover illustration by Harry Doddema This work is dedicated to Geoffery Mandel, who started it for all of us. Memory Alpha and SFHQ/Mastercom cataloging data: UFP/SFD DTA HR:217622-A SUPPLEMENT A: THE KLINGON EMPIRE TABLE OF CONTENTS THE KLINGON EMPIRE: A BRIEF HISTORY KLINGON HULL NOMENCLATURE TIMELINE (2150s TO PRESENT) STARSHIPS B-1 JUL’KAR CLASS BATTLESHIP B-10 KAR’HARMER CLASS BATTLESHIP C-8/C-9 K’HERR CLASS DREADNOUGHT D-4 DAMA CLASS BATTLECRUISER K-5 DUPAT CLASS CRUISER D-5 HAK’HYL CLASS “WAR” CRUISER The ambush of the U.S.S. -
Trekonderoga 2018
Special Guests Karl Urban Original Star Trek series fan and New Zealand-born actor Karl Urban actively pursued and won the role of Dr. Leonard McCoy on 2009’s motion picture named, appropriately enough, Star Trek. In his portrayal, Karl evoked many of the subtle mannerisms and vocalisms made famous by one DeForest Kelley of an earlier era – one could consider his performance as an ultimate fan tribute. Karl was interested in acting from a very early age, debuting at age 8 in the New Zealand television series Pioneer Woman. Internationally he appeared in both Hercules: The Legendary Journeys and its spin-off Xena: Warrior Princess, playing recurring roles in both American/New Zealand series. He eventually started working on Hollywood productions and in relatively no time was in big productions such as The Lord of the Rings, The Bourne Supremacy, The Chronicles of Riddick, and Doom. Hollywood press has speculated that he could have landed the role of “James Bond” had not previous film commitments gotten in the way (the role went to Daniel Craig). Other films he appeared in include Red, Dredd, The Loft, Pete’s Dragon, while Karl most recently appeared as “Skurge” in 2016’s Thor: Ragnarok. Karl is active on the convention circuit and makes his first bombshell appearance at this year’s edition of Trekonderoga! Be sure not to miss your opportunity to meet Karl onboard the original Enterprise – where else but in Sickbay, naturally – in a time-defying trip back to the original series sets with today’s Dr. McCoy! Appears Saturday & Sunday only Gates McFadden Not many Enterprise-D characters could call their Captain by his first name, but Doctor Beverly Crusher, memorably played by Gates McFadden, certainly could – and did. -
Beyond the Final Frontier: Star Trek, the Borg and the Post-Colonial
Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial Lynette Russell and Nathan Wolski Over the last three decades, Star Trek has become, to use Bernardi's term, a "mega-text" (1998: 11). Star Trek's mega-text consists of much more than the various studio-produced television series and films - it also includes (among other things) novels, Internet chat groups, conventions and fanzines. That Star Trek's premise of space exploration is a thinly disguised metaphor for colonialism has been extensively analysed (see Bernardi, 1998; Hastie, 1996; Ono 1996; Richards, 1997). Boyd describes the utopian future presented in Star Trek the Next Generation (STNG) as based on "nineteenth-century essentialist definitions of human nature, building ... on faith in perfection, progress, social evolution, and free will" (1996: 96-97). Exploration, colonisation and assimilation are never far from the surface of the STNG text. Less apparent, however, are aspects of the series which challenge the hegemonic view of this narrative and which present a post-colonial critique. In this paper we will explore a range of post-colonial moments and an emerging self reflexivity in the second generation series, focusing on those episodes of Star Trek: the Next Generation (STNG) and Star Trek: Voyager which feature an alien race known as the Borg. Others in space Much has been written about the role of the alien in science fiction as a means of exploring issues of otherness. As Wolmark notes: "Science fiction provides a rich source of metaphors for the depiction of otherness and the 'alien' is one of the most familiar: it enables difference to be constructed in terms of binary oppositions which reinforce relations of domination and subordination" (1994: 2). -
Sfi Welcomes the Livingston/Planthold Team!
SFI WELCOMES THE LIVINGSTON/PLANTHOLD TEAM! STARFLEET congratulates Mandi Livingston and her team for winning the 2004 Election for Commander, STARFLEET, and gives a warm welcome to our new Executive Committee and 126 staff members! DEC 2004/ Left: Sunnie Planthold, our new Vice JAN 2005 Commander, and our new Chief of Operations, Commodore Jack “Towaway” Eaton, at Vulkon in Orlando, Florida - where they receive the good news via cell phone! (In this photo, she knows, but he doesn’t - yet!) Photo submitted by Ralph Planthold Additional Vulkon photos on p. 28 TWO SETS OF NEWLYWEDS: JOAN & RICARDO BRUCKMAN... Last issue, we had one beautiful STARFLEET wedding... and this time, we have TWO to celebrate! Right: The happy couple, Joan and Ricardo Bruckman of the USS Hathor , pause for a group photo with too many STARFLEET members to name here (including members of the CQ team)! Photo submitted by Wade Olsen ...AND WENDY & JON LANE! Left: On September 5, Jon Lane and Wendy Stanford became married on a large green lawn situated along the edge of the beautiful and scenic bay at the Newport Dunes Resort. The audience included friends from the USS Angeles and STARFLEET members from both coasts. Photo submitted by Gary Sandridge Additional wedding photos on back cover USPS 017-671 112626 112626 STARFLEET Communiqué Jimmy Doohan’s Last Convention............3 Volume I, No. 126 Hollywood Entertainment Museum.........5 Inspired To Make A Difference..................6 Published by: Colorado SFI Member Goes Bald............6 STARFLEET, The International “Trekkies 2” Review.................................6 Star Trek Fan Association, Inc. Tuvok Does Astronomy............................7 3212 Mark Circle Jon Lane Gets Married............................7 Independence, MO 64055 From The Center Seat............................8 George “Sulu” Takei and USS Angeles CO Janice Willcocks. -
Translating Trek: Rewriting an American Icon in a Francophone Context Caroline-Isabelle Caron
Translating Trek Caroline-Isabelle Caron 329 Translating Trek: Rewriting an American Icon in a Francophone Context Caroline-Isabelle Caron Italian translators use a now well-known stage direction of Michel Georges.1 The transla- cliche´: ‘‘Traduttore, traditore.’’ Translating is tion available to all French audiences is Patrouille betraying. It refers to the tension between the du Cosmos, though in France it was re-entitled necessity of rendering meaning (or interpretation) Star Trek: Classique.2 and that of rendering style, metaphors, and images Dubbers often translate for audiences that may within the original source text. This tension is a or may not be familiar with the universe of the profound one in literature. In translating televi- story being told (Dutter; Luyken 155). When sion dialogues and in dubbing episodes, many dealing with TOS, these difficulties are more than more exigencies come into play. Television obvious. Patrouille du Cosmos was one of the translators have to take into account questions very first television series ever dubbed in Que- of synchrony, linguistic limitations, the various bec.3 The Quebec dubbing tradition was still dubbing traditions of different countries, and being invented when this translation was pro- their own poetic license. The main challenge of duced. The dubbers had to adapt and interpret television translation is to find a balance between dialogues taking place on other planets, pro- being true to the source text and the sometimes nounced by aliens in silly make-up and starship necessary falsification of the original dialogue in officers wearing goofy clothes. Furthermore, order to accurately render the story being told.