Learning Disabilities Research Almost 30 Years of Writing Research
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Any Gods out There? Perceptions of Religion from Star Wars and Star Trek
Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 3 October 2003 Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek John S. Schultes Vanderbilt University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Schultes, John S. (2003) "Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek Abstract Hollywood films and eligionr have an ongoing rocky relationship, especially in the realm of science fiction. A brief comparison study of the two giants of mainstream sci-fi, Star Wars and Star Trek reveals the differing attitudes toward religion expressed in the genre. Star Trek presents an evolving perspective, from critical secular humanism to begrudging personalized faith, while Star Wars presents an ambiguous mythological foundation for mystical experience that is in more ways universal. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 Schultes: Any Gods Out There? Science Fiction has come of age in the 21st century. From its humble beginnings, "Sci- Fi" has been used to express the desires and dreams of those generations who looked up at the stars and imagined life on other planets and space travel, those who actually saw the beginning of the space age, and those who still dare to imagine a universe with wonders beyond what we have today. -
The Human Adventure Is Just Beginning Visions of the Human Future in Star Trek: the Next Generation
AMERICAN UNIVERSITY HONORS CAPSTONE The Human Adventure is Just Beginning Visions of the Human Future in Star Trek: The Next Generation Christopher M. DiPrima Advisor: Patrick Thaddeus Jackson General University Honors, Spring 2010 Table of Contents Basic Information ........................................................................................................................2 Series.......................................................................................................................................2 Films .......................................................................................................................................2 Introduction ................................................................................................................................3 How to Interpret Star Trek ........................................................................................................ 10 What is Star Trek? ................................................................................................................. 10 The Electro-Treknetic Spectrum ............................................................................................ 11 Utopia Planitia ....................................................................................................................... 12 Future History ....................................................................................................................... 20 Political Theory .................................................................................................................... -
George Takei on "Star Trek" by John C
Sulu Speaks : George Takei on "Star Trek" By John C. Tibbetts TIBBETTS INTRODUCTION TO THE INTERVIEW: The second filmin the "Star Trek" series, Star Trek: The Wrath of Khan, is now playing to packed theaters across the nation. The first film, guided by Gene Roddenberry and Robert Wise, was a thoughtfulexcursion into some of the philosophical implications of the original television series. The second film,according to George Takei, is "high adventure" all the way. Shooting began on Stage 9 at Paramount on November 9, 1981; principal photography concluded on January 29, 1982. It was directed by Nicholas (Time After Time) Meyer, scripted by Jack B. Sowards from a story by Harve Bennett and Jack Sowards, and produced by Harve Bennett and Robert Sallin. Needless to say, Mr. George Takei is delighted at the continuing success story of the "Star Trek" franchise.. George is a multitalented performer who, long before he donned the uniform and personna of "Sulu," had demonstrated a flair for the theatre. His first professional job in film entertainment was as a voice dubber forthe classic Japanese science fiction film,Rodan (1957). He appeared before the movie cameras for the first time while a student at UCLA. The film was Ice Palace (1960) with Richard Burton, Robert Ryan and Carolyn Jones. He also debuted on television for an episode of Playhouse 90 at this, same time. Then came many guest shots on other television series, including Hawaiian Eye, Maverick, 77 Sunset Strip, and Adventures in Paradise. The role of "Sulu," the helmsman for the U S. S. -
