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Trekkies Beware! Paramount Pictures V. Axanar Productions by Joel M
Thursday, March 23, 2017 LAW BUSINESS TECHNOLOGY BUSINESS TECHNOLOGY LAW TECHNOLOGY LAW BUSINESS RECORDERdaily at www.therecorder.com Trekkies Beware! Paramount Pictures v. Axanar Productions By Joel M. Grossman ovie and far and actually produce a very TV stu- professional movie funded by dios often crowdsourcing? That is the allow their question raised by the case of fans to Paramount Pictures Corp. v. Mengage in behavior which tech- Axanar Productions, Inc. The nically might violate copyright case has not been fully liti- or trademark law. For exam- gated, but the district court’s ple, the studio which owns the ruling on cross-motions for copyright to Star Wars might summary judgment is both let fans produce a short video amusing and instructive. in which fans dress up as Darth To begin with the basic facts, Vader or Princess Leia, and act plaintiff Paramount Pictures Trek films before with no law- out a scene from the film. If and CBS own the copyright to suit from Paramount, Axanar the fans post their homemade the Star Trek television shows sought to go “where no man 10 minute video on You Tube, and Paramount owns the copy- has gone before” and produce the studio probably wouldn’t right to the thirteen full-length a professional Star Trek film, mind. They might even encour- movies that followed. While with a fully professional crew, age such amateur tributes, as the copyright owners allowed many of whom worked on one they might keep interest in the fans to make their own ama- or more Star Trek productions. -
Department of English and American Studies Another
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature & Teaching English Language and Literature for Secondary Schools Bc. Ondřej Harnušek Another Frontier: The Religion of Star Trek Master‘s Diploma Thesis Supervisor: Jeffrey Alan Smith, M.A., Ph. D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‘s signature Acknowledgements There are many people, who would deserve my thanks for this work being completed, but I am bound to omit someone unintentionally, for which I deeply apologise in advance. My thanks naturally goes to my family, with whom I used to watch Star Trek every day, for their eternal support and understanding; to my friends, namely and especially to Vítězslav Mareš for proofreading and immense help with the historical background, Miroslav Pilař for proofreading, Viktor Dvořák for suggestions, all the classmates and friends for support and/or suggestions, especially Lenka Pokorná, Kristina Alešová, Petra Grünwaldová, Melanie King, Tereza Pavlíková and Blanka Šustrová for enthusiasm and cheering. I want to thank to all the creators of ―Memory Alpha‖, a wiki-based web-page, which contains truly encyclopaedic information about Star Trek and from which I drew almost all the quantifiable data like numbers of the episodes and their air dates. I also want to thank to Christina M. Luckings for her page of ST transcripts, which was a great help. A huge, sincere thank you goes to Jeff A. Smith, my supervisor, and an endless source of useful materials, suggestions and ideas, which shaped this thesis, and were the primary cause that it was written at all. -
The Changing Definition of Security by James Sperling and Emil Kirchner
The Changing Definition of Security by James Sperling and Emil Kirchner Paper delievered at the ECSA Conference Charleston, South Carolina, 11-14 May 1995 The Changing Definition of Security A reconfiguration of Europe's strategic landscape and a redefinition of security have taken place in Europe. The security concerns of individual states and the NATO alliance have expanded and now embrace not only the preoccupation with territorial integrity and military security, but also include issues ranging from macroeconomic stability to environmental degradation. This broadened redefinition of security raises an important question: what connections are there between the military and these broader nonmilitary elements of security? For the greater part of the cold war era, security was conceived primarily, if not exclusively, in terms of military security, in terms of sustaining the nuclear balance of terror between the superpowers and the conventional balance of power on the Eurasian landmass. Despite the heavy emphasis upon the military element of national security, attention was paid to the economic underpinnings