Star Trek Domain Guide Created by Camilla Paffey INM307 Assignment 2019
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FEDERATION COMMANDER SCENARIO INDEX REVISED 6/3/16 Official # Alternate # Title Product Published SFB Number Type # of Players H
FEDERATION COMMANDER SCENARIO INDEX REVISED 6/3/16 SFB # of Historical Official # Alternate # Title Product published Number Type Players Participants Notes, Special Communique #2, Captain's Log #32, Ship must repair 8B101 8J, 8C0 Sabotage! Briefing #1 SH001 Combat 2 Fed, Klingon damage during combat Briefing #1, Communique #7, 4 Fed, Gorn, Rom, Alliance battle of heavy 8B102 8CM1 Refiner's fire Rom ePack #2 SL025 Combat (2 vs 2) Klingon cruisers Communique #8, 8B103 8CM02 Coming of the Meteor, The Briefing #1 SH003 Planet Raid 2 Fed, Klingon Moving Asteroid Competing to steal a 8B104 8B104 Question of Franchise, A Briefing #1 SG035 Convoy 2 Pirate vs. Pirate freighter Klingon, police 8B105 8B105 Who is the Mutineer? Briefing #1 New for FC Puzzle 3 pirate Unknown alliances 8B106 8B106 Raid on a Mining Planet Briefing #1 SG052 Planet Raid 1 or 2 Pirates vs. Planet Defense Satellites 8B107 8B107 Threads of War Briefing #1 SL230 Combat 2 Klingon vs. Pirate Orion tries to get away 8B108 8B108 Landing Party Briefing #1 SH050 Rescue 2 Fed, Klingon Landing party 8B109 8B109 Taking of the Solitude, The Briefing #1 SL109 Combat 2 Klingon vs Tholian Capture ship 8B110 8B110 Escape from the Holdfast Briefing #1 SL110 Combat 2 Klingon vs Tholian Escape trap 8B111 8B111 Pandora's Box Briefing #1 New for FC Combat 2 or 3 Fed, Klingon Capture ship Each has a different 8B112 8B112 Out of the Frying Pan Briefing #1 New for FC Combat 3 Fed, Kzinti, Pirate target 8B113 8B113 Critical Hit, The Briefing #1 SH036 Combat 2 Fed, Klingon Damaged ship to repair -
Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Triskelions, Some of Whom Still Refer to Their Dialect
STAR TREK ROLEPLAYING GAME sharing the culture of Triskelion. And the Triskelion SPECIES PROFILE “Thralls” are one of the most widely diverse species in the known galaxy as a result of their auspicious origins. Nowhere else can one encounter a being who is part SPECIES NAME: TRISKELION Human, part Orion, and part Kazon. VISUAL REPRESENTATION CULTURE Prior to the involvement of Captain Kirk and the USS Enterprise in the 23rd century, Triskelion was a culture of slavery, gambling, gladiatorial combat, and oppression as the Providers abducted people from their homeworlds, forced them into arena-combat, and wagered on, bought, and sold the winners and losers using a type of currency called quatloos. The Federation starship USS Enterprise under command of Captain James T. Kirk was obligated to visit the planet to secure the release of several crew kidnapped by the Providers. Upon arrival, the Enterprise discovered numerous species enslaved on the surface as thralls, including their missing crew. Eventually, to free the thralls, Kirk entered into open combat against three drill thralls, betting not quatloos on his victory, but the condition of freedom for all if he was victorious, or enslavement of the Enterprise crew if he lost. He won, and the Enterprise left the system shortly afterward. Shahna – an Orion-Human Triskelion Thrall Another condition of the wager was that the Providers would educate the remaining thralls and allow the SPECIES ADJUSTMENTS development of a free society on the planet. +2 Vitality, -1 Intellect, -1 Presence As a result, the Thralls did develop a very independent society. And yet the roots of how their culture began were PHYSICAL DESCRIPTION always held in a type of esteem. -
Written Solely for Non-Profit Purposes