Harve Bennett Papers, 1968-1977
http://oac.cdlib.org/findaid/ark:/13030/kt3h4nc705 No online items Finding Aid for the Harve Bennett Papers, 1968-1977 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Cheryl E. Clayton and Caroline Cubé UCLA Library Special Collections University of California, Los Angeles, Library UCLA Library Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2004 The Regents of the University of California. All rights reserved. Finding Aid for the Harve Bennett PASC 6 1 Papers, 1968-1977 Finding Aid of the Harve Bennett Papers, 1968-1977 Collection number: PASC 6 UCLA Library, UCLA Library Special Collections > > >Los Angeles, CA Contact Information University of California, Los Angeles, Library UCLA Library Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Library Special Collections staff. Encoded by: Cheryl Clayton, Julie Graham and Caroline Cubé. ©2004 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Harve Bennett Papers, Date (inclusive): 1968-1977 Collection number: PASC 6 Creator: Bennett, Harve Extent: 24 boxes (10.4 linear ft.) Repository: University of California, Los Angeles. Library. UCLA Library Special Collections Los Angeles, California 90095-1575 Abstract: Harve Bennett has many credits as a veteran television producer and writer. -
Star Trek's Fifty Year Mission: an Essay Celebrating a Cultural Landmark
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Star Trek’s Fifty Year Mission: an Essay Celebrating a Cultural Landmark Star Trek’s Fifty Year Mission: an Essay Celebrating a Cultural Landmark Martin Connolly ‘Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange, new worlds, to seek out new life and new civilisations, to boldly go where no man has gone before.’ Star Trek is a half-century old. The first ever episode of the original television series aired on September 8th, 1966. The fifty-minute show (or one hour, considering advertisements), on the NBC network, was entitled ‘The Man Trap’, and concerned an alien predator which disguised itself as human in order to entrap, and kill, its victims. It was science fiction, but science fiction that could appeal to both a younger and an older audience. Cast demographics steered toward the latter: the two main characters (Kirk & Spock) were played by actors who were both thirty-five years old, while the third most important character (McCoy) was played an actor who had only four years to go to reach his own half-century.(1) If younger people might be wooed by the science fiction element, more mature viewers could find plenty to enjoy in terms of pure drama. The dialogue was generally excellent because it was character-centric, and the acting was always of the highest quality. Many of the writers who would contribute to the series already had a -17- reputation for producing thought-provoking sci-fi –writers like Richard Matheson, Theodore Sturgeon and Harlan Ellison. -
The Coalition Does Not Believe That the FISR Must Be Preserved in Perpetuity. Future Changes in the Television Marketplace May W
The Coalition does not believe that the FISR must be preserved in perpetuity. Future changes in the television marketplace may well warrant relaxation of the Rule, and, ultimately, its repeal. That day, however, has not arrived. While the Coalition therefore supports Commission review of the Rule, undertaking a review of the FISR every two years has simply resulted in higher costs for the industry, both in terms of business uncertainty and transaction costs, as parties attempt to adapt to a rapidly changing regulatory landscape. Moreover, marketplace changes of the magnitude that would render the FISR unnecessary are unlikely to occur in a two-year period. Consequently, the Coalition urges the Commission to commit to review the Rule again in 1999. There is nothing to be lost, but much to be gained, from permitting the Commission this additional time to review the consequences of its deregulatory actions. On the one hand, a number of the trends discussed above -- e.g., the increase in