FORMD
Report on Oral Defense of Thesis
TITLE: A Scene & Aesthetic Analysis of Star Trek: A Combination of Two Methods of Television Analysis
AUTHOR: James L. Crandall
Having heard an oral defense of the above thesis, the Advisory Committee:
X A) Finds the defense of the thesis to be satisfactory and accepts the thesis as submitted, subject to the following recommendation(s), if any:
B) Finds the defense of the thesis to be unsatisfactory and recommends that the defense of the thesis be rescheduled contingent upon:
Committee: Date: June 4, 1998 Scene & Aesthetic Analysis 1
A Scene & Aesthetic Analysis of Star Trek
A combination of two methods of television analysis.
James L. Crandall
. University of Wisconsin - Stevens Point
Running Head: A SCENE & AESTHETIC ANALYSIS OF STAR TREK Scene & Aesthetic Analysis 2 A Scene & Aesthetic Analysis of Star Trek A combination of two methods of television analysis.
I. CHAPTER ONE A. Introduction 4 B. Justification 1. Overall 5 2. Episode 9 11. CHAPTER TWO A. Literature Review 1 . Narrative Analysis 19 2. Scene Analysis 21 3. Visual Literacy 23 4. Aesthetic Analysis 25 111. CHAPTER THREE A. Methodology 1. Research Questions 29 2. Narrative Analysis 30 3. Scene Analysis 30 4. Scene & Aesthetic Analysis 33 IV. CHAPTER FOUR A. Application of Method 1 . Research Questions 37 2. Narrative Analysis 37 3. Scene Analysis 39 4. Scene & Aesthetic Analysis 41 V. CHAPTER FIVE A. Discussion 1. Research Questions 45 2. Narrative Analysis 45 3. Scene Analysis 46 Scene & Aesthetic Analysis 3 4. Scene and Aesthetic Analysis 47 B. Conclusions 51 C. Suggestions for Future Research 52 VI. References 53 VII. Appendix One - Blank Scene Analysis 58 VIII. Appendix Two - Completed Scene Analysis 59 IX. Appendix Three - Blank Narrative Analysis 62 X. Appendix Four - Completed Narrative Analysis 63 XI. Appendix Five - Blank Scene & Aesthetic Analysis 66 XII. Appendix Six - Completed Scene & Aesthetic Analysis 67 Scene & Aesthetic Analysis 4 A Scene & Aesthetic Analysis of Star Trek A combination of two methods of television analysis.
"TV is America's most popular art form. It's artistic function can only grow and mature, and as it does, so must its popularity" (Newcomb, 1987, 627).
CHAPTER ONE INTRODUCTION
Scholars have been searching for methods for analyzing, or critiquing, television since the medium was in its infancy. The methods of television criticism have included narrative analysis, audience-oriented analysis, and visual literacy .. Another method, which has grown out of narrative analysis, is scene analysis (Porter, 1993). Yet another is known as visual analysis. According to
Porter (1994), visual analysis i$ the latest preoccupation of television analysts and academic critics. All of these methods are .useful tools for studying television programs; they fall short, however, of allowing for a complete analysis of television shows. To be complete, these methods need to be combined with other aesthetic elements as expounded by Zettl (1973, 1990). Scene analysis is most effective when combined with visual analysis as well as with all of media aesthetics.
Why must scholars, or anyone else, analyze television? What is the goal of researchers? Is it the finding of meaning; if so, what meaning is the goal? As will be discussed in Chapter Three, there are several meanings associated with any television work. Some theories of television criticism would argue that the end meaning that a viewer, or reader, gleans from a work is most important. The contention of this work is, however, that the meaning the original author had in Scene & Aesthetic Analysis 5 mind is as important because it is the reason for the existence of the work in the
first place.
Since this work looks at several methods of television analysis, a working
definition of criticism is important. According to Vande Berg and Wenner (1991 ),
"criticism involves organizing, describing, analyzing, and evaluating symbols,
relationships, and patterns to share an informed perspective with others" (9).
Further, criticism, analysis, and research are acts of thoroughly investigating
something; or, in the words of Berger, "to search for information, to find out
about something of interest" (1991, 3). Further, criticism is also done as carefully and as objectively as possible - with repeatable methodologies (Berger,
1991 ). The reason the methodologies must be repeated is that the research can
be checked by others .. Criticism is a type of research that looks closely at the specifics, the details, of that something of interest and attempts to fasten meaning to it (1991 ). Reed asserted that "assumptions must be questioned and home truths challenged if we are to get on to anything new" (Reed, 1991, 8).
JUSTIFICATION FOR STUDYING TELEVISION IN GENERAL
Studying television and its production is important for many reasons.
First, the study of television and its production is important because of the pervasiveness of television in our society. Fiske and Hartley (1978) suggested that "Television discourse presents us daily with a constantly up-dated version of social relations and cultural perceptions" (18). They continued by stating that
" ... we should, as critics, learn to understand what it is that the language of television is saying to us" (Fiske & Hartley, 1978, 20). Newcomb (1987) wrote Scene & Aesthetic Analysis 6 that television is worthy "of study not only because it is a new 'form,' a different
'medium,' but because it brings its massive audience into a direct relationship with particular sets of values and attitudes" (614 ). Burns (1985) lamented our lack of understanding of "'the most popular art' and one of our biggest businesses" (10). Burns also asserted that while television is similar to film, radio, theatre, and literature," ... it is always different" (10). For that reason, television must be studied separately. Burns (1985) continued by referencing
McLuhan who noted that we do most of our thinking about anything new by comparing it to the old. Burns wrote:
We understand video [television] by comparing it to film, radio,
theatre_, and ·literature. As television theory develops, we are at
least able to make· more sophisticated comparisons, analyze our
· own acts of comparing, and arrive at new understandings of what
TV is, how it got to be that way, why it remains that way, and how
and why to change it or not change it. (10)
Therefore, the study of television must continue to facilitate a complete understanding of the medium.
Second, studying television is important because of its impact on society and on individuals. This is true even if that impact is the nuisance to society that writers such as Berger (1980), Mander (1978), Postman (1985), and Winn
(1985) wrote that it is. Whether it is good or bad, many of us "grew up emotionally stirred by the joy, fear, frustration, and anger'' by what we viewed on television (Morris, 1989, 35). Morris (1989) continued by writing that television is Scene & Aesthetic Analysis 7 notjust transmitting pictures; it is also altering cultural consciousness worldwide
and "gathering and reporting observations establishes television as legitimate
and serious work" (36). Foster (1984) also wrote that television is an extremely
powerful and pervasive influence over our behavior - it shapes, and sometimes
replaces our dreams. "Americans will live with television and its sophisticated
offspring from now until forever, but to live comfortably and profitably with the
intrusion in their homes and lives, we must understand it" (30). Foster continued
by calling for more understanding of television:
If we become perceptive viewers, if we understand how television
locks in on our unconscious with its use of primal mythological
stories and powerful ritual narratives that are meant to shape and
control behavior, then maybe we can withstand this primitive
bombardment... Television is a force that requires learning to
control it. Otherwise, we may lose control of our own actions. (30)
Third, the study of television and its production is important because television uses pictures to aid in telling its story. Therefore, the analyst must study those pictures along with the dialogue and audio effects to decipher the entire story. Tiemens (1978) stated, however, that television "does more than merely transmit pictures and sounds. It selects and transforms visual and auditory information for the viewer" (363). This means that we cannot look at just the dialogue, just the video, or just the sound effects to analyze a story - they must all be viewed as a whole. Zettl agrees: Scene & Aesthetic Analysis 8 The media have a great influence on the shaping of the message,
the way the original is clarified and intensified. Television and film
speak their very own aesthetic language; they have their very own
aesthetic requirements and potentials. They are an integral part of
the total communication process, not just the channel by which the
communication is sent. (1973, 10)
According to Tiemens (1978), some of the ways television visually modulates the image are through shot selection and duration, camera movement, framing of persons and objects, and the use of space and objects to direct attention. Zettl (1990) added that camera angle, eye contact of the subject with the camera, image size, and symmetry are important to the imagery of television as well.
Fourth, there have been calls for studies of this type. Besides Foster's calling for more understanding of television, Porter suggested that:
A collection of such data would be available to determine trends
and changes in formal characteristics of television programs and
would provide quantifiable data to those scholars interested in the
study of program genres. Additionally, such an analysis could help
us to become more aware of how these production elements are
used to form television series (1983, 74-75).
Fifth, Porter (1993) called for the development of a common language to
"sufficiently describe what is happening in television narratives. The development of this language must incorporate the whole of the television Scene & Aesthetic Analysis 9 experience. It must include the visual and all of the audio" (1 ). Barbatsis (1993)
agreed that there needs to be a common language or way of talking about
television analysis:
The process of understanding pictorial narrative or pictorial
metaphor or pictorial language, for example, need not, in fact
should not, be one of shifting definitions. Rather, these concepts
should be capable of the kind of definition that incorporates
realization in various symbolic modes, including pictorial and
linguistic, among others.1
JUSTIFICATION FOR STUDYING THIS SERIES
This study concentrated on the television program Star Trek because of
the place it has in television history and because of the subject matter of the
specific episode analyzed. Star Trek, produced in the mid-1960's by Gene
Roddenberry, has become a major influence on our culture. Some have argued that it has even shaped our culture (Gibberman, 1991 ). Studying the vision,
attitudes, underlying assumptions, and qualifications of Star Trek's creator is
important to the discovery of the many nuances of this series. Further, Star
Trek's place in television history can be seen by looking at the impact the
program has had on our culture.
The climate of the era in which Star Trek was produced must be understood in order to grasp the importance of Roddenberry's discussion of racism and his use of persons of multiple ethnic backgrounds as cast members
1 Barbatsis' paper is not paginated. Scene & Aesthetic Analysis 10 in the program. As mentioned above, Star Trek was produced in the second half of the 1960s - specifically late 1966 through early 1969. This was a time of considerable racial unrest and turmoil (Garrow, 1989) - a time when blacks were attempting to get the civil rights that they had been granted by law but not by society (Powledge, 1990 and Weisbrot, 1990). Any discussion of the topics of racism, civil rights, or even anything that could be construed as such was asking for the wrath of either side of the issue (Mitchell, 1970).
Another unique aspect of the Star Trek series, and its individual programs, which needs to be understood is the way in which it was created. Many television shows are collaborative to the point of losing the distinction of the creator of the series (Reed, 1989). Others take on the "personality" of their creators - becoming almost genres of their own (Reed, 1989). Examples of this phenomenon are the Ford Western or a "Hitchcock Film" (Reed, 1989).
Roddenberry influenced Star Trek in such a way (Asherman, 1989). He was involved in every aspect of the production of Star Trek from its initial concept, writing, casting, prop design, and direction - even though he did not actually write or direct each episode (Whitfield & Roddenberry, 1968 & Asherman, 1989).
The first of Roddenberry's assumptions is similar to those of many early critics of television when they bemoaned the content of television programming.
Whitfield and Roddenberry sum up this belief in The making of Star Trek (1968):
The television writer-producer faces an almost impossible task
when he attempts to create and produce a quality TV series,
assuming he conceived a program of such meaning and Scene & Aesthetic Analysis 11 importance that it could ultimately change the face of America, he
probably could not get it on the air. (21 ).