Star Trek and all related names are registered trademarks of CBS and Paramount Pictures. This work of original fiction is written solely for non-profit purposes. Written by: Jon Van Pelt Edited by: Bart Vandezande Lieutenant Reed crawled through a narrow access tube as he held a phase pistol in his right hand, seemingly holding on to it for dear life. Beads of sweat covered his forehead. He had just managed to escape from his quarters without being detected and had reached the armory to get his hand on a phase pistol to protect himself. It had been only three hours ago when Enterprise was studying a nebula, unaware of the fact that three Orion raiders were lurking inside the nebula, ready to attack. Ship and crew didn’t stand much of a chance. The polarized hull plating fell off-line after being exposed to ten minutes of intense weapon’s fire. After that it didn’t take long before the Orions sent their shuttles, attaching themselves to Enterprise as leaches onto a dead body. Although Reed and his security team had put up a good fight against the Orion intruders, they were quickly outnumbered and outgunned. The ship’s corridors were littered with corpses of Enterprise’s crew. How many? Reed couldn’t say for sure. He counted a dozen bodies as the Orion pirates escorted him to his quarters where they thought they locked him up safe and secure. He guessed most likely half of the crew died during the attack. It could be less. Or maybe even more. -
THE BIG BANG THEORY “The Roddenberry Effect” Written by Doug and Kent Tolbert
THE BIG BANG THEORY “The Roddenberry Effect” Written by Doug and Kent Tolbert “Copyright © 2014 This screenplay may not be used or reproduced without the express written permission of the author.” 1103 N.4TH ST. Broken Arrow, OK. 74012 918(251-1652) [email protected] 1. COLD OPEN FADE IN: INT. 4TH FLOOR HALLWAY/INT. LEONARD AND SHELDON’S APARTMENT – NIGHT (NIGHT 1) (Penny) / (Leonard, Sheldon, Penny, Wolowitz, Koothrappali) PENNY LOCKS HER DOOR AND LEAVES HER APARTMENT WEARING HER CHEESECAKE FACTORY ATTIRE. PENNY I swore I’d never do this again. Could there be a bigger idiot than me? PENNY PASSES BY THE ELEVATOR, GLANCING AT THE YELLOW TAPE ON THE DOOR. PENNY (CONT’D) Apparently so... And I’m married to him. ON THE WAY DOWN STAIRS, SHE PASSES LEONARD AND SHELDON’S DOOR, NOTICING THE PROFESSIONAL LOOKING SIGN ON THE DOOR. THE SIGN READS: “DO NOT DISTURB. WATCHING ORIGINAL STAR TREK SERIES MARATHON.” PENNY (CONT’D) (BRIGHTENING) I’m looking smarter all the time. RESET TO: 2. INT. LEONARD AND SHELDON’S APARTMENT – CONTINUOUS (Leonard, Sheldon, Penny, Wolowitz, Koothrappali) PENNY QUIETLY OPENS THE DOOR AND PEEKS INSIDE THE LIVING ROOM. ALL FOUR GUYS ARE ASLEEP. PENNY (CONT’D) What the Spock! ALL FOUR GUYS ARE WEARING APPROPRIATE ORIGINAL “STAR TREK” SERIES ATTIRE AND HOLDING A PROP FROM THE SERIES. LEONARD AND WOLOWITZ ARE SLOUCHED IN THE CHAIRS. LEONARD IS WEARING A GOLD TUNIC AND HOLDING A PHASER. WOLOWITZ IS WEARING RED AND HOLDING A COMMUNICATOR. SHELDON IS WEARING BLUE AND HAS A TRICORDER AROUND HIS NECK, WHILE KOOTHRAPPALI IS ALSO WEARING BLUE AND IS CRADLING A TRIBBLE. -
Trekmovie Picks Œ Best Star Trek Products 2010 | Trekmovie.Com
2/2/2011 TrekMovie Picks – Best Star Trek Produ… news star trek (2009 film) tos remastered about fan reviews (star trek film) live chat Ads by Google Star Trek Ship Star Trek 11 Star Trek Quiz Star Trek search go! TrekMovie Picks – Best Star Trek Products 2010 January 16, 2011 by TrekMovie.com Staff , Filed under: Merchandise, Review, Trek Franchise, TrekMovie.com , trackback 2011 is here but today TrekMovie begins a look back at 2010 to pick the best of year in terms of Star Trek products, from toys to wearable items, to posters. Check out the winners below. 2010 in Star Trek products 2010 was not the best year for Star Trek products in terms of quantity of new releases. Most of the new products were themed around the original 1960s Star Trek which is ironic Latest Articles for a year following the big success of a new movie with fresh faces and designs. There Brannon Braga Explains Why No Gay Characters On Star Trek: also seemed to be much less of certain products, such as toys being produced. Not Forward Thinking However, while there may be a limitation of supply, there were certainly products of both Star Trek Stars At Sundance: Yelchin Taks ‘Ridiculous Happy’ great fun and quality this year to celebrate. TrekMovie presents its fourth annual look at Chekov + Quinto Sells Margin Call + Photos w/ Saldana the best Star Trek products and collectibles of the year as selected by the editors. Nimoy Planning Return To Fringe Hopefully, 2011 will bring a diversity of products in much greater numbers. -