of military prowess. Nonetheless, economic issues were subordinated and treated as an adjunct to the more important and pressing issue of military security. Economic security was not a relevant analytical category until the late 1960s. Economic issues grew more salient in the late 1960s and were increasingly treated as important political and broader architectural elements of both national security and the larger security order. A few studies of the western alliance in the late 1960s and early 1970s emphasized the importance of economic relations between the members of the Atlantic alliance; they focused on the importance of those economic relationships as critical struts undergirding the Atlantic Alliance and the security of its member-states.1 The growing remoteness of a military threat to European security combined with an increased frequency of economic conflict within the Atlantic area during the 1970s and 1980s. -
Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 1986 Sexism in Space: The rF eudian Formula in "Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Deegan, Mary Jo, "Sexism in Space: The rF eudian Formula in "Star Trek"" (1986). Sociology Department, Faculty Publications. 368. http://digitalcommons.unl.edu/sociologyfacpub/368 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THIS FILE CONTAINS THE FOLLOWING MATERIALS: Deegan, Mary Jo. 1986. “Sexism in Space: The Freudian Formula in ‘Star Trek.’” Pp. 209-224 in Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film, edited by Donald Palumbo. (Contributions to the Study of Science Fiction and Fantasy, No. 21). New York: Greenwood Press. 17 Sexism in Space: The Freudian Formula in IIStar Trek" MARY JO DEEGAN 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 civilizations, to boldly go where no man has gone before. These words, spoken at the beginning of each televised "Star Trek" episode, set the stage for the fan tastic future. -
Masters Title Page
MULTICULTURALISM AND ALIENATION IN CONTEMPORARY JAPANESE SOCIETY AS SEEN IN THE FILMS OF TAKASHI MIIKE Steven A. Balsomico A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Ronald E. Shields, Advisor Walter Grunden ii ABSTRACT Ronald E. Shields, Advisor Through his films, Takashi Miike reminds audiences of the diverse populations within Japan. He criticizes elements of the Japanese sociological structures that alienate minorities and outcasts. Through the socialization process, Japanese youth learn the importance of “fitting in” and attending to the needs of the group. Clear distinctions of who are “inside” and “outside” are made early on and that which is “outside” is characterized as outcast and forbidden. In three of his films, "Blues Harp," "Dead or Alive," and "Deadly Outlaw: Rekka," Miike includes individuals who have been situated as outsiders. In "Blues Harp," Chuji, due to his obvious heritage, cannot find a place in society, and thus exists on the fringes. In "Dead or Alive," Ryuichi has felt that the country in which he lives has placed him in a disadvantaged status: therefore, he must strike out on his own, attempting to achieve happiness through criminal means. In "Deadly Outlaw: Rekka," Kunisada, an outsider by blood and incarceration, cannot relate to his peers in the world. As a result, he lashes out against the world in violence, becoming an individual who is portrayed as a wild beast. When these outsiders attempt to form their own groups, they often face eventual failure. -
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 .................................................................................................................... -
Parties in Star Trek Fan Litigation Don't Boldly Go Into the Unknown
INCONTESTABLE® BLOG Parties in Star Trek Fan Litigation Don’t Boldly Go Into the Unknown; Sele Claims February 27, 2017 By Jonathan Uffelman Edited by Naresh Kilaru; Julia Anne Matheson The Central District of California recently denied both parties’ motions for summary judgment in a copyright infringement case involving a fan Star Trek film, setting the dispute up for a jury trial. However, the Court’s findings that defendant Axanar Productions, Inc.’s film was objectively similar to Plaintiffs’ copyrighted Star Trek works, and that Defendants had no valid fair use defense, was sufficient to lead the parties to settlement. Since 1966, Plaintiffs have produced six Star Trek television series totaling more than 700 episodes, and thirteen Star Trek motion