Clearly, Roddenberry had some of the same misgivings about the quality of
programming on television in the 1960's as did several of the television critics in
the late 40's and early 50's (Meyersohn, 1957, Anders, 1956, Rabassiere, 1956,
Hausknecht, 1957 & Lang, 1957). Unlike those individuals, however,
Roddenberry, according to Asherman (1989), had a mission to change the
intellectual level of television's programming and he believed "in the potential of the human race to rise above its aggressive, prejudicial tendencies" (Asherman,
1989, 5).
Because Roddenberry believed "television's audience was not the collection of nitwits that networks believed it to be" (Whitfield & Roddenberry,
1968, 21 ), he wanted to develop a program like the one he described in the above quote. Further, he wanted a show which could discuss relevant, timely issues such as race relations and women's issues. He knew, however, that getting a provocative, intelligent show on the air would be slightly short of impossible - unless it were proposed by someone with a track record who disguised it as a benign action-adventure series. Roddenberry had a background as a writer and had been writing science fiction in books since the late 1940's. He also wrote scripts for such television shows as West Point,
Have Gun Will Travel, The Kaiser Aluminum Hour, Four Star Theater, Naked
City, and Dr. Kildare. He also created The Lieutenant (Whitfield & Roddenberry,
1968). Scene & Aesthetic Analysis 12 He had a plan to get this science fiction program on the air - he would use
· a "realistic" science fiction series set in the future to disguise the discussions.
The new program could deal with such topics as race relations, women's issues,
and other areas of social concern because they could be discussed covertly as
relationships between humans and species of other planets. In addition,
Roddenberry reasoned that if humanity were to survive, it would have to figure
out how to live in harmony with all of its members, as well as with those
intelligent beings of other planets. He wrote:
Intolerance in the 23rd century? Impossible! If man survives that
long, he will have learned to take a delight in the essential
differences between-men and between cultures. He will learn that
differences in ideas and attitudes are a delight, part of life's exciting
variety, not something to fear. It's a manifestation of the greatness
that God, or whatever it is, gave us. This infinite variation and
delight, this is part of the optimism we built into Star Trek (Whitfield
& Roddenberry, 1968, 40).
Roddenberry never doubted that the series he needed to create to carry
these messages would need to be science fiction. He knew, however, that even
getting a quality show of that genre on the air would be difficult. He believed
there were three "myths" about science fiction that existed. He also knew that he
would have to dispel these myths to get the program aired.
The first of these myths was that "science fiction" and "fantasy" are
synonymous. The distinction that he wanted to make and have accepted was Scene & Aesthetic Analysis 13 that "science fiction is based either on fact or well-thought-out speculation"
(Whitfield & Roddenberry, 1968, 34 ). That is, whatever technology the program
used must have been possible based on scientific principles and theories that
were known at the time the show was produced or on theories that the creator(s)
of the science fiction had established and then followed scrupulously. For
instance, one of the mainstays of Star Trek is the ability to "transport"2 crew
members from the ship to various places. Further, the writers of Star Trek
explained the process and equipment necessary. While this technology has not
yet been used on living beings, it is theoretically possible and is based on work in
the 1930's3 (Hall, 1997). Further, the technology has since been demonstrated
by scientists,at IBM (IBM, 1998), the University of Innsbruck (Bouwmeester et al.,
1997), and by Francesco De Martini in Rome 1930's (Hall, 1997). Fantasy,
conversely, is based solely on the whim of the writer. There is no need to
· explain processes that makes something happen - it just happens because the
writer says it can. The fantasy writer "can say, 'this man has the power to blink
his left eye and he will disappear" (Whitfield & Roddenberry, 1968, 40). No
technology or remotely explainable events need account for the ability.
The second myth Roddenberry wanted to dispel was that science fiction
was a completely separate form of literature that need not follow any of the rules
of writing or of drama. He maintained, however, that
literature is literature, be it called Science Fiction, Shakespeare, or
Cowboys and Indians. You must work to make your characters
2 This is also known as "teleporting." Scene & Aesthetic Analysis 14 come to life whether riding a horse in Dodge City or sitting in a
captain's chair far out in space. The audience must think, "I am
there." They must believe they are sitting in that saddle or in that
chair and it's all happening to them. (Whitfield & Roddenberry,
1968, 35)
The difference, then, between "science fiction" and "fantasy" is believability.
Science fiction uses acts that the program explains or that are explainable. In
fantasy these are not explained and do not need to be.
The final myth that Roddenberry felt he needed to rid the industry of was
that science fiction could not be developed into a series with a group of
characters who develop and with whom the audience becomes familiar. Along
with the aforementioned belief, many writers and producers thought it impossible to have a cohesive location with which to build this familiarity. He noticed, though, that almost all the popular series had these traits and felt that a little
ingenuity could overcome these difficulties. A spaceship could be the "location" and the crew could develop as characters with relationships (Whitfield &
Roddenberry, 1968).
Assumptions and attitudes like those listed above are part of what drove
Roddenberry to develop Star Trek. Star Trek was the first science fiction series with a consistent and developing cast and "the first network series to address serious and controversial issues," (Goulart, 1979 cited in Gibberman, 1991).
Star Trek's effect on our culture can also be seen by looking at the myriad of
3 This theory is known as the Einstein-Podolsky-Rosen effect. Scene & Aesthetic Analysis 15 topics the show discussed and the many areas of our culture that it has
impacted. First, Roddenberry and the writers of Star Trek portrayed and discussed such topics of human interest as absolute power and its consequences; society's prejudice toward differing groups (based on age, race, and gender); depletion of resources and the destruction of the unknown; societal problems such as drug addiction, drug use and addiction; mortality; the problem of finding the "greater good;" and, war (Asherman, 1989). These topics are particularly impressive since this show was produced during the last half of the
1960s. Many of these topics were taboo for television to even mention - let alone discuss at length. For instance, in the 1950s Lucy (on the I Love Lucy show) was not allowed to say "pregnant," and couples were required to sleep in twin beds. By the 1960s, couples may have been allowed to sleep in the same bed; but, they had better be the same color (Asherman, 1989).
Second, Star Trek has had an impact on many areas of our society.
Evidence of these effects on our culture can be found in several areas. The first of which are the mass media - especially television. This effect began even while the show was in its first-run with the introduction of "Fanzines" which were unofficial fan magazines put out by amateurs (Asherman, 1989, 139). This phenomenon continued to grow even after the series ceased production. There are, in fact, still three fanzines produced entitled Star Trek: The Next
Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager (McDonnell,
1992, 1997, & 1998). While these magazines focus primarily on the series that Scene & Aesthetic Analysis 16 share their names, there are many articles about, and references to, the original series.
Third, Star Trek spawned other mass media creations, including a 22 episode animated series that originally aired from 1973 to 1974 (Asherman,
1989). There have also been eight major motion pictures, three other television series, as well as fictional and nonfiction books (Gibberman, (1991 ). Most of the nonfiction books are dedicated to the history and making of the original and subsequent series (Gibberman, 1991 ).
Perhaps the best evidence of Star Treks influence on our culture can be gleaned from looking at the fans of the show and the popularity it still enjoys.
There are several ways in which to show this. First, the show debuted in August
1966 and by November of that year_"was in danger of cancellation" (Asherman,
1989, 31 ). This danger caused a group of science fiction writers to send a letter to everyone who had attended the World Science Fiction Convention that year.
The letter urged recipients to write letters of their own to "television stations, sponsors of Star Trek, television columnists, and magazines such as TV Guide"
(Asherman, 1989, 32). The letter caused enough responses to be called a success and brought the series to the attention of perspective sponsors
(Asherman, 1989) .
Second, Star Trek was again in danger of being canceled half way through the second season. The response this time was similar; however, a couple (John and Bjo Trimble) initiated the letter writing campaign. The Scene & Aesthetic Analysis 17 Trimble's letter went to Trekkers4 throughout the United States and gave specific
addresses to which to send complaints. Again, enough letters were received by
the network to gain Star Trek a reprieve (Asherman, 1989).
Further, the show still airs in twenty-two countries and on over
ninety stations in the United States, alone (Bradley, 1997). There are
still three fanzines being published (McDonnell, 1992, 1997, & 1998).
Several cities across the country hold annual, and semi-annual,
conventions where a myriad of collectable products are available for
purchase even today (Asherman, 1989).
More evidence of the importance of Star Trek in our culture is
the proliferation of written material about or referencing the series.
Books have· been written about it - so many that Gibberman (1991)
produced an annotated bibliography that lists 1098 entries of books
and articles written about, or referencing, "Star Trek." Also, several
Master's theses, Ph.D. dissertations, and papers have been written
on, or refer to the program (Gibberman, 1991 ). These authors
discuss television viewing, teaching grade school (as well as high
school) children, psychoanalysis, sexuality, and a host of other subjects using Star Trek as a basis for their writing.
4 Fans of Star Trek are known as" trekkers" or "trekkies." Scene & Aesthetic Analysis 18 Considering the impact "Star Trek" has had on American culture, coupled with the need to study television in general, this study is important for several reasons. First, the underlying assumptions, and qualifications of Roddenberry show him to be an important figure in television history. Second, the subjects with which the series dealt- subjects that were especially pertinent when the show was produced - are important to our society. Finally, the effect this program had on culture, mass and/or otherwise, is extensive. Scene & Aesthetic Analysis 19 CHAPTER TWO LITERATURE REVIEW
As stated in the previous chapter, scholars have been searching for methods for analyzing television's products since the medium was in its infancy.
These methods have included narrative analysis, audience-oriented analysis, and visual literacy. Another method, which has grown out of narrative analysis, is scene analysis (Porter, 1993). Several of these theories and methods of analysis have prompted and guided this study. This chapter will briefly describe narrative analysis, scene analysis, visual literacy, and aesthetic analysis.
NARRATIVE ANALYSIS
The first method of analysis to be described is narrative analysis.
According to Kozloff, "narrative is a communicative act: to have a narrative, one must not only have a tale, but also a teller and a listener" (1992, 77). Each narrative has two parts. First, there is the story; which is what is being told.
Second, there is the discourse; that is, how the story is being told (Kozloff, 1992).
This study will concentrate on discourse by looking at how the telling of the story uses aesthetics.
Classical narrative theory demands that a story be a literary work with three distinct parts - "a beginning, a middle, and an end" (Porter, 1993, 3). Further, the beginning of a narrative, whether play, film, book, or television program, introduces the state of affairs, the middle introduces complications, and the end shows a
"resolution of the crises and the new state of affairs" (Kozloff, 1992, 70). Fiske and Hartley (1978) wrote that television more closely resembles basic oral Scene & Aesthetic Analysis 20 communication. Kozloff (1992) agreed and wrote that television, "despite its technologic sophistication, frequently seeks to imitate the most traditional and simplest of storytelling situations" (81 ). Because it attempts to put all television programs into the mold of having a beginning, a middle, and an end, classical narrative analysis does not work very well with episodic television series. The reason for this is that television series tend to have continuing backstories and developing characters. This, then, causes the individual episode to be viewed in context with previous episodes which takes away the ability to look at just a beginning, a middle, and an end (Kozloff, 1992).