For Fans by Fans: Early Science Fiction Fandom and the Fanzines
FOR FANS BY FANS: EARLY SCIENCE FICTION FANDOM AND THE FANZINES by Rachel Anne Johnson B.A., The University of West Florida, 2012 B.A., Auburn University, 2009 A thesis submitted to the Department of English and World Languages College of Arts, Social Sciences, and Humanities The University of West Florida In partial fulfillment of the requirements for the degree of Master of Arts 2015 © 2015 Rachel Anne Johnson The thesis of Rachel Anne Johnson is approved: ____________________________________________ _________________ David M. Baulch, Ph.D., Committee Member Date ____________________________________________ _________________ David M. Earle, Ph.D., Committee Chair Date Accepted for the Department/Division: ____________________________________________ _________________ Gregory Tomso, Ph.D., Chair Date Accepted for the University: ____________________________________________ _________________ Richard S. Podemski, Ph.D., Dean, Graduate School Date ACKNOWLEDGMENTS First, I would like to thank Dr. David Earle for all of his help and guidance during this process. Without his feedback on countless revisions, this thesis would never have been possible. I would also like to thank Dr. David Baulch for his revisions and suggestions. His support helped keep the overwhelming process in perspective. Without the support of my family, I would never have been able to return to school. I thank you all for your unwavering assistance. Thank you for putting up with the stressful weeks when working near deadlines and thank you for understanding when delays -
Black Girl Magic: the (Re)Imagining of Hermione Granger: an Analysis and Autoethnography
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2021 Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography Kandice Rose DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Rose, Kandice, "Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography" (2021). College of Liberal Arts & Social Sciences Theses and Dissertations. 306. https://via.library.depaul.edu/etd/306 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DePaul University Black Girl Magic: The (re)Imagining of Hermione Granger An Analysis and Autoethnography Kandice Rose Critical Ethnic Studies Graduate Candidate June 2021 1 INTRODUCTION I'd very much like to say that I've always loved to read, but that would be patently false. At the age of 6, when I was in the first grade, the grade where Americans generally learn to read, I absolutely hated it. My teacher, Mrs. Johnson, would call on students to stand up and read passages to the class. I would stare in awe as other kids would read their sentences flawlessly, even as butterflies rattled in my stomach, as I waited in dread for her to call on either myself or my twin sister. -
Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms ............................. -
Alternate Universe Fan Videos and the Reinterpretation of the Media
Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby. -
The Writing and Reading of Fan Fiction and Transformation Theory
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 13 (2011) Issue 4 Article 4 The Writing and Reading of Fan Fiction and Transformation Theory Veerle Van Steenhuyse Ghent University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Van Steenhuyse, Veerle. "The Writing and Reading of Fan Fiction and Transformation Theory." CLCWeb: Comparative Literature and Culture 13.4 (2011): <https://doi.org/10.7771/1481-4374.1691> This text has been double-blind peer reviewed by 2+1 experts in the field.