pictures. Additionally, Plaintiffs have licensed numerous derivative works, including books, games, merchandise, and audio-visual works. These works incorporate stories taking place in time periods both before and after the original television series. Collectively, these works constitute the Star Trek canon, used by many Trekkers to create fan fiction. As avid Star Trek fans, Defendants intended to make a fan film about a character called Garth of Izar, who appeared in one episode of the original television series. In that episode, Garth is a former starship captain, famous among Starfleet officers for his exploits in the Battle of Axanar with the Klingons twenty-one years earlier. The Defendants’ film was to depict Garth’s exploits. Defendants sought to make “a professional production” with a professional crew, “many of whom have worked on Star Trek itself.” Defendants raised money and produced a twenty-one minute film called “Star Trek: Prelude to Axanar” (“Prelude”) and released it on YouTube to raise funds for a full-length feature film. -
STAR TREK the TOUR Take a Tour Around the Exhibition
R starts CONTents STAR TREK THE TOUR Take a tour around the exhibition. 2 ALL THOSE WONDERFUL THINGS.... More than 430 items of memorabilia are on show. 10 MAGIC MOMENTS A gallery of great Star Trek moments. 12 STAR TREK Kirk, Spock, McCoy et al – relive the 1960s! 14 STAR TREK: THE NEXT GENERATION The 24th Century brought into focus through the eyes of 18 Captain Picard and his crew. STAR TREK: DEEP SPACE NINE Wormholes and warriors at the Alpha Quadrant’s most 22 desirable real estate. STAR TREK: VOYAGER Lost. Alone. And desperate to get home. Meet Captain 26 Janeway and her fearless crew. STAR TREK: ENTERPRISE Meet the newest Starfleet crew to explore the universe. 30 STARSHIP SPECIAL Starfleet’s finest on show. 34 STAR TREK – THE MOVIES From Star Trek: The Motion Picture to Star Trek Nemesis. 36 STAR trek WELCOMING WORDS Welcome to Star TREK THE TOUR. I’m sure you have already discovered, as I have, that this event is truly a unique amalgamation of all the things that made Star Trek a phenomenon. My own small contribution to this legendary story has continued to be a source of great pride to me during my career, and although I have been fortunate enough to have many other projects to satisfy the artist in me, I have nevertheless always felt a deep and visceral connection to the show. But there are reasons why this never- ending story has endured. I have always believed that this special connection to Star Trek we all enjoy comes from the positive picture the stories consistently envision. -
Analyzing the Rhetoric of JFK's Inaugural Address
Analyzing the Rhetoric of JFK’s Inaugural Address Topic: John F. Kennedy’s Inaugural Address Grade Level: 9-12 Subject Area: English Language Arts Time Required: 1-2 class periods Goals/Rationale An inaugural address is a speech for a very specific event—being sworn into the office of the presidency. The speeches of modern presidents share some commonalities in referencing American history, the importance of the occasion, and hope for the future. Each president, however, has faced the particular challenges of his time and put his own distinctive rhetorical stamp on the address. In the course of writing this address, John F. Kennedy and Theodore Sorensen, his advisor and main speechwriter, asked for and received suggestions from advisors and colleagues. (To see the telegram from Ted Sorensen dated December 23, 1960, visit http://tinyurl.com/6xm5m9w.) In his delivered speech, Kennedy included several sections of text provided by both John Kenneth Galbraith, an economics professor at Harvard University and Adlai Stevenson, former governor of Illinois and Democratic presidential candidate in 1952 and 1956. In this lesson plan, students consider the rhetorical devices in the address JFK delivered on January 20, 1961. They then analyze the suggestions made by Galbraith and Stevenson and compare them to the delivered version of the speech. Students then evaluate the impact of the changes on the resonance of the speech. Essential Question: How can the use of rhetorical devices enhance a speech? Objectives Students will: identify rhetorical terms and methods. examine the rhetorical devices of JFK’s inaugural address. analyze the effects of the rhetorical devices on the delivered speech. -
The Nuclear Taboo Paradox: Destabilizing Consequences of the Norm