Classical narrative analysis of television programs is problematic for several other reasons. First, Kozloff (1992) asserted that classical narrative theory has limitations because it concentrates on the text itself. This leaves questions about the origin of the story to other critical methods. Also left to other methods of critical analysis are the myriad effects that a text has upon its audience. According to Williams (1982), the narrative portions of a television show are important to look at because "at its most effective, television is not and cannot be made a primarily visual medium" (5). Williams goes on to state, however, that non-dialogic sounds and the visuals must also be examined. Also, according to Porter (1993), the model of classical narrative theory, as used in theatre, film, and literature, only takes into consideration "such concepts as, exposition, disturbance, obstacles, crisis, climax, resolution, etc." (3). While these concepts are concerned with the story itself they reveal little about the way in which the story is told. Scene & Aesthetic Analysis 21 Second, the classical narrative model is "not completely descriptive of
what is happening in each scene of a television narrative" (Porter, 1993, 3).
Unlike theatre and film, some television scenes are not intended to address
issues concerned with the overall narrative of the episode in which they are
shown. Their purposes are to inform the audience about the characters or to
provide "history" that will allow some action that is to happen in a future episode
to make sense.
Third, television audiences develop attachments for characters in
television series. They are interested in the growth of those characters. "Hence,
any analysis of the structure of a television narrative must provide for a way to
focus on character growth" (Porter, 1993, 5): It must do this, of course, without
ignoring the development of the narrative itself.
SCENE ANALYSIS
The problems that arise from attempting to apply classical narrative
analysis to episodic television are what drove the development of what is known
as scene analysis. Porter (1993) asserts that scene analysis is intended to be
µsed as a tool for understanding "the narrative function for each scene" (1 ).
"According to narrative theory, it was assumed that each scene would serve one
of three primary functions" (Porter, 1993, 7). These functions are the telling of
the story, discussion of character, and description of the setting. Porter (1993)
shortens the names of these functions to plot, character, and setting. Porter also found another primary function that he labeled tenor. Tenor scenes are not
necessary to the telling of the story; rather, they enhance it through the Scene & Aesthetic Analysis 22 revelation of emotions or other intensifying factors. Porter (1993) developed a
list of codes for the functions of scenes, which he divided into the four primary
functions and then subdivided to provide a more detailed look at the functions of
each scene. The primary functions that Porter used are: setting, character, plot
and theme. Each of the primary functions has a numbering system beginning
with the first letter of the category followed by a numerical value based on where
the function falls in the list of the category (this is not, necessarily related to the
importance of the function to the story). For instance, setting is noted as "S1 ,"
introduction of character is "C1 ," and "P13" stands for resolution. Chapter three
contains a complete discussion of Porter's codes.
Porter asserts that while most scenes should be coded with only one
function, a few scenes may have two or more functions. For example, in a scene
in which the characters are planning what they intend to do about a problem,
they may stumble on to something that complicates that plan; or, they may be
introduced to a new character.
Porter (1993) developed a form which is designed to be used as a tool to
record the number of each scene (in sequence), the location of the action, the
characters involved, the story line dealt with, and what he perceived the function
of the scene to be. Appendix 1 is a blank copy of this form. To use the form, the
analyst watches the show, dividing it into scenes. For the purpose of this study,
Porter's (1993) definition of a scene was used. Porter wrote that scenes are
"units held together by some type of continuity of time or place, or parallel action
in separate locations, or a sequence of shots unified thematically" (6-7). After Scene & Aesthetic Analysis 23 determining what the scenes are, the analyst watches the program again, filling
in the form to see how each scene helped the story progress.
VISUAL LITERACY
The two methods previously discussed are used, mainly, for analyzing the
dialogue of a work. However, since television is a visual medium, looking at its
visual aspects is as important a task as looking at just the dialogue of television
programs. In order to do this, an understanding, or literacy, of the visual must be
developed. According to Cohen (1987), "literacy is an individual's understanding
of how symbolic elements or codes are combined in acceptable ways - herein
referred to as symbolic conventions or grammars - to produce meaningful units"
(6). Dondis (1973) describes visual literacy as
more than just seeing, more than just making visual messages.
Visual literacy implies understanding, the means for seeing and
sharing meaning with some level of predictable universality. To
accomplish this requires reaching beyond the innate visual powers
of the human organism reaching beyond the intuitive capabilities
programmed into us for making visual decisions on a more or less
common basis, and reaching beyond personal preference and
individual taste (182).
Dondis continues by writing that "there are plenty of simple formulas ... But they tend to be one dimensional, thin and limiting" (182). Dondis' own work proves this point as it, too, is one-dimensional. While Dondis goes into great detail on Scene & Aesthetic Analysis 24 what one must be able to see in order to be visually literate, the criteria lack any
mention of sound, limiting how literate one can be about television ..
Cohen (1987) agrees that television literacy is learned but asserts "that
processing the codes of television is distinct from processing verbal messages"
(6). Cohen also maintains that this learning process, unlike the process of
becoming literate in reading and writing, is not necessarily a conscious one.
Most viewers learn the conventions as they watch television - not from a book, a
class, or a tutor.
Television grammar is different from linguistic grammar in other ways as
well. First, "television consists of more than one symbol system that must be
simultaneously ~nd holistically processed," (Cohen,.1987, 6). These symbol
systems are both audible and visual which makes developing television literacy a
"process in which multiple pieces of information are simultaneously received"
(Cohen, 1987, 8).
Second, Cohen (1987) writes that learning to understand the visuals of a
television program "requires the simultaneous processing of information that is
compounded within a symbol system. The elements that make up a [television]
image are greater than the twenty-six letters of the alphabet, and the techniques for combining the spatial components of a picture are potentially limitless" (8).
The elements of a television image are presented simultaneously. "With the speed of light, visual intelligence delivers multiple bits of information"
(Dondis, 1973, 18). Because of this, all elements of the image must be taken in at once (Cohen, 1987). These elements include the visual and audible, Scene & Aesthetic Analysis 25 dialogue and non-dialogue, diegetic and the non-diegetic. The viewer will
perceive the lightin·g, camera angles and movements, shot composition and
selection, colors, dialogue, ambient sounds, non diegetic music, and sound
effects (Cohen, 1987). Analysts must, then, look at all of the non-dialogic
aspects of a television production - all of the aesthetics that make up the show.
AESTHETIC ANALYSIS
Marc (1984) wrote that "if any theory of communication is to be
meaningful it must admit that it proceeds from the aesthetic vision of its creator
and that it aims to understand the aesthetic vision of the artifact's creator'' (xii).
According to Newcomb (1987) looking at the aesthetics of television has only
been done since the late 1970s. "~n the past one did not speak of television as
'art.' The aesthetic viewpoint was ignored, at times excluded from the process of understanding and explaining the extraordinarily powerful economic, social, and
psychological effects of television" (627). Newcomb continued by admonishing analysts to approach television with a desire to cultivate an aesthetic understanding and description of the devices that work to make television one of the most popular arts in the world.
Barbatsis (1993) also suggested that the images shown in a television program are important and relate directly to the narrative. Barbatsis wrote that television images are the "what is said 1" and the transitions between shots are the "what is not said.'' The author clarified this by writing that these transitions represent that which was "left on the cutting room floor." Barbatsis also Scene & Aesthetic Analysis 26 suggested "that the pictorial structure of a televisual expression may be addressed independently" from "the linguistic and musical texts" which comprise the "televisual expression." Barbatsis further claimed that in order to know what each of these elements means, they must be studied separately, then brought back together.
Iser (1978) claimed that what is missing in the dialogue of "apparently trivial scenes, the gaps arising out of the dialogue ... is what stimulates the reader into filling in the blanks with projections" (168). This draws viewers "into the events and [makes them] supply what is meant from what is not said" (168).
Viewers fill in these blanks from what they see and hear, as well as from experiences they bring with them to the viewing of the episode.
According to Burns (1985), the most prolific writer and proponent of television aesthetics is Zettl, who wrote;
If we were to collect all the studies and articles printed on the
various effects of television, on television as a social institution or
even cultural phenomenon, we would probably have to hire a big
truck to haul it all away (as maybe most of it should be). And yet,
the writings that are specifically concerned with television
aesthetics would probably fit quite comfortably into a normal sized
briefcase (1978, 3).
Zettl (1978) claimed that the largest obstacle to establishing a language for discussing television aesthetics is that "television is a temporal, ephemeral
1 Barbatsis' paper is not paginated. Scene & Aesthetic Analysis 27 experience whose only record is memory, very much like that of dance" (3). Zettl asserted that "even a rather uninformed observer of television knows that a script of a television show is quite different from the screen experience, and that the real screen experience can only be observed as a process" (8). This process must include the aesthetics and the dialogue, the discourse and the story.
Further, Burns (1985) wrote;
To say that TV is an art is only to say that it can be used by skilled
people to imitate or represent the world, to express ideas and
feelings, to create pleasing sights and sounds, and to present
existing works of art in new ways. How these processes work is, or
at least should be, the subject of television aesthetics (5).
This work contends that in order to have an inkling about the meaning of a televisual expression we must look at all of its elements together as each element derives part of its meaning from the others. We need, therefore, to develop more than just a visual literacy; we must develop a television literacy.
This literacy must take into account Porter's scene functions as well as aesthetics as espoused by Zettl (1990). Further it must look at the dialogue and the aesthetic properties of a television work at the same time. As Cohen (1987) wrote, "Thus, television aesthetics can serve as a future guide to more effective communication and notjust as a convenient tool for historical analysis" (8).
Porter agreed with this assessment:
Other formal characteristics of television series could also be
analyzed to determine how they are used in various program Scene & Aesthetic Analysis 28 genres. For example, an analysis of the use of dialogue, visual composition, the use of music and camera movements in distinct program genres could reveal some striking differences - or similarities - among the application of these formal characteristics of narrative programs (1983, 74). Scene & Aesthetic Analysis 29 CHAPTER THREE METHODOLOGY
RESEARCH QUESTIONS
Looking at how classical narrative analysis, scene analysis, visual literacy, and aesthetic analysis are used to examine a television show raises a number of questions. If a researcher seeks to find what the creator of a television production is trying to tell the audience, is there a method of analysis that allows the researcher to find that meaning? Can narrative analysis, scene analysis, or scene and aesthetic analysis tell the whole story and lead the researcher to the preferred meaning? Finally, can any one tool of television analysis tell the whole story?
In ar:i attempt to answer these questions, this study looked at Episode #9,
"Balance of Terror," from the first season of Roddenberry's Star Trek ( 1966).
This episode was chosen because it is an episode about which Roddenberry made the preferred meaning known -to show the folly of prejudice (Asherman,
1989). This being the case, the researcher is allowed to show that the producer's meaning of the text varies from the meaning a reader would get by looking only at only the narrative.
The program must be viewed several times. While watching the show, the analyst uses several forms to record various aspects of the program. Some of the aspects of the program which are recorded are the length of scenes, characters, locations, camera shots, lighting, framing, camera blocking, visual effects, and audio effects. ·Scene & Aesthetic Analysis 30 NARRATIVE ANALYSIS
Analysis of the episode takes place in three stages. In the first stage, a
narrative analysis form is used to chart the storylines of the episode and the
major characters within those stories along with their narrative roles, motivations,
and conflicts. The researcher first determines each story line within the show -
these are noted on the narrative analysis form. The analyst then notes the
characters involved in each story. These characters include:
1. The protagonist, or the person whose job it is to resolve the problem;
2. The nemesis, or the person who is attempting to thwart the efforts of
the protagonist;
3. The reflection, who is a person with the same desires as the
protagonist; and,
4. The romance, or the person who provides the protagonist with a
romantic reason for desiring a resolution.