in-house production, the reduction in production by small producers -- are continuing ones. It is impossible to determine, at this early stage, when the marketplace will reach some new equilibrium, or what that equilibrium will look like. In addition, once the marketplace has fully adjusted to the new regulatory regime, it will take some time to measure and evaluate the public interest consequences of the changes that have taken place. On the other hand, under a strengthened FISR, the networks will continue to be able to acquire financial interests in programs, subject to the separate negotiation safeguard. This will permit the marketplace to realize any efficiencies associated with network participation in program financing. -
Written by Harve Bennett Participating Writers Jack B
STAR TREK II: THE UNDISCOVERED COUNTRY Written by Harve Bennett Participating Writers Jack B. Sowards Samuel A. Peeples THE WRITING CREDITS MAY NOT BE FINAL AND SHOULD NOT BE USED FOR PUBLICITY OR ADVERISING PURPOSES WITHOUT FIRST CHECKING WITH THE TELEVISION LEGAL DEPARTMENT. This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify script department. Return to Script Department REVISED FINAL DRAFT PARAMOUNT PICTURES CORPORATION 5451 Marathon Street May 24, 1982 Hollywood, California 90038 1 STAR TREK II: THE WRATH OF KHAN MAIN TITLE SEQUENCE (TO BE DESIGNED) FADE IN: 1 IN BLACK 1 Absolute quiet. SOUND bleeds in. Low Level b.g. NOISES of Enterprise bridge, clicking of relays, minor electronic effects. We HEAR as FEMALE VOICE. SAAVIK'S VOICE Captain's log. Stardate 8130.3. Starship Enterprise on training mission to Gamma Hydra. Section Fourteen, coordinates 22/87/4. Approaching Neutral Zone, all systems normal and functioning. INT. ENTERPRISE BRIDGE As the ANGLE WIDENS, we see the crew at stations; (screens and visual displays are in use); COMMANDER SULU at the helm, COMMANDER UHURA at the Comm Con- sole, DR. BONES McCOY and SPOCK at his post. The Captain is new - and unexpected. LT. SAAVIK is young and beautiful. She is half Vulcan and half Romulan. In appearance she is Vulcan with pointed ears, but her sin is fair and she has none of the expressionless facial immobility of a Vulcan. SULU Leaving Section Fourteen for Section Fifteen. SAAVIK Stand by. Project parabolic course to avoid entering Neutral Zone. -
STAR TREK II the WRATH of KHAN by HARVE BENNETT
STAR TREK II THE WRATH OF KHAN by HARVE BENNETT PARTICIPATING WRITERS JACK B. SOWARDS SAMUEL A. PEEPLES MAIN TITLE SEQUENCE (TO BE DESIGNED) FADE IN: 1 BLACK 1 Absolute quiet. SOUND bleeds in. Low level b.g. NOISES of Enterprise bridge, clicking of relays, minor electronic effects. We HEAR A FEMALE VOICE. SAAVIK'S VOICE Captain's log. Stardate 8130.3, Starship Enterprise on training mission to Gamma Hydra. Section 14, coordinates 22/87/4. Approaching Neutral Zone, all systems functioning. INT. ENTERPRISE BRIDGE As the ANGLE WIDENS, we see the crew at stations; (screens and visual displays are in use): COMMANDER SULU at the helm, COMMANDER UHURA at the Comm Con- sole, DR. BONES McCOY and SPOCK at his post. The Captain is new -- and unexpected. LT. SAAVIK is young and beautiful. She is half Vulcan and half Romulan. In appearance she is Vulcan with pointed ears, but her skin is fair and she has none of the expressionless facial immobility of a Vulcan. SULU Leaving Section Fourteen for Section Fifteen. SAAVIK Project parabolic course to avoid entering Neutral Zone. SULU Aye, Captain. UHURA (suddenly) Captain... I'm getting something on the distress channel. Minimal signal... But something... SAAVIK Can you amplify? UHURA I'm trying... SULU Course change projected. UHURA It's an emergency distress call! SAAVIK On speakers! VOICE (filtered, breaking up) Imperative! Imperative! This is the Kobayashi Maru -- nineteen periods out of Altair Six. We have struck a gravitic mine and have lost all power... Our hull is... (breaks up, static) ... and many casualties. UHURA This is the Starship Enterprise. -
"Star Trek" and "Doctor Who"
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1987 A Critical Examination of the Mythological and Symbolic Elements of Two Modern Science Fiction Series: "Star Trek" and "Doctor Who". Gwendolyn Marie Olivier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Olivier, Gwendolyn Marie, "A Critical Examination of the Mythological and Symbolic Elements of Two Modern Science Fiction Series: "Star Trek" and "Doctor Who"." (1987). LSU Historical Dissertations and Theses. 4373. https://digitalcommons.lsu.edu/gradschool_disstheses/4373 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: ® Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