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 4-2012 The Nuclear Taboo Paradox: Destabilizing Consequences of the Norm Andrew Bryan Bessler College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the International Relations Commons Recommended Citation Bessler, Andrew Bryan, "The Nuclear Taboo Paradox: Destabilizing Consequences of the Norm" (2012). Undergraduate Honors Theses. Paper 489. https://scholarworks.wm.edu/honorstheses/489 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Andrew Bessler CHAPTER ONE INTRODUCTION Following the 1972 Easter Offensive, President Nixon is recorded discussing the nuclear option with Kissinger, stating that he would rather use the nuclear bomb against a strategic target than conventionally bomb Vietnam’s dike system. A nuclear attack on a different site, Nixon mused, would likely kill less Vietnamese than the proposed conventional bombing yet create a powerful “psychological” impact on the Soviets and the North Vietnamese.1 A few days later, Nixon observed to Kissinger that “the only place where you and I disagree…is with regard to the [nuclear] bombing. You’re so goddamned concerned about the civilians and I don’t give a damn. I don’t care.” Kissinger responded, “I’m concerned about the civilians because I don’t want the world to be mobilized against you as a butcher.”2 This exchange is a curious one, at least for advocates of traditional realist theories of nuclear deterrence and mutually assured destruction (MAD). -
Frequently @Sked Questions
B^ckgrounder: Frequently @sked Questions sÉêëáçå NKMPI aÉÅÉãÄÉê OUI OMMS `çéóêáÖÜí « OMMS nìáÅâëáäîÉê pçÑíï~êÉI fåÅK ^ää êáÖÜíë êÉëÉêîÉÇK Quicksilver is a Registered Trademark of Quicksilver Software, Inc. STAR TREK and related marks are Trademarks of CBS Studios, Inc. Bethesda Softworks, ZeniMax and related logos are registered trademarks of ZeniMax Media Inc. in the U.S. and other countries. GENERAL GAME-RELATED QUESTIONS 3 Q: What is Star Trek: Tactical Assault? 3 Q: What are the major features of the game? 4 Q: Space is 3D, so why is this game's combat in 2D? 5 Q: How much skill is involved in combat? 5 Q: Why can't I play as Captain Kirk or Mr. Spock? 6 Q: How do my decisions affect the mission outcomes? 7 Q: Is this a dumbed-down version of the PC game Starfleet Command? 7 Q: Is this game true to Star Trek? 8 Q: I want more. 8 Q: Do you take advantage of each platform's capabilities? 9 GAMEPLAY DETAILS 11 Q: How do the ships compare with one another? 11 Q: What is the best upgrade path in Federation missions? 14 Q: What is the best upgrade path in Klingon missions? 14 Q: How were the missions created? 15 Q: How can I avoid hitting asteroids or planets accidentally? 16 REVIEWS AND PLAYER FEEDBACK 17 Q: What are reviewers saying about the game? 17 Q: What do players say about the game? 20 Gener^l G^me-Rel^ted Questions Q: Wh^t is St^r Trek: T^ctic^l @ss^ult> `çåíêçä íÜÉ ÅçãéäÉíÉ pí~ê qêÉâ ÉñéÉêáÉåÅÉ Fans around the world know Star Trek as one of the great science fiction franchises. -
Transcript of the Canon
1 You’re listening to Imaginary Worlds. I’m Eric Molinsky. Probably the most beloved film in the Star Trek franchise is Star Trek II: The Wrath of Kahn. The classic characters are at their best. There’s a villain that really gets Kirk’s blood boiling. They’re quoting Moby-Dick. It’s great. But here’s the weird thing about Wrath of Kahn – you may not know this. Gene Roddenberry, you know THE creator of the Star Trek series, was booted by Paramount before that movie was made. Roddenberry was on the outs because the first Star Trek from 1979 was ponderous and confusing – and a box office disappointment. Roddenberry was allowed to be a consultant on Star Trek II, although his notes were ignored. Throughout the ‘80s, he got more and more upset because he felt Star Trek was becoming militaristic – fitting in with the Regan era. Eventually, Paramount let him develop a new Star Trek show. He couldn’t use the original characters. So he created The Next Generation, which was supposed to be a counter weight to the movies. It was more peaceful and philosophical, or at least it started out that way. DEREK: When Roddenberry passed away, most people admit Star Trek The Next Generation got better. Derek McCaw runs the website Fanboy Planet. DEREK: He had this mandate that there could be no inter crew conflict that they would have moved passed that. But even the most diehard fans realize that in storytelling, if everyone’s getting along perfectly, then there’s no story.