Third, the outer and inner motivations for each of the principles are to be
documented. Finally, each of the outer and inner conflicts of the main characters
is noted (Deering, 1994 ). Appendix 3 is a blank copy of the Narrative Analysis
form.
SCENE ANALYSIS
The second stage of analysis applies Porter's (1993) tool for scene
analysis. This study uses Porter's (1993) definition of a scene - Porter wrote that scenes are "units held together by some type of continuity of time or place, or parallel action in separate locations, or a sequence of shots unified Scene & Aesthetic Analysis 31 thematically" (6-7). To apply Porter's tool, the researcher views the program,
filling in the columns of the scene analysis form. This form includes a column for
the number of each scene 1 and of the storyline to which it pertains. There are
columns for documenting the characters in the scene, the location of the scene,
and the function the reviewer perceives the scene to have in the narrative of the
story.
Porter (1993) developed a list of codes for the functions of scenes. These codes are divided into the four primary functions and then subdivided to provide a more detailed look at the functions of each scene. Each of the categories of functions has a numbering system beginning with the first letter of the category followed by a numerical value based on where the function falls in the list of the category (this is not, necessarily related to the importance of the function to the story).
The categories that Porter used are: setting, character, plot and theme.
Setting has only one function that is used to identify the location and/or time of following scenes, or location, of the scene. Character has three functions, which are:
1 . Introduction to character introduces a character that is new to the
series;
2. Character development;
3. Development of relationships.
Plot has fifteen functions:
1 Numbers are assigned in sequence. Scene & Aesthetic Analysis 32 1. Exposition gives information about events that happened before the
show begins or during breaks;
2. Presentation of disturbance shows the event that upsets the balance
of the protagonist. This disturbance is the problem that needs
resolved - the reason for the story;
3. Introduction of the dramatic question gives the audience questions -
they will want to watch the rest of the show to get the answers;
4. Searching for a plan shows the protagonist trying to figure out what to
do to bring back equilibrium;
5. Introduction of the plan shows what the protagonist decided to do to
bring back equilibrium;
6. Continuation of plan shows the protagonist acting on the plan;
7. Presentation of opposing force reveals the antagonist, or the obstacle
the protagonist must overcome in order to bring back equilibrium;
8. Conflict clarification gives additional detail about the problems facing
the protagonist;
9. Continuation of Conflict moves the story along, may give additional
details about the problems facing the protagonist;
10. Complication shows a new twist to the problems facing the protagonist,
or even a new problem;
11. Confrontation shows the protagonists in dynamic conflict with the
opposing force - the outcome is uncertain [except, of course, that we
know a series regular is not going to be permanently harmed] Scene & Aesthetic Analysis 33 12. Crisis, or climaxJ. is the point at which the opposing sides meet and on
which the outcome depends;
13. Resolution shows the return of equilibrium, although not necessarily
the way things were before the conflict;
14. A plant gives information the meaning of which will become clearer
later in the show;
15. Foreshadowing is similar to a plant but less specific.
The final category is theme, which has three functions:
1. Relief allows the audience a break from the intensity of the struggle;
2. Emotional Ambiance intensifies the feelings of the audience;
3. Thematic Presentation is the direct-statement of the theme of the
show.
SCENE & AESTHETIC ANALYSIS
The third stage of analysis uses another form -- developed to combine scene analysis and aesthetic analysis giving it the title "Scene & Aesthetic
Analysis" -- to record each of the proceeding as well as the following. (Appendix
3 contains a blank copy of this form.)
1. Shot composition: This study defines a shot as a segment in which the
camera remains unchanged; that is, there is no edit. The amount of
information included in the shot further breaks down the camera designation.
This study used several shot designations which are:
a. The extreme long shot (XLS) (Burrows, Gross, and Woods (1997), or
cover shot (Zettl, 1998), shows the surroundings in which the action is Scene & Aesthetic Analysis 34 about to take place. The XLS can also show the characters of a scene
along with their surroundings. Those characters are, however, not,
usually, identifiable as particular individuals.
b. The long shot (LS) (Burrows, Gross, and Woods (1997), or full shot (Zettl,
1998), shows the character(s), or props; in their completeness. For
example, a long shot shows characters from the top of their head to the
bottoms of their feet. The LS can also be a shot of an entire large object.
(Millerson (1985) refers to this as a medium long shot (MLS).) c. The medium long shot (MLS) (Deering, 1998), or knee shot (KS) (Zettl,
1998 and Wurtzel & Rosenbaum, 1995), shows a person from just above
or just below the knees to the top of the head. d. A medium shot (MS), according to Burrows, Gross, and Woods (1997),
shows a person from just above or just below the knees to the top of the
head. According to Zettl (1998) the medium shot shows a person from
just above or just below the waist to the top of the head. This study uses
the definition of Burrows, Gross, and Woods (1997). While Utz (1992)
has described the medium shot as any between the long shot and the
close-up, others, such as Burrows, Gross, and Woods (1997), include the
medium close-up. Zettl (1998) also included the knee shot. e. Medium close-up (MCU) (Burrows, Gross, and Woods (1997) shows a
character from just above, or just below, the waist to the top of the head. Scene & Aesthetic Analysis 35 f. Close-up (CU) (Burrows, Gross, and Woods (1997), also known as a
"head-and-shoulders" shot because of the parts of a character shown,
shows a person from just below the shoulders to the top of the head.
g. Extreme close-up (XCU) (Burrows, Gross, and Woods (1997) is a shot of
just the face of a character. The top of the head is generally off camera
while the chin is in the frame.
i) Instances in which camera movement changes the basic structure of
the image or a major character moves off the screen or if the camera
pans, zooms, or otherwise moves without a change of cameras are
noted with an arrow (> ). If there is a change of cameras, such as a
dissolve or cut, the notation is a period (.).
2. Lighting: For the purposes of this work, there are two categories of lighting;
a. Flat, or no-tan, lighting is low contrast lighting - lighting that would occur in
a home, office, or schools (Zettl, 1990).
b. Chiaroscuro lighting accentuates the contrast between light and shadows
to enhance mood or suspense (Zettl, 1990).
3. Framing includes such considerations as:
a. "Vectors" - tools for guiding the eyes of viewers to a particular area of the
television screen (Zettl, 1990).
b. The "rule-of-thirds" - a convention dealing with the areas of the television
screen where viewers' eyes are most naturally drawn (Zettl, 1990).
4. Blocking; or, positioning and/or moving:
a. The camera in relationship to the story's characters. ·Scene & Aesthetic Analysis 36 b. The character in relationship to each other and the camera.
5. Visual effects:
a. Rack focus is a technique that shows two or more individuals - one of
which is out of focus. The person on whom the attention is to be is in
focus. The other person is out of focus. As attention is drawn to the
second party, the focus changes - bringing that person into focus and
defocusing the other (Zettl, 1990).
b. Camera angles can be used to change mood or to give a character more,
or less, power.
6. Audio effects are divided into two categories
a. Diegetic sound occurs within the context of the story. Common diegetic
sound is the voice of someone offstage or siren blaring.
b. Non-diegetic sound is added "for effect." Common non-diegetic sound is
background music.
The next section of this work will describe the implementation of the aforementioned methods - narrative analysis, scene analysis, and scene and aesthetic analysis. Scene & Aesthetic Analysis 37 CHAPTER FOUR APPLICATION OF METHOD
RESEARCH QUESTIONS
Chapter Three raised several questions. Is there a single method of
analysis that allows a researcher to find what the creator of a television
production is trying to tell the audience - that is. is there a method of analysis that allows the researcher to find the preferred meaning of a program? Can
narrative analysis, scene analysis, or scene and aesthetic analysis tell the whole story and lead the researcher to the meaning the producer(s) hand in mind for the program? Finally, can any one tool of analysis tell the whole story? Again, this study looked at "Balance of Terror'' because it was an episode about which
Roddenberry made his intentions known (Asherman, 1989) which allows other to check the researcher's work.
Each of the aforementioned methods of analysis was applied to "Balance of Terror." The results of those applications are chronicled in the following sections. This discussion begins with Narrative Analysis, followed by Scene
Analysis, and, finally, Scene and Aesthetic Analysis.
NARRATIVE ANALYSIS
The first stage of this study used a narrative analysis form to chart the storylines of the episode and the major characters within those stories along with their narrative roles, motivations, and conflicts. The first task undertaken with the form was the determination of each story line within the show. Second, the analyst noted the characters involved in each story. Third, the outer and inner Scene & Aesthetic Analysis 38 motivation for each of the principles was documented. Finally, each of the outer and inner conflicts of the main characters is noted. Appendix 4 is the completed
Narrative Analysis form.
Viewing the program while using the Narrative Analysis form, the researcher identified three storylines - giving each a number, in order of appearance, and with the name of the protagonist. First is the storyline of
Angela Martine, a young woman who is about to be married to her "romance,"
Robert Tomlinson. The nemesis of this storyline in a nameless Romulan commander who is attempting to destroy the Enterprise and engage the Earth in a war. This postpones Angela's wedding and ultimately cancels it as Robert dies because of the battle: The reflection in this story is Captain Kirk who, although he does not want to marry Robert, shares Angela's desire to end the conflict.
Second is the storyline of Captain James T. Kirk. This storyline revolves around Kirk's attempts to avoid the battle with the Romulan Commander's ship and thus avoid a war with the Romulan Empire. The nemesis of this story is the
Romulan Commander whose job it is to engage the Enterprise and appraise the strength of the Earth's forces against those of Romulus. Kirk's reflection in this case is the entire crew of the Enterprise as they, too, wish to avoid the conflict.
Kirk has no romance in this storyline.
A third storyline is a confrontation between Spock (the protagonist) and
Lieutenant Stiles (the antagonist). Stiles assumes that because Spock looks like a Romulan, he must be a Romulan or a sympathizer to their cause. The reflection in this storyline is Captain Kirk who needs to get Spock and Stiles to Scene & Aesthetic Analysis 39 resolve this issue so the three can go about the business of avoiding war and
learning about the Romulans.
SCENE ANALYSIS
The second stage of analysis applied Porter's (1993) tool for Scene
Analysis. This study used Porter's (1993) definition of a scene - Porter wrote
that scenes are "units held together by some type of continuity of time or1 place,
or parallel action in separate locations, or a sequence of shots unified
thematically" (6-7). To apply Porter's tool, the researcher viewed the program
filling in the columns of the Scene Analysis form (Appendixes 1 and 2). This
form includes a column- for the number of each scene2 the storyline. There are
columns for documenting the characters in ,the scene, the location of the scene,
and the function the reviewer perceives the scene to have in the narrative of the
story.
Storyline
Using the Scene Analysis3 form, the researcher determined there to be 55
scenes in "Balance of Terror." Three of the scenes have exclusively to do with
the first storyline, twenty-six deal mostly with storyline number two 4, and one
focuses only on the third. Beside these scenes, there are ten which have
storylines one and two as their focus, two that talk about storylines one and
1 Italics added for emphasis. 2 Numbers were assigned in sequence as the scene appeared in the program. 3 Appendix 2 is a completed copy of this form. 4 Since everything the Romulan Commander does affects Angela, most of the scenes could be coded as relating to story lines 1 & 2, but they are only coded 1 if they directly involve Angela or Robert. Scene & Aesthetic Analysis 40 three, three dealing with storylines two and three, and twelve dealing with all
three storylines. The total scenes, then, dealing with the first storyline are
twenty-seven, fifty-one deal with the second, and eighteen deal with the third.