BOOKS by DAVID GERROLD Non-Fiction the World of Star Trek
BOOKS BY DAVID GERROLD Non-Fiction The World of Star Trek The Trouble With Tribbles Fiction Deathbeast The Flying Sorcerers (with Larry Niven) The Galactic Whirlpool The Man Who Folded Himself Moonstar Odyssey Space Skimmer When Harlie Was One The War Against the Chtorr: Book I: A Matter for Men Book II: A Day for Damnation THE WORLD OF STAR TREK® REVISED EDITION Written by David Gerrold in association with Starlog magazine BenBella Books, Inc. Dallas, Texas Copyright 1973, 1984 by David Gerrold All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. BenBella Books, Inc. 10300 N. Central Expressway Suite #530 Dallas, TX 75231 www.benbellabooks.com Send feedback to [email protected] Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 978-1-939529-57-2 The Library of Congress has cataloged the printed edition as follows: Gerrold, David, 1944- The World of Star Trek. 1. Star trek (Television program) 2. Star trek (Motion picture) 3. Star trek II, the wrath of Khan (Motion picture) I. Title. PN1992.77.S73G47 1984 791.45'72 84-9205 ISBN 0-312-94463-2 Cover art and design by Scott Osborne STAR TREK is a Trademark of Paramount Pictures Corporation Registered in the U. S. Patent and Trademark Office. Designed by Rhea Braunstein Distributed by Perseus Distribution perseusdistribution.com To place orders through Perseus Distribution: Tel: 800-343-4499 Fax: 800-351-5073 E-mail: [email protected] Significant discounts for bulk sales are available. -
La Saga Des Star Trek André Caron
Document généré le 26 sept. 2021 19:27 Séquences La revue de cinéma La saga des Star Trek André Caron Numéro 128, février 1987 URI : https://id.erudit.org/iderudit/50742ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Caron, A. (1987). La saga des Star Trek. Séquences, (128), 38–41. Tous droits réservés © La revue Séquences Inc., 1987 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ ETUDE LA SAGA DES STAR TREK André Caron STAR TREK — THE MO TION PICTURE — Réali sation: Robert Wise — Scénario: Harold Livingston, d'après une histoire d'Alan Dean Foster — Production: Gene Roddenberry — Images: Richard H. Kline — Décors: : Harold Michelson Rappelez-vous The Omen III, Jaws III, Rocky IV, et même Friday The phénomène social, qui représente pour ces gens un idéal, ce vers quoi — Direction artistique: 13th Part VI. L'été dernier, pensez à Psycho III, Poltergeist II, Aliens, l'humanité devrait tendre, l'espoir pour l'avenir. Lors de ces Leon Harris — Costumes: Robert Fletcher — Son: Tom et même The Texas Chainsaw Massacre Part II. -
Star Trek III (1984) Directed by Leonard Nimoy, Written by Harve Bennett
The Search for Spock: Star Trek III (1984) Directed by Leonard Nimoy, written by Harve Bennett A Better title might be The Searh for Schlock. Leonard Nimoy is going to need all the regenerative planets he can find after The Search for Spock. He may have managed to bring Spock back to the world of the living, after killing the bat-eared Vulcan off in Star Trek II. But this will be child's play compared with breathing new life into his directorial career following this debut. Star Trek III re-opens the can of worms introduced in The Wrath of Khan. The genesis formula, invented by the-son-Kirk-never-knew-he-had, has transformed a barren planet into a Garden of Eden. But protecting this secret of creation has been costly. Spock, in musketeer fashion, did a one-for-all number, and died in the process of saving the Enterprise for the next movie -- something Nimoy doesn't think necessary for a possible sequel number four. In case anyone missed number two, properly titled "Fantasy Island in Space", the audience is treated to a black-and-white video of Spock's last gasps as Search opens. If Spock's body had been safely deposited on the surface of the Genesis planet, opening up all kinds of possibilities for an impermanent death, his mind is another story (and movie). Vulcans, we are informed, can do an out-of-body trick and record their minds on empty floppy discs. Not having access to a computer terminal at the time of his demise, Spock substituted the void between the ears of Dr.