Character
Continuing to the "Character" column of the Scene Analysis form, the
researcher found there to be six scenes in "Balance of Terror" which include
Angela, twenty-six with Kirk, and sixteen with Spock - all of the previous are the
protagonist of one of the storylines. Thirteen scenes with the Romulan
Commander in them and seventeen with Stiles representing the nemeses.
Although Uhura and Sulu do not appear to be "main" characters, they do appear
in eleven and eighteen scenes, respectively.
Location
The next column looked at was "Location." There were eleven scenes
that used an exterior shot, three are shot in the chapel of the Enterprise 5, three
in the corridor, twenty-one on the bridge, six in the weapons control, three in
sickbay, and one in Captain Kirk's quarters. One scene is shot on the bridge
with cut-ins from the corridor, sickbay, and weapons control. There are also
twelve scenes shot on the bridge of the Romulan Warbird.
Function
The final column filled in on the Scene Analysis form was the "Function"
column. There are nine scenes coded as S1 .6 There are two scenes that
5 These designations refer to fictitious places (sets), not to actual locations. All locations are on the Enterprise unless otherwise stated. 6 For a complete list of functions, see Appendix 1. Scene & Aesthetic Analysis 41 introduce characters that will be Star Trek regulars (C1) but have not been seen before, and one scene that develops the relationship between characters (C3).
There is only one scene that is strictly coded as P2 (Presentation of Disturbance)
- this is because the disturbance is the same for two of the storylines and this same disturbance is used to initiate the disturbance of the third. There is also only one scene that is coded as P4 (Searching for Plan)-this is also because the disturbance is the same for all of the storylines. Since the disturbance is the same, the plan is the same. Seven scenes divulge continuations of the plan
(P6). Two are coded PB (Conflict Clarification). Nine scenes continue the conflict
(P9). Seven introduce complications (P10). There is one scene including a confrontation (P11) ..· Six scenes are.coded P~2 (Crisis/Climax). Three scenes - the number of storylines - provide resolution (P13). There is one scene with a plant (P14 ). Eight scenes are coded as P15 (foreshadowing). Seven scenes provide emotional relief (T2) and two scenes coded T3 (thematic presentation).
SCENE & AESTHETIC ANALYSIS
The third stage of analysis used another form to record each of the proceeding as well as shots, lighting, framing, blocking, visual effects, and audio effects. This form combines Scene Analysis and Aesthetic Analysis; it is therefore entitled "Scene & Aesthetic Analysis." Appendix 6 is the filled-out version of this form. Using the Scene & Aesthetic Analysis form, the researcher, again, determined there to be 55 scenes in "Balance of Terror." The following sections will provide a discussion of those sections, of the Scene & Analysis Scene & Aesthetic Analysis 42 form, which differ from those on the Scene Analysis form.
Shot
The first section of the Scene & Aesthetic Analysis form that differs from
Scene Analysis is the column titled "Shot." This study defines a shot as a
segment in which the camera remains unchanged; that is, there is no edit. The
amount of information included in the shot further breaks down the camera
designation. The amount of information included in the shot further breaks down the camera designation.
Lighting
The next section of the Scene & Aesthetic Analysis form that differs from
Scene Analysis is the column titled "Lighting." For the purposes of this work, there are two categories of lighting. Flat, or no-tan, lighting is low contrast lighting - lighting that would occur in a home, office, or schools (Zettl, 1990).
Chiaroscuro lighting accentuates the contrast between light and shadows to enhance mood or suspense (Zettl, 1990). A cursory viewing of "Balance of
Terror" can lead researchers to believe that lighting was not an important tool used by Roddenberry. There are, however, twenty-nine scenes with chiaroscuro lighting - only five are in the first half of the show. This chiaroscuro lighting was usually used to show a revelation of some kind.
Framing
The third section of the Scene & Aesthetic Analysis form that differs from
Scene Analysis is the column titled "Framing." This section includes such considerations as the placement of actors in relation to the camera and each Scene & Aesthetic Analysis 43 other. Vectors (Zettl, 1990) and the rule-of-thirds (Zettl, 1990) are also used to draw the attention of viewers to parts of the screen where there may be something happening that is important to the producer's meaning of the story.
For example, several scenes depict Kirk and Stiles talking; yet, the framing has
Uhura on the upper-right intersection of the rule-of-thirds lines. The reason for this is discussed in the next chapter.
Blocking
Blocking is the next section of the Scene & Aesthetic Analysis form.
Blocking is similar to framing in that it can also draw attention to areas of the screen where there may be something happening that is important to the preferred meaning of the story. Again, several scenes show dialogue between
Kirk and Stiles; yet, Uhura sits prominently behind them. This reinforces the notion of a broader meaning.
Visual Effects
The third section of the Scene & Aesthetic Analysis form that differs from
Scene Analysis is the column titled "Visual Effects." These effects, such as racked focus, red light flashing, blue lights from instrument panels, and "view screens" help tell the story. Specifically, racked focus draws the eyes of viewers to a particular character or section of the screen in several cases. Racked focus draws the eyes of viewers to a particular character or section of the screen by making that section clearly in focus and leaving the "unimportant" part of the picture blurred. Also, a blue light is often used to highlight the face of Spock
(whom Stiles believes to be a Romulan sympathizer). Scene & Aesthetic Analysis 44 Audio Effects
Related to visual effects, audio effects also help tell the story. The two categories of sound are diegetic and non-diegetic. Diegetic sound occurs within the context of the story. Common diegetic sound is the voice of someone offstage or a siren blaring. Non-diegetic sound is added "for effect." Common non-diegetic sound is background music.
Diegetic sounds are used extensively by Roddenberry to heighten the attention of viewers. One of the most common is that of the "red alert" siren which is used in conjunction with the "red alert" lights to signal impending danger.
This chapter shows the application of Narrative Analysis, Scene Analysis, and Scene and Aesthetic Analysis. :It also shows the similar and diffent types of information that can be chronicled by using each. The question remains: can any one tool of analysis tell the entire story that the creator of a program is trying to tell? The next chapter of this work will attempt to answer that question. Scene & Aesthetic Analysis 45
CHAPTER FIVE CONCLUSIONS
RESEARCH QUESTIONS
Chapter Three raised several questions. Is there a single method of
analysis that allows a researcher to find what the creator of a television
production is trying to tell the audience? Can narrative analysis, scene analysis,
or scene and aesthetic analysis tell the whole story and lead the researcher to
this preferred meaning? Finally, can any one tool of analysis tell the whole
story? Again, this study looked at "Balance of Terror'' because it was an episode
about which Roddenberry made his intentions known (Asherman, 1989) which
allows the researcher's work to be verified.
Chapter Four chronicled the application of each of the aforementioned
methods of analysis as applied to "Balance of Terror." This chapter will include discussions of those applications and present some of the researcher's opinions on the usefulness of each method of analysis previously discussed.
NARRATIVE ANALYSIS
Does Narrative Analysis tell the whole story and lead the researcher to the meaning the producer envisioned for the program? It does not. If researchers, or viewers, looked solely at the aspects of "Balance of Terror" through Narrative
Analysis, they would see three storylines that intertwine and help with the telling of each other. They would also probably assume that the show was about
Angela's failed attempt to wed, or about the dispute between the Romulan
Commander and Kirk, or even Stiles' mistrust of Spock. There is little in the Scene & Aesthetic Analysis 46 dialogue to show the desire to discuss racism on Planet Earth in 1967. The third storyline does contain a speech by Kirk, to Stiles, about prejudging people based upon their appearance. If viewers paid attention just to the narrative, they would probably think that the intention of Kirk was simply the dispelling of Stiles' notion that Spock is a Romulan sympathizer. This is not the case. In fact, as
Asherman (1989) wrote, the entire purpose of the episode was exposing the ignorance and illogicality of racism in general.
SCENE ANALYSIS
Does Scene Analysis tell the whole story and lead the researcher to the preferred meaning? The evidence shows that it does not. Scene Analysis has much the same trouble describing the preferred meaning of a program. Even the coding of functions of scenes are suspect without the consideration of the composition of shot, lighting, framing, blocking, and visual and audio effects. If, for instance, the way in which Roddenberry framed Uhura were not considered, some scenes would be coded differently. Also, scenes in which Kirk converses with Stiles, on subjects other than his suspicions, would not be coded as supplying information about storyline three - or racism - even though Uhura is framed on the intersection of the rule-of-thirds lines. The framing of Uhura on this intersection draws the viewers' eyes to her.
Television is a complex medium that allows multiple things to be happening at once. The simplest example of this is the simultaneous presentation of audio and video. This being the case, creators can easily Scene & Aesthetic Analysis 4 7 present one idea visually and another aurally. Here, again, the example of
Uhura's being framed in almost all of the shots with Kirk and Stiles can be used.
In addition, the shots in which Uhura is not shown, Sulu usually is. It does not matter what Kirk and Stiles are discussing - there is usually an ethnic minority in the shot.
SCENE & AESTHETIC ANALYSIS
Does Scene & Aesthetic Analysis tell the whole story and lead the researcher to producer's meaning? It is more complete than either Narrative
Analysis or Scene Analysis. It allows the researcher to look at more of the technical aspects used in producing a television program. For instance, lighting can play a large role in setting mood or giving clues to the outcome of a scene
(Zettl, 1990). Framrng and blocking can suggest that something more than the obvious is happening (Zettl, 1990). Visual and audio effects can add to suspense as well as providing additional information (Zettl, 1990).
Functions
This researcher suggests an addition of a function to those used in Scene
& Aesthetic Analysis (as well as to Porter's Scene Analysis). The function added should be T4 - or transition/connection. The addition of this function is because of several scenes the classifications of which were problematic with the functions
Porter (1993) supplied. For example, the fourth scene shows miscellaneous crew members running down a corridor. While this scene could be, and was, coded as providing relief (T1) or emotional ambiance (T2), it does neither - it Scene & Aesthetic Analysis 48 does allow a transition from the chapel to the bridge. Further, several scenes merely show the Enterprise moving through space. These, too, could be classified as T1, but they do not provide relief - they merely connect one scene with the next. These scenes could also be coded as S 1, but the scene is already set so that need has been met.
Lighting
Although the appearance can be that lighting was not an important tool in
"Balance of Terror," it was used to show distress and to build suspense. Of the twenty-nine scenes with chiaroscuro lighting, twenty-four come in the second half of the show and two of the five that do not are the scenes directly preceding the halfway point. The significance of this is that the suspense level builds as the program develops. Those scenes that do not serve exclusively to build suspense show the distress of the battle between the Enterprise and the
Romulan Warbird. For example, the first scene with chiaroscuro lighting shows the Command Center of Earth Outpost 4 as dimly lit - showing damage & highlighting fires created by the Romulans weapon.
Framing & Blocking
Roddenberry used framing to develop the issue of racism. As noted in the previous chapter, twenty-one scenes use the Bridge as a location. In several of these scenes, Kirk is conversing with Stiles; yet, Uhura in framed on the upper right intersection of the rule-of-thirds lines behind Kirk. This helps the researcher understand that the discussion of prejudice has a wider meaning than only Kirk Scene & Aesthetic Analysis 49
reprimanding Stiles for jumping to a conclusion about Spock.
The dramatization of racism also explains why, although Uhura and Sulu
. do not appear to be principles in any of the storylines, they appear in eleven and
eighteen scenes, respectively. Scene and Aesthetic Analysis suggests that they
are seen in shots with Stiles because they are "reinforcing" the notion that all
peoples should be accepted on the merits of their abilities and not prejudged
because of their colors or ethnicity. Sulu (an Asian American) is in fifteen
scenes - usually in the background when Stiles looks at Spock. Uhura (an
African American) is in eleven - usually in the background while Kirk talks to
Stiles or Spock. Finding bridge officers that were minorities may not seem
significant to a researcher in the 1990's. However, since Roddenberry produced
Star Trek during the 1960's and "Balance of Terror" in 1967 he had to use
covertness in discussing racism (Whitfield & Roddenberry, 1968).
Vectors were also used to draw attention to Uhura and to the view screen.
The vector most often used to point to Uhura was the shape of the counter at which she and Spock sat. The counter created a line that draws the eyes to her.
The vectors drawing attention to the view screen are similar - they are guardrails on either side of the screen. Another vector that Roddenberry used was a combination of a blue light and an index vector. This effect emanated from a small view screen used by Spock. The blue light shown on Spock's face. The shape of the screen made an arrow that pointed to him.
Roddenberry used blocking in much the same way as he did framing. Scene & Aesthetic Analysis 50
Whenever Kirk moves around on the bridge, Uhura, Sulu, or another minority is in the shot with him. The only times when this is not the case is when Kirk is shown in a close up. For example, when Kirk enters the bridge in scene six,
Uhura is the first person seen - when Kirk walks around in front of Stiles, Sulu is shown to the left of Stiles. There is also a scene (13) in which a Native American takes Stiles' position as he, Kirk, Spock, and Sulu leave the bridge for the briefing room.
Visual & Audio Effects
Roddenberry maximized the use visual effects in "Balance of Terror."
This is especially true for the era in which the episode was produced. The opening shot of the program is of the Enterprise - a space ship. To accomplish this illusion, the creators had to build a miniature of the ship and shoot it on a glass surface with "stars" under and behind it (Whitfield & Roddenberry, 1968).
There were no computer-generated effects.
The most used visual effect in "Balance of Terror," and the entire series was the "viewing screen." An outside "company, know as an "optical house" made the screen up by combining two shots. The staff of Star Trek would shoot the empty viewing screen. They would then shoot whatever the audience was to see on the screen. Both pieces of film would go to the optical house where they would be put together (Whitfield & Roddenberry, 1968). The viewing screen was important to this episode as it is the only place from which the officers of the
Enterprise could see the Romulans. Had the Romulans not been seen, the Scene & Aesthetic Analysis 51
discussion of racism would have been more difficult - in fact, Roddenberry would
have had to devise another vehicle for introducing the subject.
Another visual effect used was the "explosion" of the weapons fired by the
crew of the Enterprise. As can be seen in slow motion, filming a camera bulb as
it flashed created the effect. Also created by light, were the "Red Alert" signals -
simply flashing red lights.
The audio effects used in "Balance of Terror'' are quite simple. There
were sounds of intercom communication, "Red Alert" sirens, and weapons fire.
There was also extensive use of nondiegetic music to create moods.
CONCLUSIONS
Since ihe contention of this work is that the meaning the original author
had in mind is very important (as that is the reason for the existence of the work
in the first place), finding a method of discovering that intended meaning is
essential. While Scene & Aesthetic Analysis is more complete than either
Narrative Analysis or Scene Analysis, it alone cannot tell the whole story. A
researcher who wants to get to the creator's meaning of any television story must
use multiple methods of looking at it.· Most television dramas, science fiction or
otherwise, have more than one story being developed during an episode. The
meaning a creator meant for the program may not be known - it is the contention
of this work that researchers must, therefore use all the tools at their disposal to determine that meaning. This may even require creating new tools or combining
pre-existing ones. While no one tool of television analysis tells the whole story Scene & Aesthetic Analysis 52 and leads the researcher to the producer's original meaning; there are, tools that are more useful than others.
SUGGESTIONS FOR FURTHER RESEARCH
Can anyone find a method of television analysis that tells the whole story?
Research to find such a method should continue. Continued research on all areas of Scene & Aesthetic Analysis may help. Perhaps the answer is in combining even more methods than this work has attempted. Another question that needs investigation is: Would the addition of a T4 function aid in the research of programs? This researchers believes that it may well keep future critics from forcing the application of a function that does not fit as well as a . simple transition, or connection, would. Does Scene & Aesthetic Analysis work as well, or better, when applied to more recent television series? Is it more useful when applied to non-episodic television? There certainly should be research to attempt the answering of these questions.
Certainly as Newcomb (1987) wrote, television is worthy "of study not only because it is a new 'form,' a different 'medium,' but because it brings its massive audience into a direct relationship with particular sets of values and attitudes"
(614). Television is one of the most powerful media and most popular art forms
(Newcomb, 1987). It is also one of the largest businesses of our era (Burns,
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Zettl, H. (1998). Video Basics 2. Belmont, CA: Wadsworth. APPENDIX ONE CODES FOR FUNCTIONS OF SCENES 51: Setting P5: Introduction [Revelation] of Plan P14: Plant P6: Continuation of Plan P15: Foreshadowing C1: Introduction of Character P7: Presentation of Opposing Force C2: Character Development PB: Conflict Clarification T1: Relief C3: Development of Relationships P9: Continuation of Conflict T2: Emotional Ambiance P10: Complication T3: Thematic Presentation P1: Exposition P11 : Confrontation P2: Presentation of Disturbance P12: Crisis [Climax] P3: Introduction of Dramatic Question P13: Resolution P4: Searching for Plan
SCENE# STORY LINE CHARACTERS LOCATION FUNCTION
en (") CD ::J CD QO )> CD en,..... ::T ,.....CD c5· )> ::J !l) '
SCENE# STORY LINE CHARACTERS LOCATION FUNCTION 1 ALL - - - Space - Exterior of Enterprise 1 S1 2 1,22 Unidentified crewman, Misc. crew, Scotty, Kirk, McCoy, Rand, Chapel C1 [Angela & Robert], P2 Angela, Robe11, Misc. crew 3 2 Misc. crew Corridor T2 4 2 - - - Space - Exterior. S1 5 2,3° Kirk, Uhura, Spock, Stiles, Sulu, Scotty, McCoy, Angela, Robert, Bridge C1 - Stiles, P10 5a Misc. Crew Corridor 5b Bridge 5c Sickbay 5d Weapons control room 5e Bridge 5f Weapons control room 5g Sickbay 5h Bridge 6 1 Anoela & Robert Weapons control C3,P15 7 1,2 Angela & 4 unidentified weaoons officers Weaoons control T2 8 2,3 Stiles, Sulu, Kirk, Uhura, Spock, Hansen, & Extras Bridge Story line #1: C1 - Hansen, P10 (/) () Story line #3: P2 (I) 9 3 Spock, Stiles, Sulu, Kirk, Uhura Bridge P11 ::, (I) 10 2 Sulu, Kirk, Scottv Bridoe P6 11 2 - -- Exterior - Space T2 Qo )> (I) 12 2 Romulan Commander, Unidentified Romulan Crewman, Centurion, & Bridge of Romulan Warbird P8 CJ> 12a Decius. Space - Exterior. ::,..... 13 2 Exterior Soace pg (I) .....,:;-
1 Unless otherwise specified, all locations are aboard the Enterprise. For instance, "Chapel" means the Enterprise's chapel & "Bridge" is the Enterprise's chapel. ::,► 2 Since everything the Romulan Commander does affects Angela, most of the scenes could be coded as relating to story lines 1 & 2, but they will only be so coded if they directly !l) involve Angela or Robert. '< CJ> 3 Since most of what happens on the bridge alludes to Stiles' prejudice, most of the scenes coded as relating to storyline 2 could be coded as also relating to storyline3, but they will c;;· only be so coded if they directly involve Stiles. CJ1 co SCENE# STORY LINE CHARACTERS LOCATION FUNCTION 13a Kirk, Sulu, Stiles, Spock, Uhura, Scotty Enterprise Bridae 14 2,3 Spock, Stiles, Scotty, Sulu, Kirk, & McCoy Briefing room Story line #2: P4, PB Story line #3: P11 15 2 Kirk, Sulu, & unidentified crewmembers. Corridor T2 16 2 Kirk, Sulu, Stiles, Spock, & Uhura. Bridae P6 17 2 Romulan Commander, Centurion, Decius, & Unidentified Warbird Bridge pg crewmembers. 18 2 Sulu, Stiles, Spock, Kirk, & Uhura. Bridge P10 19 1, 2 Robert, Unidentified crewmembers Weapons control room. Story line #1: P14 Storv line #2: P6 20 2 - - - Exterior P6 21 2 Romulan Commander, Centurion, & Unidentified Romulan Warbird Bridge pg crewmembers. 22 1, 2 Spock, Kirk, Sulu, Stiles, Unidentified crewmembers. & Yeoman Bridge Story line #1: P14; Rand. Story line #2: P10 23 1 Anaela & Robert. Weapons control room P15 24 2 Kirk & Spock Bridae P6 25 2 - - - Exterior T2 26 1,2 Romulan Commander, Centurion, Decius, & Unidentified Warbird's Bridge pg crewmembers. 27 2 Stiles, Spock, Kirk, Sulu, & McCoy. Bridae PB 28 2 - -- Exterior P6 29 2 Romulan Commander, Centurion, Decius, & Unidentified Romulan Warbird Bridge T2 crewmembers. 30 2 Stiles, Sulu, Kirk, Uhura Bridae P10 31 2 Romulan Commander, Decius, Centurion, & Unidentified Romulan Warbird Bridge P15 crewmembers. 32 2 Kirk, Sulu, Stiles, & Soock. Bridge P10 33 2 Exterior Space, S1, (/) 33a Kirk, Soock, Sulu, Stiles, & Uhura. Bridge P6 0 CD 34 2 Decius, Romulan Commander, & unidentified crewmembers. Warbird Bridae pg ::::, 35 2 Kirk & McCoy Exterior Space, S1, CD 35a Kirk's quarters. T2 Qo 36 2 Exterior space, S1, )> 36a Soock, Kirk, Stiles, & Sulu. Bridae pg CD pg .....en 37 2 Decius, Romulan Commander & Unidentified Romulan. Warbird Bridae -=s 38 2,3 Kirk. Stiles, Silock, & Sulu. Bridae pg CD..... 39 2 - - - Exterior space pg ff 40 2 Decius, Romulan Commander, & several unidentified crewmembers. Warbird Bridae P10 )> 41 2 Kirk, Soock, & Misc. bridae crew. Bridae P12 ::::, 42 2 - - - Exterior space. T2 Q) 43 2 Decius, Romulan Commander, & unidentified crewmembers. Warbird Bridae P10 ' (/) C') (D ::J (D Qo )> (D (/) .-+ :,- CD .-+ ff )> ::J ID '< (/) cii" ...... 0) APPENDIX THREE NARRATIVE ANALYSIS PROGRAM: _____ EPISODE: ------STORY LINE (by order of appearance and name of protagonist): ____ CHARACTERS OUTER MOTIVATION OUTER CONFLICT INNER MOTIVATION INNER CONFLICT PROTAGONIST NEMESIS {ANTAGONIST} REFLECTION ROMANCE (/) C') CD ::J CD Qt) Cl)~ .-+ :::T CD c=;·.-+ )> ::J D) ~ ci3" 0) "' APPENDIX FOUR NARRATIVE ANALYSIS PROGRAM: STAR TREK EPISODE: "Balance of Terror" STORY LINE (by order of appearance and name of protagonist): · 1 - Angela CHARACTERS OUTER MOTIVATION OUTER CONFLICT INNER MOTIVATION INNER CONFLICT PROTAGONIST To marry Robert. The fight with the Angela Martine Romulans has postponed, and will eventually cancel, the wedding. NEMESIS Engage an Earth Captain Kirk, Earth, {ANTAGONIST} starship to test the and the entire crew of Romulan Commander military strength of both the Enterprise are the Earth and trying to stop him. Romulus. REFLECTION "Normalize" the The Romulan (/) Captain Kirk situation with the Commander is trying to C) CD Romulans. engage the Enterprise :::J CD to test the military Qc) strength of both the ► Earth and Romulus. CDen ::,-r-+ ROMANCE To marry Angela. The fight with the CD Robert Tomlinson Romulans has o·r-+ postponed, and will :::J► eventually cancel, the Q) wedding. ' CHARACTERS OUTER MOTIVATION OUTER CONFLICT INNER MOTIVATION INNER CONFLICT PROTAGONIST Avoid war & learn Engage the Romulans Save the Earth, the Either choice he Captain Kirk about the Romulans. in a battle or retreat. Enterprise, and the makes could result crew. in war. NEMESIS Engage an Earth Captain Kirk, Earth, Duty Does not feel that {ANTAGONIST} starship to test the and the entire crew of having the greater Romulan Commander military strength of both the Enterprise are firepower is a valid the Earth and trying to stop him. reason to provoke Romulus. war. REFLECTION Help Kirk avoid war & Assist Kirk in engaging Loyalty to Kirk and the The Enterprise's crew learn about the the Romulans in a Earth. Romulans. battle or in retreating. ROMANCE Loyalty to Kirk ------en Yeoman Rand (") (I) ::J (I) Qo (I)► .....rn -::J" .....(I) c=;· ::J► Ill ' ~ CHARACTERS OUTER MOTIVATION OUTER CONFLICT INNER MOTIVATION INNER CONFLICT PROTAGONIST Avoid war & learn Assist Kirk in engaging Logic! Realizes he Spock about the Romulans. the Romulans in a resembles the battle or in retreating. Romulans but cannot, logically, comprehend the prejudice of Stiles. NEMESIS Avenge ancestors' Captain· Kirk, Earth, Several ancestors Spock looks like a {ANTAGONIST} deaths. and the entire. crew of where killed in the war Romulan causing Stiles the Enterprise are with the Romulans Stiles to distrust, trying to stop him. 100 years prior. fear, and, generally, be prejudiced against him, yet Spock is a superior officer. en C') CD REFLECTION Avoid war & learn Engage the Romulans Needs to help Spock The prejudice of :::::, Kirk about the Romulans. in a battle or retreat. and Stiles resolve this Stiles. CD Qo issue so the three can go about the business ?r;- ~ of avoiding war and :,- learning about the -CD,r Romulans. )> :::::, ROMANCE ------Q) 63ur CJ) C.TI APPENDIX FIVE CODES FOR FUNCTIONS OF SCENES S1: Setting P5: Introduction [Revelation] of Plan P14: Plant P6: Continuation of Plan P15: Foreshadowing C1: Introduction of Character P7: Presentation of Opposing Force C2: Character Development PS: Conflict Clarification T1: Relief C3: Development of Relationships P9: Continuation of Conflict T2: Emotional Ambiance P10: Complication T3: Thematic Presentation P1: Exposition P11 : Confrontation P2: Presentation of Disturbance P12: Crisis [Climax] P3: Introduction of Dramatic Question P13: Resolution P4: Searching for Plan SCENE STOR CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # Y LINE EFFECTS EFFECTS (/) (') (1) ::J (1) Qo )> (1) CJ) :::,- -(1) -c=;· )> ::J !l) ' SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS 1 ALL - - - Space - S1 XLS - Enterprise > Flat Extra leadroom Enterprise - Star Trek Exterior of XCU - Enterprise enters from left theme2 Enterprise 1 & moves through the shot 2 1,23 Unidentified Chapel S1 XCU - Unidentified Flat Unidentified Camera Racked "Mood" crewman, Misc. crewman> crewman is in the zooms out to focus on music crew, LS - Chapel foreground long shot crewman. & follows unidentified crewman as he moves through the chapel 2a Scotty, Kirk, C1 [Angela MS - Scotty> McCoy, Rand, & Robert], MS - Scotty & Kirk > Kirk walks into Angela, Robert, P2,P3,P15 shot with (/) Misc. crew Scotty. (") MS - Kirk> Kirk walks out. (D ::J MS - Kirk & McCoy. Walks into (D shot with Qo McCoy. LS - Kirk & chapel > Spock"s )> voice as (D CU - Kirk> Though chapel (/) through the ,-+ to Com. Panel. ::J"" intercom (D speaker ,-+ MCU - Kirk & XLS - Scotty, Angela, & Racked 0· )> ::J 1 Unless otherwise specified, all locations are aboard the Enterprise. For instance, "Chapel" means the Enterprise's chapel & "Bridge" is the Enterprise's chapel. !l) 2 Unless otherwise specified, all music is non-diegetic. '< (/) 3 Since everything the Romulan Commander does affects Angela, most of the scenes could be coded as relating to story lines 1 & 2, but they will only be so coded if they directly c;;· involve Angela or Robert. CJ) -.....J SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS Scotty, Angela, & Bridesmaid are Kirk moves left focus on Bridesmaid > shown in the to reveal Kirk. extreme Scotty, Angela, background & Bridesmaid. MLS-Kirk Kirk is behind Kirk moves to podium with behind podium. Yeoman Rand behind him MS - Scotty, Angela, & Bridesmaid Scotty & Angela walk in Angela & Robert to"alter'' are facing Kirk with their backs to us CU-Angela CU - Kirk & Rand. Angela kneels Rand is giving CU -Angela> Kirk a "longing" CU - Angela & Robert. look "Condition CU - Kirk & Rand. Angela stands red" siren & CU - Angela & Robert. Voice over MS - Kirk, Rand, Angela, & Robert. XCU - "Condition red" "Condition Spock's voice as light & Comm. Panel. red" light LS - Chapel> through the intercom Kirk runs speaker MS - Kirk & Scotty. around group C/J (") to comm. CD Scotty behind & Panel :J below Kirk - other CD LS - Chapel. crewmembers in Qo background )> LS - Angela & Robert Scotty leaves enCD first, followed :::; by Kirk -CD Angela & Robert leave -er holding hands )> :J 3 2 Misc. crew Corridor T2 LS - Corridor. Flat Misc. crew "Condition "Condition !l) running red" light red" siren & Voice over ' 4 Since most of what happens on the bridge alludes to Stiles' prejudice, most of the scenes coded as relating to storyline 2 could be coded as also relating to storyline3, but they will ~ only be so coded if they directly involve Stiles. cii' CJ) co SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS face LS - View screen. "Star sectors" & "Neutral zone" are CU - Kirk. put on view CU - Spock. screen LS - View screen. Enterprise' s position Ech? ~dded is added to 1° Kirk s & view S~ock"s Cu - K.irk, L S - Uh ura. K"Ir k nea_r ng. ht ["in scr~en_ as theyvoices are as a CU) with Uhura a blinking speaking to in an LS upper light the entire 5a Corridor LS - Corridor. left ship. The 5b Bridge CU - Kirk. echo is CU _ Spock. removed LS - View screen Enterprise's when they . . bli are shown V1ew screen 1s no P speaking on longer shot OTS appears to the Bridge close in on the "Neutral zone" enI I I LS - Stiles & Sulu. Stiles is in the near left [in a CU) 1 Qo ~~~~~~ I LS upper right :t> Kirk is in the : CU - Kirk. extreme ..... :::r foreground with , Uhura in r-+: background [K/U) ' )> ::J 5c Sickbay MS - McCoy & 2 !l), medical officers. 5d Weapons MS - Angela, Robert, & 1 control room 2 unidentified 1 ~ 0 SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS crewmembers. 5e Bridge K/U CU - Spock. CU - Kirk. CU - Spock. XCU - Kirk. LS - View screen. CU - Spock. 5f Weapons XCU - Kirk. control room LS - Stiles & Sulu. 5g Sickbay MS -Angela, Robert, & 2 unidentified 5h Bridge crewmembers. MS- McCoy & 2 medical officers. XCU - Kirk. Kirk stands > XCU - Spock. K/U Crosses to XCU - Kirk. Stiles is the Sulu > "mysterious" CU - Kirk> foreground, Sulu music LS - Stiles, Sulu, & Kirk in the middle, & begins > Kirk in the background. Music stops Moves to in front of Stiles MS - Kirk> MS - Stiles & Kirk. (/) XCU - Kirk. OTS from Kirk to XCU - Stiles. Stiles. XCU - Kirk. Kirk, with his back Music XCU - Stiles. to us, is in the returns Qo XCU - Kirk. foreground, Stiles ~ & Sulu Music fades LS - Kirk, Stiles, & ..... Kirk walks out out -::,- Sulu. of the shot LS - Spock, Uhura, & ...+: Kirk. Spock left-center, Kirk walks into )> Uhura left-rear, & the shot LS - View screen. Kirk ·right-center Enterprise' s blip C/) appears to cii' --..J ->,. SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS be closing more XCU-Spock. rapidly on Sulu's voice XCU- Kirk. the calling XCU-Spock. "Battle "Neutral stations· & LS- Spock, Uhura, & Kirk crosses to zone" sound of Kirk. Captain's chair "red alert" CU - Kirk. K/U & sits siren MS - Stiles & Sulu. Stiles is in the foreground with Sulu in the background CU- Kirk. K/U XCU-Spock. XCU-Kirk. Sulu leans MS - Stiles & Sulu. Stiles is in the toward floor to foreground with push intercom Sulu in the switch background XCU- Kirk. MS - Stiles & Sulu. Stiles is in the extreme foreground with Sulu in the background 6 1 Angela & Weapons C3, P9, MS-Angela> Flat Extra lead room "Red alert" Robert control P15 siren & Stiles' voice MS - Angela & Robert. Robert walks over en into shot, leans MS-Angela. OTS from Robert into Angela MCU - Robert > OTS from Angela MS-Angela OTS from Angela po as Robert walks ~ out of the shot I.... :::T 7 1,2 Angela & 4 Weapons T2 MLS - 4 unidentified Flat The 4 unidentified "Red alert" ....' unidentified control weapons officers weapons officers siren ,:;- weapons are shot in profile, officers )> in a straight line :J proceeding away ll) from the camera MS-Anaela ~oo· --.J N SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS 8 2,3 Stiles, Sulu, Bridge Story line CU - Stiles. Flat Stiles is shot in "Sensor'' Kirk, Uhura, #1: C1 - profile with Sulu in bleeps Spock, Hansen, C2 the background through out Hansen, & - Stiles, P9, LS - Spock, Kirk, & Spock is in front scene Extras P10, P15 Uhura > with Kirk in the Story line middle & Uhura in Kirk crosses to #3: P2, the rear Spock then P15 walks out of the shot> MS - Kirk. Camera follows Kirk as Hansen's he crosses to voice over Captain's chair with static & CU - Stiles. With Sulu in the breakup background MCU- Kirk. Extra leadroom MLS - Spock> MLS - Spock & Uhura Kirk is in the > extreme Spock crosses CU - Kirk, Spock, & foreground with to Uhura Uhura. Spock & Uhura over his shoulder. Static worsens Stiles is shot in As Hansen's CU - Stiles with Sulu. profile with Sulu in voice over the background. continues. Kirk is in the CU - Kirk, Spock, & extreme Uhura. foreground with en ("') Spock & Uhura Music fades CD over his shoulder. in as ::, Chiaroscuro -- View screen is Hansen & Hansen CD LS - View screen. , Command shot from Kirk's the dissolves in. !tO Center is perspective, over command )> dimly lit CD the shoulders of center for (/) showing Sulu & Stiles. Outpost 4 ::,-..... damage & dissolve CD highlighting into the ..... fires view ff )> CU - Stiles with Sulu. Kirk is in the screen. ::, CU - Kirk, Spock, & foreground with There is Ill Uhura. Spock directly fire around '< over his shoulder him. enu;· & Uhura in the -...J (,.) SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS background {she is seen between their shoulders}. Music fades out Still OTS of Sulu LS - View screen with & Stiles. Hansen in an MS center screen. XCU - Kirk. XCU- Spock. Same framing as CU - Stiles with Sulu. before. CU - Kirk, Spock, & Uhura. LS - View screen with Hansen in an MS on the screen. Music fades XCU - Kirk. up under XCU- Spock. "switching" XCU- Kirk. sound. CU - Stiles with Sulu. CU - Kirk, Spock, & Uhura. Hansen dissolves LS - View screen. out as "space" dissolves in -- Romulan (/) "Warbird" Music dissolves increases in Kirk & Spock in in. volume CU - Kirk, Spock, & front with Uhura in Uhura. background. Qo )> LS - View screen Warbird in :,-,-+ upper CD center of ,r,-+ view )> screen. Sounds of explosions. ::::J !.U CU - Kirk, Spock, & Uhura. en LS - View screen. Warbird ui" --.J ~ SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS "fires" a weapon that looks to be a spreading red jelled light. Picture within view XCU - Kirk. screen XCU - Spock. cuts to Music fades CU - Uhura. Hansen & to under, CU - Stiles with Sulu. the scanner command sounds post being return. LS - View screen. destroyed. Blue light Music fades flashes out. across the faces of Music the crew returns as as we see Spock them announces reacting to that the the sight of outpost was Hansen's destroyed. fate. "Sensor" Warbird noises fades out. increase CJ) C) XCU - Kirk. (D LS - View screen. ::J XCU - Kirk. (D Qo rn~ r+ :::r (D r+ Spock is near left, o· LS - Bridge> Kirk is center {on )> ::J all three axis}, tu Stiles is center '< right, rn cii" -.J u, SCENE STORY CHARACTERS LOCATION FUNCTION SHOTS LIGHTING FRAMING BLOCKING VISUAL AUDIO # LINE EFFECTS EFFECTS Kirk crosses to MS - Kirk. Spock. XCU- Spock. Stiles is center MS - Kirk. right behind Kirk. XCU - Spock. MS - Kirk. "Empty" LS - View screen. space is shown on the view MS - Kirk. screen. LS - View screen. MS - Kirk> Uhura is shown in Kirk crosses to MS - Kirk & Spock. the background . Spock (again) XCU- Spock. XCU - Kirk. XCU- Spock. XCU - Kirk. XCU-Spock. XCU - Kirk. XCU-Spock. XCU - Kirk. XCU- Spock. Sulu is behind & CU - Stiles & Sulu. right of Stiles XCU-Spock. Kirk turns & XCU - Kirk. leaves the Suspenseful shot. Music en MS - Stiles and Sulu > Kirk enters the begins. MS - Stiles, Sulu, & shot & walks in Kirk. front of Stiles & Sulu to the end ~ Music stops of the control & "radio" ~ panels. sounds start. CU - Stiles...... en ~ CU - Kirk...... Cl) CU- Stiles. ff CU - Kirk. )> :::::, CU - Sulu. ID MS - Stiles, Sulu, & Kirk crosses to Kirk> en captain's chair Suspenseful OTS from Stiles & sits. w· --..J 0) Scene & Aesthetic Anal SIS 77 o? =R qH EE E€ - .9?q'6, E:E 3 {b-2 6E>h e*Ege EgIs : €o I *-,O-v o o Ivu o E c O z o O'T co-oo oU' h g E E* =o o 6; sR6 3a o b6 a 6t o K.o- aO J JO o-y trl .= o- -aE YA #,Eg5EE cra EJ Eoc E '=oc o aia *xh F;EF z_ .coh=.==i$: ge€ ESbE EEEHE ;p: EE:P tr F= FEPa LL is bEx.!&EeH Es; -Fs= vr-i,- rv ?o oJJ o oz tr o = j=i ooooOCOO a v YO F €g A=n9== -y:j 6 A -v U) o € .; ,; ; ci 8 a g :E Ee; :a:a E a aa $=$=$s$:sgHEsEsE-gca -;; >=g Y , Y @ 6=6g.aYaaYa@) Y:f Y I - =| ttttttttrtaltllllll ' A) t :) l a f f :f :)f f (n f I f :) f :)f f ==a E #9 2 3 P 3 z o tr Oz l IL z o tr () o J @u tU F- C) E O Scene & Aesthetic Anal sis 78 o9- U, .s€ q8 'sE b, g F.e Fe.= be .a 9y {b €E 6V>h flm A-J a (, oo-: z Ee H s E*Eo o!'= : a#--E C) E ^,o aEu* * s .c,;: E t 3 Pb.=*',o- o= - EEfEESs J dl g g;,8.H eEggta#$EEE;eaE*;g 5EU E E L. gF oc EE EorI oL- EE d E o E AU i b';You hga*€Hs6 clg J ?i O g fit z qiagut* fisg;tiE ? 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() -tl-L 3a AFE=l'E o aof! t .:t .y'o5 E.= =(D .-aJ-l-.- e O E5b Y(f)= ) ,,, N c\| 67l-r a IU z rO (o uJ +t aO Scene & Aesthetic Analvsilvsis 85 oP od L 9 F gE E :e a ?F o g;*e gI o r* ,a E u.e Sfi {b PtreEueEB=e 6E g E -:= 8E:= "s >h coo b ob6= EA o ;E EE z E.8 i.9..8 E o= = o E I E H P,f gs J E 8-o H'== o b o o R6I E E 5 5E StuS 8E 6 o 2b z EPb6=e €EES*E+gHEEEfgg oi tr g;g (gE F tr E EE I LL I s*€ 9'6 geEE€ E() SgEEE Efis * E a(o o? o o z C=R F Ch tr -+rL- E UE S I -v J fi tLE€ $ ;.Y; U; ot- ; o;L: 1) a b,!6 c ,A -E.9 6v6 (o .9 F *_L FfrI o * o I *E 8 E a o-J 5E E EIE€ 6-Y = OI o 6..= i=.= o.==-Y f, o-cD Fe?e€LL- aYQY Y @a I E=o)E O ? g6?=E}E sE -,5 | I sE j r | | | r | A f I EEE33gBE3=ds 355E g Q 3sE EggsE z o tr o) oz TL =lJ- z o tr .(f, (J Eg o FP J =6 o @t t'r- Fl.U F xB C) c E E o F.=="o# ;Z P u. tr=tE==oc tr c cr.Y oooo.9 = C) EOOO] O ) ,,, 67 N a LU z F.- r.u *t Oa Scene & Aesthetic Anal SIS 86 o o b- '6n ,6 o9 T., E o.9 F c]() .9a beE=tt o 5';=E EFp9P r LIJ b L Agd€Hn$ @o -L arr O E .S o o=oo -v z ?,t Eb " od n8 E SEEn eeS€ NE Oo J 9*rtes:EFu tE: d) gEEgS€ 'I *,a #g E H BEfsE*EEs Y.E € ;€ oz gte' Ef,fi -e i.s E, '9-X lJ- = RE FEe 6ro o o ()f z o tr o (9 .g = O €- b; o c a rt= T) o T 6 6E F iF.E d C! Hn n X.EEE. o E It -vo a € EE}E€ oE 30 o g () oo. o. B=A E6? 4E >a o cn >a> =a A I q'6i, r' I ='.'jrr, l\1 F.: a @ TE=E5 E= 3g J EE 333 E€ z o tr o zO (L f tl. z o tr o o) oO E J co U) oo t ai t-[rJ o.= O :=V t 3re =o=o--c O aa)= ) ,,, 6Z N a tU z @ |'IJ :TT O a o o9 OU, o qfi E9 o. E.,:crEH€€ ;,, H o ?* a1) 4r t- (tr.@ 2g'i E 5€ EEF dv ggE H3E H 3E >h #EE '€5 o<"9E (, z o=O J co :gigtte;' Hs .-=U,EE F grr otE HsE Hu rE h{ o tE - €- c oz E=E etE EE€EE €oEsg F :EE d '=sO r- cn'= E€EE E= ;EgEEg F;EE b- LL -5 \;= otu c- o:I. I- s FE;$ -) d.g 5EE O(Jrvt 5E€ V.utg;-o6! rLb^tr o () oz tr (! (! E€,3 o- TL TL EEr=b J .'E fi od od b.db U; a o at EEEn F +i o o) Ei'-ef'Egnc g o o o- o E-b ;o -o .o EoR E*oH @ VE o o o- E"uE oEb,88€ F=EE E r\!1u t c o dEb r-,.=Eo o I tu I -frL a I a ;EF iES ;EE5 ? o0E-- J @ J r'=s, -E'=0 a EE= J X 9'=g z o oo N tr .c 1r .E (o O (L f,P z -rbL .; -(C'e'L oi o- f TL ll. CDItTL(/)*i.9_:9ni z E o ?E tr o E o (oE8.p Fg, o o (o.Y J gE x UJ =fi a u. 9, [rJ b€ o fi F eS O =c o o.E o.== =E(tr o .ts-= I- =gb- E. fE=(l.:):fc gs F E EEP E } ocg) OoO-Og) O t=6 doosd b c\ N N l-l ^za '- [rJ z O) o ul :$t c! c\I aO Scene Aesthetic Anal sis 88 € @ o9 E 4n E E o o qH 3s C) Hg EE '6 o (, z C)o tr o (, .g = O oU €€ L o U; ai a; E ooc c ,t E fn -0) o a o E F €FE e, Y;r 6n 6 6 o E F -.;-()*-v o E -Yr- fE* O .=-Y x.= a o 6A E YEYo O flo 58 , A, = I EE.5 EEE Qo , 1u) ! r (l) A.5 a j '(n j', a rEr r€= O_rJ J ltt +. -! J=ar3a 889 9=E JA >6-t XO >6 z o tr EsEe Oz =TL FlFili z o tr o O C') o 'lC J co g Qtr :i;a I LU E di o+J c F ru:ti- F CU O tr.-:.--- 9 F E. 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